This essay considers public art practice in post-apartheid Cape Town within the notion of symbolic reparations—a concept deriving out of South Africa’s Trust Reconciliation Commission. The paper situates developments in public arts practice in the context of developments in cultural politics in South Africa and globally. More especially, it discusses new genre arts projects, which focus on a range of issues related to identity, space and place. The projects—the District Six Museum, District Six Sculpture Project, PTO, Y30, BLAC, Returning the Gaze, and the In Touch Poetry Bus Tour—focus on issues such as rethinking monuments, the memorialising of ‘hidden histories’, engagements with racism and the abuse of power, and the reimagining of the city. The paper asks how these contemporary and often ephemeral projects, critically engage with issues of history, geography, memory and transformation and, in so doing, mark the landscape of Cape Town, making spaces for dialogue and/or standing as poetic symbols and challenges to the inequalities of the city.
This article analyses post-apartheid public spaces through social and spatial practices at the Victoria & Alfred (V&A) Waterfront mall in Cape Town. Our empirical evidence suggests that these public spaces involve much more than just consumption patterns, as they sustain and support novel ways of asserting social identities in a new political situation. These changes are, however, quite complex and fraught with ambivalence. Consequently, we scrutinize how race is staged in that space, and how racial diversity produces various kinds of boundaries. We then argue that these urban practices lead us to an understanding of the precarious balance between private and public spaces. We propose the notion of ‘publicization’ – the process whereby private spaces acquire a more public dimension.
We explore whether there is evidence of property rights among the homeless, and if so, how these rights are governed. By conducting interviews with 52 homeless people in Cape Town, we show that although the homeless are able to derive some value from assets, and can exclude other members of their community, these rights are precarious and dependent upon state agents not seizing the ‘property’ and overriding the community’s rules of the game. We demonstrate the intersectionality of claims with respect to the same physical property from the varying perspectives of the claimants involved and how this differs depending on the property. Homeless people rely on a community logic to develop rules of the game which results in the appearance of a market logic. In the absence of formal institutions effectively operating in their spaces, they have constituted social norms which provide some semblance of property rights respected intra-group.
Within the International debates about the roles and relevance of planning and architecture, urban design is trying to find its place and clarify its contribution to city making. The products and the practice of urban design vary significantly in different global and socio-economic contexts and in relation to varying theoretical foundations. In South Africa, as in other developing countries, urban design is only beginning to feature as a valid mainstream concern within city development and among built environment practitioners. This paper presents the case of the City of Cape Town’s Dignified Places Programme as an example of implementation-focused urban design undertaken in a context where the conscious design and management of the public realm does not feature on the agendas of cash-strapped, basic needs-focused local government. The design and construction of new public spaces is the focus of this programme, but a parallel objective is to place the central concern of urban design – the quality of the public environment – squarely on the agenda of local government in Cape Town. The paper outlines the urban context in which it is being implemented sketches the issues that prompted its initiation and traces its theoretical origins focusing on the linkages between this theory and practice. The paper gives an account of the origins, objectives and strategy as well as the design principles that directed the form and location of the projects in the Programme. The paper finally reflects on the key successes and challenges of the programme and attempts to tease out lessons for both the theory and practice of urban design.
Art in public space in South Africa is
increasingly a more visible locus of sociopolitical resistance and recalibration
of the public sphere. This article focuses upon an emblematic example: the sculpture of a former colonialist, removed from its public university site in Cape Town following sustained protests. Since April 2015, the
empty plinth of Cecil John Rhodes has become a site of re-imagination – from graffiti interventions to performance and installation art. While the plinth continually morphs in symbolism and significance, its ousted artwork
waits at an undisclosed location for its fate to be decided. This interregnum represents a liminal condition that theorists call ‘third space’, extended in this research towards a fourth dimension of performativity. The
physical disappearance of the artwork has triggered a second life, its apogee a national protest movement with global resonance. Rhodes Must Fall and Fees Must Fall are student-led calls for university decolonisation and free education arguably best understood as provocation around systemic issues in society. As this deeper work ensues amid fractious contestations, the artwork's re-animation of the public sphere is clear. Its leftover plinth is political, making visible other kinds of structural voids. It is also poetic: a zombie monument demonstrating
through its reinventions public space as common space – contested, negotiated and performed in the daily creation of city futures.
