Through this off-set dialogue, I foreground the anthropocentric motives of symbolic representation, whilst also gesturing towards the agency enhancing properties of this trope in artworks wherein the artist courts disenfranchised human identity. The “academic” voice highlights symbolic meaning, while a voice speaking in “intuitive prose” draws attention to elements of the artworks that are aligned with the notion of a human/animal “becoming”. In analysing these artistic instances, I employ a dialectical approach that manifests in two textual voices. In doing so, I look at Nandipha Mntambo’s performed animal transformations, in which she paradoxically critiques and embraces the figurative animality of the African body in colonial discourse. I thereafter discuss artworks in which the artist has created the sense that the human body is being performed in animal likeness and gesture. The chimerical sculptural work of Jane Alexander, where human form seamlessly meets animal façade, is referred to as an example of a representational mode of this therianthropic tendency. By way of situating these theoretical positions in the South African art and social context, I discuss specific works by two contemporary South African artists whose methodological approach invokes the hybrid animal/human body. ![]() The Derridian position that postulates human identity in a metaphoric relation to the animal (animetaphor), and Giles Deleuze and Felix Guattari’s notion of becoming animal, are instrumentally applied within the scope of this article. I also focus on the connections between photography, death and haunting which the Portfolio seems to invite, as well as on the larger dialogic potential contained within a visual narrative set in a small NYC underground community in the 80s, and which is undoubtedly both an autobiographical account (in the sense that by documenting Mueller, Goldin inevitably documents herself) and a memorial to a memorialist (Cookie herself wrote mostly autobiographical fictions, most of which are out of print now).īecoming animal: liminal rhetorical strategies in contemporary South African art Abstract In this article, I address the liminal therianthropic body in contemporary art that employs hybridity (performed and represented), as a mode of rhetorical potency in the expression of marginal subjectivity. I start by addressing the larger issue of how the representation of the AIDS crisis was transformed by the documentary endeavor of a photographer who was both subject and object of the gaze in an archival project constructed as a gesture of anticipated mourning. Yo-landi down wid o.p.p.This chapter examines Nan Goldin’s Cookie Portfolio, the well-known series of photographs of her good friend Cookie Mueller from the beginning of their relationship (1976) until Mueller’s death (1989), in order to answer several questions about visuality, autobiography, marginality and death. ![]() ![]() I rhyme tight! Tight! Tight! Tight! Spark mosh-pit s*** coz i rhyme so hype Put me in front of sum1 i don't like I go punch! Kick! Bite! Fight! I'm kray-kray like o.d.b. There once was a little girl Who had a crush on a bad, bad boy But when that bad boy got out of prison That little girl's a** was in big, big trouble! Daai bra anies hy's n fokken gam bra Haai! Daai anies hy lam innie mang ja 'Ken sy my nommer?' xha! Boy what's your number? Twee ses? Twee sewe? Of is jy n ag bra? Translated: That boy anies, he's a f***** ghetto boy Anies chills in jail 'Does she know my number?' no! Boy what's your numer? 26? 27? Or are you a 28? Throw dem devilish gang signz in da air Start giving it up 4 little evil me My fingerz r green coz im a mean dope fiend Im wicked like mad d.o.g Fresh like a little dark g.o.d Yo-landi vi$$er got da hypest flow Start talking in tongues whenever i get stoned Mudafuckn mindz get blown Every time i rap in2 da microphone My zef accent iz very foreign When i speak overseaz dey go: i beg your pardon? U can't get me like eric cartman Naughty little kitty go meow Yes daddy, i'm a big girl now Jas little devil make your d*** go wow Chea boy! Yo-landi vi$$er is hot stuff Daai bra anies hy's n fokken gangsta Haai, daai bra anies hy lam innie mang ja 'Ken sy my nommer?' xha! Boy what's your number? Twee ses? Twee sewe? Of is jy n ag bra? Translated: That boy anies, he's a f***** gangster d***! Anies is chilling in jail 'Does she know my number?' no! Boy what's your numer? 26? 27? Or are you a 28? Daai bra anies hy droom innie mang ja Van my punani, ja jys lekker jas bra Vinger in jou hol in, nxa! Haal uit die ganja Ja pakkie zol in! Klap it soos n rasta Translated: That boy anies, he's dreaming in jail Dreaming of my punani, yeah you heavy h**** boy Finger in your a**, nice! Whip out the weed you smuggled in Ja roll it up, light it up, hit like a rasta
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