An article to compliment this exhibition commemorating Freedom Month 2022
Prepared by Yolanda de KockThisphotographicexhibitionis curatedfromOliewenhuisArt MuseumandArtbankSA's collections. Theexhibitionfeatures historicalandcontemporarymomentsas seenthroughthelensofsomeofSouth Africa'smostesteemedphotographers.The artworksforthisexhibitionwereselected specificallytocommemorateapivotal momentinSouthAfrica'shistory:thefirst non-racialdemocraticelectionsof1994. Since1994allSouthAfricanshave benefittedfromthefreedomofexistence, toreceiveeducationandtoexperiment withsocialequality:luxuriesthatwerenot accessibletoallSouthAfricansunderthe brutalrulingofapartheid.Thisyearwe celebrate28yearsoffreedominapostapartheid,democratisedSouthAfrica.We havebecomeliberated.
Theaimofthiscaptivatingexhibitionisto celebrate,andtosomeextentinterrogate, differentideologiesrelatingtothenotionof being free.Theexhibitionembraces differentsubcategoriestounderscorethe overarchingthemeoffreedombutalsoto lookthroughabroaderlens,wherethe photographymightshowsomecontested conceptsthatmightvisuallyseemopposing totheconceptof being free.
Photographyisanimportantelementinthis exhibition.Themediuminitselfbecomesa concept.Totakeapicture,theperson holdingthecameraaimstofreezea momentintime.Photographywasa popularmediumandwidelyusedby documentaryphotographersworkingin monochromeduringthenineteenthcentury inSouthAfrica. AsPatriciaHeyesstated inherarticle, Power, Secrecy, Proximity: A Short History of South African Photography,“Photography should not be studied in isolation. In Southern Africa in the late nineteenth century, photography is related to the history of exploration, colonization, knowledge production and captivity”(2007:141).
Readingthelatterandplacingitincontext, itisoftheessencetomentionthepowerful workofSamNzima,ErnestCole,David Goldblatt,JürgenSchadeburgphotographerswhodocumentedSouth Africathroughatimeofexile,violenceand separation.Criticalhistoricalmoments werecapturedbythesecourageous photographers.
Sincethe1950s, Drum magazinewasa creativespaceformanyyoungblack writersandphotographers,suchasErnest Cole,PeterMagubaneandBobGosani,to nameafew.ErnestColewasoneofSouth Africa'sfirstblackphotojournalists,as indicatedontheirwebsite,SouthAfrican HistoryOnline(2021).
At Drum magazine,andundertheguidance ofGerman-bornphotographerJürgen Schadeburg,whoimmigratedtoSouth Africainthe1950s,manyyoungblack photographersweretaughttomasterthe skillofphotography.Cole,Schadeburgand Magubanewereamongstthosewho workedtogethertoexposetheworldof starkrealitiesastheapartheidregime progressed(Schadeberg:1994:10-20).
Figure1isaphotographtakenbyJürgen Schadeburgwhileworkingfor Drum magazine.Duringaninterviewwith Schadeburg,afterhereceivedtheLeica Halloffameawardin2018,hetoldthe storybehindthisparticularphotograph: “We were doing a story for Drum about the pass laws. I was working together with the two young black men hiding behind the wall. They were hiding because they did not have their pass books with them, which would result in their being arrested. As the policemen came closer to us,
I went on my left knee, taking a picture of the patrolling policemen. It is evident from their satisfied smiles that they felt important and proud being photographed. I thus took their gaze away from the two men hiding and they did not notice them.'' (InterviewwithJürgenSchadeburg:Leica Camera2019,February21).
WhenreflectingonthehistoryofSouth Africaitisimportanttocommemoratenot onlythepoliticalfreedomfightersbutalso theprotestersandthefearless photographerswhocapturedthose momentsforusto.Forthisreasonitwasa naturalchoicetoincludeonlyphotographs inthisexhibition.
Freedom from…Freedom to….Freedom to be… isthusanamalgamationof photographicmomentsofyounger contemporaryphotographersthatboldly expressestheirfreedom:thefreedomof choice,thefreedomofgenderequalityand thefreedomto be,thefreedomtoquestion society.Themid-careerartistsfoundinthe exhibitionarelookingatthesubjectmatter, orthecapturedhistoricalmomentwiththe aimtodissectpainfulmomentsfor reflectionanddiscussionthrough photography.
Figure 1: Jürgen Schadeburg, Johannesburg 1955, Photograph courtesy of the Jürgen Schadeburg estate. (Schadeburg 1994: 67)Thefollowingaretheleadingcategoriesthatarevisuallydominantinthisexhibition:
Ÿ Photographyasamethodtocommunicatefreedom;
Ÿ Photographyasaninfluentialtechniquetonarrateremindersofaconvolutedpast,orhistoricalmomentswiththeaimof artisticallyre-enactingthesubjectmatterinapost-apartheidandcontemporarycontext;
Ÿ Photographyasapowerfultoolfordocumentation,and
Ÿ Photographyasperformance.
Photographyasamethod tocommunicatefreedom:
ContemporaryphotographerNomusa MusahMtshaliunapologeticallyaddresses gendernon–binaryexperiencesthrough artmaking.Thephotographerisaqueer artistofcolour.Mtshaliraisesquestions aboutcircumscribedconceptsof“cultural and religious gender expectations and race - with the understanding that no-one fits these boxes perfectly” .
Mtshalifurtherstatesthat“my artworks represent my way of processing the world in which I find myself. I aim that the gaze of my artworks to be one of understanding and empathy, mostly that gender is an expression that can be expressed by each individual”
(https://nomusamusamtshali.pb.online).
Whenoneobservestheportrait, unexpectedelementsarefound-suchas malefacialhaircombinedwithpinknail polishandpinkheadband.Thesubjectis dressedinapretty,feminineblousethat mightastonishorconfusetheviewereven further.Atthispointtheviewermight
questionthegenderoftheparticular person,perhapsjudgingthechoicesthis individualmadebychoosingthisspecific attireandaccessories.Eithertheviewerhas thedesiretocategorisetheindividualand desperatelywantstoknowthe'story' behindthephotograph;oracceptsthe interesting,eccentricwaythisperson choosestowear'theiruniquenesswith confidence.
Ironicallytheportrayedsubjectiscalmand adaptsaninterestingposeoffreedomthat empowerstheindividualinthephotograph. Thepowerisconveyedintheupwards stareoftheperson,unawareoreven uninterestedinthegazeoftheviewer.The subjectisenshrinedwithanangelic peacefulness,andisfreetoexpresstheir preferredidentity.
Photography:aninfluential techniquetonarratereminders ofconvolutedhistoricalmoments
withtheaimofartistically re-enactingthesubjectmatterin apost-apartheidand contemporarycontext:
Cassinga Kassinga I and II areartworks basedonthetragiceventsof4May1978: theCassingaRaidorMassacre.Thiswasa controversialSouthAfricanairborneattack onthemilitarycampatthetownof Cassinga,aminingtowninAngola.
Figure 3: Christo Doherty, 2011, Cassinga Kassinga I, Archival print on rag paper.
Photo credits: Oliewenhuis Art Museum archive.
Figure 4: C Doherty, 2011, Cassinga Kassinga II, Archival print on rag paper. Photo credits: Oliewenhuis Art Museum archive.
Figure 2: Nomusa Musah Mtshali, 2020, Unondevana 1, art print gliclee on Epson enhanced matt, ArtbankSA 2020 collection. Photo Credit: Jano Myburgh.
Theartist,Doherty,spent13monthsofhis SADFserviceasan18-turning19-yearoldstraightfromschoolinthiscombatand narrateshisexperiencesofthishistorical momentthroughthisseriesofworks.
WeronikaMullerstatesinherarticleThe effectofthe1978CassingaRaidonthe BorderWar(2019),“On 4 May 1978, the South African Defence Force (SADF) carried out their first paratroop operation against the South West Africa People's Organisation (SWAPO) inside Angola. This raid, at the mining town of Cassinga (alternatively spelt Kassinga), 250 km across the Angolan border, was one of the most daring and controversial events of the twenty-eight-year long conflict that in South Africa is known as the 'Border War' ('Grensoorlog' in Afrikaans)”(2019: 26).
Mullerfurthermentionsthat“Cassinga soon became a favourable discussion in the international arena and for the last three decades, the raid has continued to raise emotional, albeit contrasting responses from black Namibians and white South Africans. To Namibians, Cassinga signifies the dreadful price they had to pay to gain their independence; to many white South Africans, Cassinga is synonymous with a brilliant military manoeuvre; a day to celebrate a victory and to remember all fallen paratroopers” (2019:26).
Iamparticularlyinterestedinthequestions 'whatisreal'or'whowasright'afteran event,likewar,asMullerunderscoredin herarticle.Itisclearinthecaseofthe Cassingaattackthattwodifferent narrativesarebelieved;thoseoftheblack NamibiansandwhiteSouthAfricansarein opposition.Thisisparticularlyapplicable topersonalmemoryorcollectivememory attachedtoaneventandhowitwill influencetheperspectiveofthe photographer,thenarratoroftextorthe viewerofanartwork.Andwithinthis particularcase,alsothememoryofthe artist.
SusanCraneaddressescollectivememory andplacesbystating“sites most associated with historical consciousness have been studied as 'lieux de mémoire' but the
process of making historical consciousness exceeds any single combination of place or time, and occurs as 'locally' as a person's private thoughts.”Shespecificallyaddressesthis “phenomenon”byaptlystatingthat “historical consciousness continually exceeds those documentable moments which result in texts and narratives, because it refrains from incorporation in institutions, texts and practices”(Crane 1997:45-46).
DohertyreinterpretsCassingaKassingaby enlargingtinyarmytoysinaspecially decoratedspaceinnature.Sticksand leavesbecomemonumentalinthese photographsoncebeingenlargedwiththe littlearmymenandarmyweaponry.The tragiceventistheatricallyre-castthrough theeyesandmemoryofDoherty.Toysare evocativeofchildhood;childrennaively playwithtoysoldiersandtoyweapons withoutarealideaofthecostofwar. Recreatingscenesofatrocitieswithtoysis apoignantreminderoflosthumanityand innocence.BronwynLaw-Viljoenstates that“at least 300 of the dead at Cassinga were women and children. SWAPO and Angolan sources indicated that these were refugees, whereas South African combatants recounted that SWAPO was using civilians as human shields during the encounter”(2011:MailandGuardian).
Cassinga Kassinga I and II isanideal exampleofphotographyusedtonarrate remindersofa convoluted pastor historical momentswith theaimof artisticallyreenactingthe subjectmatter inapostapartheidand contemporary contextin conjunction with contemporary photographers LeboThoka, withher
work House of Gold (2019),and AntoniaSteyn Eugene Terre'Blanche (2007).
Iaminterestedinhowdaringlythesetwo femalephotographersquestion contemporarysocietalinjustices,especially withLeboThoka'sworkandAntonia Steyn'sreminderofaverypowerfulrightwingfigureprominentduringtheheightof apartheid.However,Steynreconfigurethe statusofEugeneTerre'Blanchinasnap shot.
Steyn'sphotographhasthecapacityto upsettheviewer.Butinrealitythisisan iconicimageladenwithirony.Steyndoes notelevateTerre'Blanchebutdeconstructs thepopularviewofhimasacharismatic leaderoftheAWB(Afrikaner Weerstand Beweging or“Afrikaner Resistance Movement”.Terre'Blancewasthefounder ofthisneo-Nazi,whitesupremacist paramilitaryorganisationinSouthAfricain the1970s).
SteynshowsTerre'Blanchestrugglingto controlhisenormousblackFriesianhorse, Attila.Thephotoisreallyasnapshot,one takeninaseriesduringaphotoshootthe photographerhadwithTerre'Blanche,but despiteitsunplannednature,thepicture hasaclassicaltableaucomposition.Steyn chosetopresentthephotoasalargeprint todrawattentiontothisremarkableview ofadefeatedandtiredTerre'Blanche clearlybeingoverpoweredbyanenormous blackforce–arealityTerre'Blanchewas fighting formostofhislife.
WhilstSteynremindstheviewerofcruel roleplayersofSouthAfrica'spast,Thoka challengestheviewertolookintenselyat therealityofourcurrentsociety.Thoka questionsherewhetherallSouthAfricans areexperiencingfreedomassheis narratingthestoryoftheoutcomethat somedomesticworkersfaceeveryday. Thokaisaknownphotographervoicing andstandingupforwomen'srights.
With House of Gold Thokanarratesthe storyofadomesticworker,andalive-in nannywhowasfiredafter13yearsof servicetoheremployer.Hertotalincome wasR1000permonthtosupportherown twochildren.Shelostherjobasadomestic workerwithoutwarning,andheremployer gaveherR100touseasataxifarehome.
Thokaunashamedlyexposes unsympatheticrealitiesofwomenand openlysuggeststhroughherphotography thattodayoursupposedlyliberatedsociety proclaimsequalityandfreedomfor women,butstillitseemssomewhatlikean idealist'spipedream.AsLeboThokasays: “The South African justice system does not prioritise the protection of women
because it is necessary, but only when it is beneficial to do so”.
LeboThoka(2021)availableon http://davidkrutprojects.com/artist/lebothoka.
Photographyasapowerfultool fordocumentation:
Documentationphotographyplayedan enormousroleinthehistoryof photographyfromthe1950stothepresent. PatriciaHeyessummarisestheroleof documentaryphotographybystatingthat “the photograph resembles a contact sheet; it has the look of a film strip before editing. This openness is a rawness, producing what Elizabeth Edwards calls 'the first transcript of history'. There is the history of photography but there is also the photography of history. I think this is where 'documentary' photographers have been underestimated”(2007:151).
WiththisinmindIspecificallyzoominto theworkofDavidGoldblatt,RogerBallen, andMikhaelSubotzky.
DavidGoldblatthasbeencritically exploringSouthAfricansocietyinhis photographsthroughouthiscareer.Hewas specificallyinterestedinpeopleandcritical conditionsinthesocietyinwhichhelived. Goldblattwasbornandraisedin Randfontein,40kmfromJohannesburg. Hissurroundingsconsistedofamining communityandmiddle-classwhite Afrikaners.Goldblattstatedthat“I had begun to use the camera long before this in a socially-conscious way. In the early 1950's I had felt that I had a mission: I had to show the world the terrible things that were happening in South Africa. But I had long since discarded that grand notion. I realised that I was neither a missionary with a camera nor a political activist. I realised that I wanted to engage through the camera with people's values and how they were expressed. I wanted to go to the roots of people's lives”(Krog,A &PowellI2007: 13). Itisinterestinghow theAfrikanernationresistedGoldblatt's photography,andpersistedingivingita politicalundertone,whichwasnot Goldblatt'sintent.
Goldblatt'sfirststepsasfull-time photographerintheworldwerenoteasyin the1960s,especiallyasperceivedby Afrikaans-speakingpeople.Inhisarticle The anxiety of identity and Some Afrikaners,IvorPowellpointedoutthat
Figure 6: Lebo Thoka, 2019, House of gold, Archival Print, ArtbankSA collection. Photo Credit: Jano Myburgh. Figure 7: David Goldblatt, 1963, Child with a replica of a Zulu Hut, Voortrekker Monument, Pretoria, Silver Gelatin Print. Photo Credit: Oliewenhuis Art Museum's photo archive.thisphotograph, Child with a replica of a ZuluHut,VoortrekkerMonument,made headlinesintheDagbreekenSondagnuus (24/8/1969).Theheadlinestated“Bloed sal kook oor dié foto”(Bloodwillboil!). PowelldeclaredthatDabreekenSondag nuus,theonlyAfrikaans-languageSunday paperatthetime,hadanominousresponse toGoldblatt'swork.TheDagbreekcritic wasespeciallyupsetthatthisphoto amongstotherswaspublishedinan internationalpublication,Camera,andhow theworldwouldnowhaveaskewedview ofhowtrue'Afrikaners' wererepresented. WithGoldblatt'sphotos,theirsocialclass, 'whiteness'and'superiority'inanapartheid SouthAfricawereshowninferiortoan internationalaudience.
Themajorproblemthecritichadabout 'withareplicaofaZuluHut,Voortrekker Monumentisthe“juxtaposition of the Zulu hut edifice that is the Voortrekker Monument. The disrespect implicitly ascribed to Goldblatt is exacerbated, according to the critic by the photographic detail in the image: the presence of an untidy even sluttish dressed woman and
awe at the looming squatness of the Afrikaner holy of holies) us peering, bum in the air, into the dim interior of the Zulu hut”(Powell2007:19).
Underlyingconceptualcomparisonof photodocumentation,withaspecific interestinhowpeoplelive,representedand documented,aretobefoundintheworkof RogerBallen,BallenandMikhael Subotzky.
RogerBallenisaphotographerknownfor documentingplacesandpeopleina peculiarway. Dorps: The Small Towns of South Africa (1986)isapublicationof blackandwhitephotographsofthesmall 'dorps'ortownsofruralSouthAfricaand theirisolatedinhabitants.Ballenstatedthat a'dorp'ismorethanadefinitionofspace andpopulation.“Since I have travelled extensively throughout the world, many of my past photos have been taken in seemingly 'exotic' places. Whereas I am drawn by the sense of decay, isolation and eccentricity embodied by these 'dorps', many others find being there essentially boring”(Ballen1986:1).Ballentravelled
SouthAfricafrom1982-1986visiting scatteredtownsandvillages.
AsHeidiErdmanpointedout,“Ballen's dark world, as portrayed in each of his photographs, is a conscious construction. These images only exist in Ballen's imagination. Ideas for these images may have been born during his travels as a geologist. But small towns seem to have interested him since the beginning of his career. It is perhaps here where he spotted the unfamiliar and eccentricity in human behaviour and form”(Erdman2012:15).
Bedroom in Bethuli (1984)leavesthe viewerwithlittleornoinformationasto theownerofthisbedroom,orwhois stayingthere.TosomeextentBallenallows theviewertosneakaquicklookinto someoneelse'sprivatebedroom.Some identifiableimages(liketheportraitofa littleboy)seemfamiliar(asitwasquite iconicprintsthathunginmostoldhouses), butotherthanthatthisroomremains anonymousorevensecret.
Bedroom in Bethuli (1984)remindsmeof thefamousquoteofDianeArbus,“A photograph is a secret about a secret. The more it tells you, the less you know”Diane Arbus(Circa1960s).
MikhaelSubotzky's“photography film and video works are concerned with the structures of narrative and representation. He is also interested in the relationship between storytelling and the formal contingencies of image making”Mikhael Subotzky(2019)availableon http://www.subotzkystudio.com/about/.
TherelationshipofSubotzky'sworktothat ofRogerBallenandDavidGoldblattis interestingasSubotzkyisalsoknownfor travelling,visitingsmalltownsand narratingstoriesofpeople,or,inthecase ofthisspecificphoto, Shining a warden's shoes, Beaufort West Prison (2006)telling aconfined,enclosednarrativeofprison life.
Subotzky'sfirstbodyofphotographic work, Die Vier Hoeke (TheFourCorners), wasanin-depthstudyoftheSouthAfrican penalsystem. Umjiegwana (TheOutside) andBeaufortWestextendedthis investigationtotherelationshipbetween everydaylifeinpost-apartheidSouth Africaandthehistorical,spatial,and institutionalstructuresofcontrol.
Figure 8: Roger Ballen, 1984, Bedroom in Bethuli, Hand printed selenium toned photograph on fibre paper. Photo credit: Roger Ballen, Oliewenhuis Art Museum's archive.AsJonnySteinbergstated,asoneenters “Beaufort West, a scruffy ugly interruption a brief absence of landscape, rather than the presence of something else, one encounters a traffic circle, prison: these I did not see. Thousands of travellers, like me, may have not seen it but this was the spectacle that initially caught Subotzky's eye. Once you think about it, the very idea of this prison, slapbang in the middle South Africa's most travelled national highway, is so bracing you are not sure whether to find it funny, tragic or simply insane”(Steinberg2008: 74).
AsSteinbergsays,thepowerofSubotzky's workisthathisphotographsgiveyoua sensethatyouarelookingatsomethingbut neverhaveseen.Forme, Shining a warden's shoes, Beaufort West Prison (2006)reveals,almostsimilarlyto Roger Ballen's Bedroom in Bethuli,aprivate enclosedmoment,almostthe'behindthe scenes'ofprisonlife.Theironyisthe positionalitythewardenfindshimselfin. Heisseeminglyjustasenclosedand trappedastheprisoners,althoughhethinks hehasthepowerandcommandoverthe twomenwithhim.Thegazeofthemale figureontheright-handsideofthephoto drawstheattentiontotheprisoners,notthe warden.Thereispotentialofreversedrole ofpowerinthephoto.
Photographyas performance:
InconcludingthisarticleIwanttotie togetheralltheconceptsittouchesupon.It wasanaturalchoicetoclosewith photography as performance.The performativeaspect, onecouldargue,is presentinallfacets ofphotography. Manyquestions ariseevenwhena photographisseen asadocumented momentintime. Thephotographer stillhas theability touseacertain angle,stagethe imagetosome point,ortorecast thehistorical narrativeinan artisticway,which isanother partof photographyas performance(such aswiththeworkof AntoniaSteyn, Goldblattand Mtshali).
Imagesofwar,warsites,safety,gender, identity,couldsummarisewhattheviewer cananticipateinthisexhibition.
IbeliefthevideoworkofPaulEmmanuel, 3 SAI – a rite of passage (2009) summarisesandunitesmostofthe conceptswithin the Freedom from…Freedom to…Freedom to be exhibition.
3 SAI – A rite of passage wasconceivedby Emmanuel'sfascinationwith'supposed'or perpetuatedmasculinityinSouthAfrica. Usingmilitaryrecruits,Emmanueldecided tophotographanactualmilitaryrecruit, headshaving,whileitwashappening. Emmanuelstatedthat“after some research, I discovered that there are only two military bases left in South Africa which perform this obligatory 'rite of passage' on their bases. One in Oudtshoorn and the other at the Third South African Infantry Battalion (3SAI) based in Kimberley”(PaulEmmanuel ArtistStatementavailableon https://africa.si.edu/exhibits/transitions/bio. html).
AsMichaelO'Sullivanwrote,with Transitions,Emmanuelshowcaseswiththe headshavingactivity,anambiguity,which suggestsbothviolenceandtenderness. He notedthat“in the 14-minute film in which the barbers from the Third South African Infantry are shown in slow motion buzzcutting one young soldier's head after
Figure 9: Mikhael Subotzky, 2006, Shining a warden's shoes, Beaufort West Prison, Light jet c-pring on Fuji crystal archive paper. Photo Credit: Mikhael Subotzky, Oliewenhuis Art Museum's archives. Figure 10: Paul Emmanuel, 2009, 3 SAI – a rite of passage, Digital Blue Ray disk Photo credit: Paul Emmanuel, still image from 3 SAI – a rite of passage Oliewenhuis Art Museum Permanent Collection's archive.another.”(WashingtonPost2010).These youngmen,atthe3SAI,(voluntarilyornonvoluntarily)enternowariteofpassageto masculinity,losetheiridentity,aretaughthow tobe'real'menandarebeingstrippedoftheir youthfulness.Here,theywilllearnultimate controlanddiscipline.
Inmyopinion,theendingofthevideopieceis themostcaptivatingpartofthisartwork. Countlesswhitet-shirtshangmeticulouslyin longlines,thewindblowingthemfromsideto sideinapicturesquelandscapescene. However,abandoned.Onegetslostinthe serenityandcalmnessofthecountryside.The hangingt-shirtsshowcasethetwoparallel worldsthesesoldiersfindthemselvesin,oneof control,orderanddiscipline;theother anonymityandabandonment.
Referencelist:
Ballen,R.1986. Dorps, the Small Towns of South Africa. CapeTown:CliftonPublications(PTY)LTD. BronwynLaw-Viljoen.2011. Representation of war wakes us from childhood dreams.MailandGuardian. (https://mg.co.za/article/2011-01-20-representation-of-war-wakes-us-from-childhood-dreams/)(accessedon 23April2022)
Crane,S.1997.Memory,DistortionandHistoryintheMuseum. History and Theatre:36(4):44-63.
Erdmann,Heidi.2012. Roger Ballen/Die Antwoord.CapeTown:Erdmanncontemporary. ErnestCole(2021).https://www.sahistory.org.za/people/ernest-cole[accessedon22April2022].
Hayes,P.2007. Power, Secrecy, Proximity: A Short History of South African Photography. Kronos,no33 (November2007):139-579.UniversityoftheWesternCape. https://www.jstor.org/stable/41056585[accessedon12April2022].
https://www.bookforum.com/print/2303/a-biography-of-diane-arbus-offers-a-detailed-portrait-of-an-artistlonging-for-connection-16367[accessedon19April2022]
Krog,A&PowellI. 2007. Some Afrikaners revisited. David Goldblatt. Roggebaai:Umuzi.
LeboThoka(2021)http://davidkrutprojects.com/artist/lebo-thoka[accessedon26April2022].
LeicaCamera(2019,February21).JürgenSchadeburg-LeicaHallofFameAward2018.Availablefrom: https://www.youtube.com/watch?v=sjaVnZKCEI&ab_channel=LeicaCamera[accessedon23April2022].
MikhaelSubotzky(2019)availableonhttp://www.subotzkystudio.com/about/.
Mphahlele,E.1955.ForFreedom.InSchadeburg,J.1994. Sof' town blues: images from the black '50s SouthAfrica:Pinegowrie
Muller,W.2019.TheEffectofthe1978 Cassinga Raid on the Border War,JournalofContemporary History44(1):26-46.SouthernJournalforcontemporaryhistory,UniversityoftheFreeState. https://journals.ufs.ac.za/index.php/jch/article/view/3936[Accessedon23April2022].
NomusaMusahMtshali:https://nomusamusamtshali.pb.online/artiststatement-nomusamusamtshali [accessedon20April2022]
O'Sullivan,M.(2010,May).AtSmithsonian'sAfricanartmuseum:Ritesofpassage,drawnprecisely. The Washington Post.WashingtonPostCompany,Whashington,DC,USA,May.Availablefrom: https://www.paulemmanuel.net/Works/currentprojects/Transitions/transitionstexts/transitionsreviews/maintr ansitionsreviews.html
PaulEmmanuelArtistStatementavailableonhttps://africa.si.edu/exhibits/transitions/bio.html
Powell,I.2007.TheanxietyofidentityandsomeAfrikaners.InKrog,A&PowellI. 2007. Some Afrikaners revisited. David Goldblatt. Roggebaai:Umuzi.P19-28
Schadeburg,J.1994. Sof' town blues: images from the black '50s.SouthAfrica:Pinegowrie
Steenberg,J.2008.CatalogueessayinSubotzky,M.2008. Beaufort West.London:ChrisBoot(p74–75)
Subotzky,M.2008. Beaufort West.London:ChrisBoot.
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Freedom from… Freedom to… Freedom to be… exhibition: Instillation view at Oliewenhuis Art Museum.