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Guido Llinás’ ‘Black Paintings’

Afro-Cuban Aesthetics and Abstraction

Christoph Singler

Lifongo Vetinde

Since its debut in the 1960s, African cinema, like other popular cultural forms, has played, and continues to play, a role in the discursive and representational practices which shape specific ideas of African nationhood. This essay explores the ways in which African filmmakers dramatize, explicitly or implicitly, the postcolonial transitional dilemmas their nations face in a context of cultural mimicry with its inherent ideological contradictions. It focuses principally on (Senegal, 1974) by Ousmane Sembène, (1988, Burkina Faso) by Gaston Kaboré, (1991, Cameroon) by Bassek ba Kobhio, (Burundi, 1992) by Léonce Ngabo, and (Zimbabwe, 1993) by Godwin Mawuru.

Rethinking the Idiom of Transition

Mphahlele, Mzamane, and Oliphant on South African Fiction after Apartheid

Osita Ezeliora

, among others. The immediate dilemma arising from a study of the post-apartheid novel of English expression, however, is how to group white and black writers into a single box, given that previous scholarship have often distinguished South Africa fiction on the black/white binaries or the so

Re-Membered Pasts, Dismembered Families

Fetishization of Indianness in Three Post-Apartheid Examples of South African Indian Fiction

James Ocita

of a ‘black’ identity claimed by all the oppressed peoples of South Africa. 5 The Wedding , Coovadia’s debut novel, written during the author’s sojourn in the USA , constructs the story of Ismet Nasin’s and Khateja Haveri’s voyage from Bombay to Durban. Narrated by the protagonists’ grandson