'After images': impressions of the 'after' by South African performer-choreographer Namela Nyamza
SOURCE: Contemporary women
OUTPUT TYPE: Chapter in Monograph
PUBLICATION YEAR: 2015
TITLE AUTHOR(S): A.Mahali
SOURCE EDITOR(S): J.Plastow, Y.Hutchison, C.Matzke, M.Banham
KEYWORDS: NYAMZA, MAMELA, PERFORMING ARTS, RACIAL SEGREGATION, SOWETO
Print: HSRC Library: shelf number 9045
HANDLE: 20.500.11910/9327
URI: http://hdl.handle.net/20.500.11910/9327
OUTPUT TYPE: Chapter in Monograph
PUBLICATION YEAR: 2015
TITLE AUTHOR(S): A.Mahali
SOURCE EDITOR(S): J.Plastow, Y.Hutchison, C.Matzke, M.Banham
KEYWORDS: NYAMZA, MAMELA, PERFORMING ARTS, RACIAL SEGREGATION, SOWETO
Print: HSRC Library: shelf number 9045
HANDLE: 20.500.11910/9327
URI: http://hdl.handle.net/20.500.11910/9327
If you would like to obtain a copy of this Research Output, please contact Hanlie Baudin at researchoutputs@hsrc.ac.za.
Abstract
The after-image is primarily produced by memory and the imagination. It is the emotional or psychological recall/re-imagining of something that is not immediately present to the senses. Both19-Born-76-Rebels (2013) and Isingqala (2011) evoke after-images in considering South Africa's past alongside its present. This chapter examines what vestiges of the past remain in Nyamza's present lived experience, and specifically, in what images does the 'after' manifest itself in Nyamza's work.19-Born-76-Rebels recalls the Soweto Riots and massacre of 1976, focusing on the education black children received in that era. Nyamza uses after-images of her own black girlhood.-
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