So glad that they chose Johannesburg over Cape Town. At least they’re not using Johannesburg as a location for something shot in Wakanda.
The first mention of The Avengers sequel filming in South Africa was that Marvel were only scouting the location back in May, but here’s an indication that the studio has received approval. Check it out!
This better be hinting at a Black Panther appearance or Imma flip.
haha why do they show a picture of UCT
It’d be great if they included Black Panther, but I’m hoping that they’re not going to use Cape Town as a backdrop for Wakanda. Cape Town doesn’t exactly scream “black empowered equatorial Africa” anything.
Went penguin watching at Boulder’s Beach, Simonstown. Didn’t go to the beach itself coz you have to pay an unholy amount to enter but we still saw quite a few.
Beach day :D
some of tonight’s fun from the #hasjustinelandedyet
Omgggg. Her life is OVAAA. #HasJustineLandedYet #SheMightNotWantTo #JustFlyToMars
Damn Justine girl must u be so stupid
Thinking of HoNY made me think of this:
These are images that urban black working- and middle-class families had commissioned, requested, or tacitly sanctioned. They are left behind by dead relatives, where they sometimes hang on obscure parlor walls in the townships. In some families they are coveted as treasures, displacing totems in discursive narratives about identity, lineage, and personality.
And because, to some people, photographs contain the ‘shadow’ (essence) of the subject, they are carefully guarded from the ill will of witches and enemies. In other families they are being destroyed as ‘rubbish’ during spring ‘cleans’ because of interruptions, discontinuities or disaffection with the subject or the narratives encapsulated in the image. Most often they lie hidden to rot through neglect in kists, cupboards, cardboard boxes, and plastic bags.
If the images are not unique, the individuals in them are. Painterly in style, most of them are evocative of artifices of Victorian photography. Some of them may be fiction, a creation of the artist insofar as the setting, the props, the clothing, or the pose are concerned. Nonetheless there is no evidence of coercion. When we look at these images we believe them, for they tell us a little about how these people imagined themselves. We see these images in the terms determined by the subjects themselves, for they have made them their own. They belong and circulate in the domain of the private. That is the position they occupied in the realm of the visual in the nineteenth century. It was never their intention to be hung in galleries as works of art.
The significance of the images lies outside of their frames, i.e. in the realm of the political. They were made in a period when the South African state was being entrenched and policies were being articulated toward a people the government designated ‘Natives.’ It was an era mesmerized by the newly discovered life sciences, such as anthropology, informed by social Darwinism. A time which spawned all kinds of ‘experts’ (so dearly loved by politicians), who could be conjured up to provide ‘expert knowledge’ on any number of issues including matters ‘race.’ Race thinking was given scientific authority in this period and was used to inform state policy on ‘the Native Question.’
Officially, black people were frequently depicted in the same visual language as the flora and fauna, represented as if in their natural habitat for the collector of natural history. Invariably they were relegated to the lower orders of the species, especially on those occasions when they were depicted as belonging to the ‘great family of man.’
Designated Natives: a discrete group who were considered in a sense citizens, but not altogether citizens. The images so made have formed a part in the schemes of authoritative knowledge on the Natives, serving no small part in the subjection of those populations to imperial power. Images informed by this prevailing ideology have been enshrined in public museums, galleries, libraries, and archives of South Africa. In contrast, the images in this display portray Africans in a very different manner.
Yet all too often these images run the risk of being dismissed or ignored as evidence of pathologies of bourgeois delusions. However, it should be pointed out that, beginning at the turn of the twentieth century and even earlier, there were black people who spurned, questioned, or challenged the government’s racist policies. Many of those integrationists were people who owned property or those who had acquired Christian mission education, and they considered themselves ‘civilized.’ These people, taking their model from colonial officials and settlers, especially the English, lived in manner and dress very similar to those of European immigrants. The images depicted here reflect their sensibilities, aspirations and their self-image.
These images are from the book/exhibition The Black Photo Album/Look at me: 1890 - 1950, compiled by South African photographer Santu Mofokeng. He continues:
The Black Photo Album / Look at Me: 1890–1950 is drawn from an ongoing research project. The project seeks to create an archive of images that black working- and middle-class families commissioned during the period 1890 to 1950 and the stories about the subjects of the photographs. Those of you with even a cursory knowledge of history will realize the significance of this period. While the world went to war twice during this time, South Africa was busy articulating, entrenching, and legitimating a racist political system that the United Nations later proclaimed, “a crime against humanity!” In keeping with the theme of this analysis, I chose mostly those images that were made in the 1890s to 1900s and a few from the 1910s. A lot of research is still being done to place these images in a more comprehensive context.
(all information taken from this website, which features a slideshow of the exhibition)
These images of were taken by Eugen Fischer, a German professor, on his visit to the Namibian town of Rehoboth. He went there to do research on the baster population, who had mixed Nama, Dutch and Boer ancestry. The following information was taken from this article:
In 1908 Fischer began his study of Rehoboth Basters. Fischer, an anatomist and physical anthropologist who had studied medicine at the University of Freiburg, focused his study on 310 Rehoboth Basters of mixed Boer, German and indigenous Nama ancestry. He used genealogical sources, photographs, eye and hair colour charts, and head and body measurements to investigate whether the “interbreeding” of peoples of different races would result in a new type of mixed race. He also wanted to know which racial characteristics were dominant and whether, and how, new environments affected emigrant races. Finally, he was interested in whether the fertility of mixed race people ( Mischinlinge) was impaired.
Fischer’s findings, which were published in 1913 in a book entitled The Bastards of Rehoboth and the Problem of Miscegenation in Man, concluded with wideranging recommendations for colonial policy. Fischer viewed the Rehoboth Basters as useful for German colonialism and suggested that they could become the low-level officials and policeman. He also called for a strict prohibition on mixed marriages in the colonies. It was this recommendation that was later to influence Nazi policies to promote “the protection of German blood and honour.” This was done through the Nazi Marriage Act of 1935 and what came to be known as the Nuremburg Laws. Fischer’s Rehoboth findings were also later used to justify classifying “foreign races” in Nazi Germany.
that ass thooough
that shit & the first half your url got something in common
It’s called Steatopygia - it’s a genetic characteristic of the San and Bantu people where fat collects around the buttocks and thighs. Fuck all of you for making this woman your Sarah Baartman. I hate this fucking website.