Summary
If the goal of racialised modernity was to create a homogeneous self and a singular normativity, and set them in opposition to pathologised others, responses to race in Africa have undermined that singularity by affirming the validity of other norms, other ways of being in, experiencing, and narrating the world.
HARRY GARUBA ‘Race in Africa: four epigraphs and a commentary’, 2008So far, utopia and retrotopia don't differ – at least in their proceedings and the partiality of results. What really sets one apart from the other is the changing of places between trust and mistrust: trust being moved from the future to the past, mistrust in the opposite direction … the future (once the safe bet for the investment of hopes) smacks increasingly of unspeakable (and recondite!) dangers. So hope, bereaved, and bereft of the future, seeks shelter in a once derided and condemned past, the home of superstitions and blunders.
ZYGMUNT BAUMAN ‘Living towards the past’, 2016HOW LIGHT IS BLACK?
The letters are dated January 1963. They are from the assistant director, in the USA, of the Slade School of Fine Art at the University of London, and addressed to the artist, Ali Hussein Darwish. The first letter states that Professor Todd of Makerere University in Kampala, Uganda, has told the school of Mr Darwish's ‘exceptionally fine art work’ and of his preparations for further study at the University of London. It asks Mr Darwish to expand on the brief biography of his art career for the school's booklet on contemporary art and artists of Africa. The journal Transition published this letter and a second one, in which the assistant director asks the artist for further biographical details (Transition 1964). The only, but telling commentary on the content of these letters is the editor's title: How Light is Black? The second letter ‘notes with interest’ Mr Darwish's Persian background and continues:
I judge, however, that you have some African blood, and are dark skinned. Am I correct?
We have a similar problem if you can call it that, in our work with Mr. —, whose paternal ancestry was Armenian but on his grandmother and mother's side was Amharic, and who had always considered himself a true Ethiopian.
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- Race OtherwiseForging a New Humanism for South Africa, pp. 29 - 48Publisher: Wits University PressPrint publication year: 2017