At what point will nations consider and introduce cultural diplomacy to safeguard fair and equitable co-existence of artworks, in the same manner that trade deals and tariffs are negotiated and vigorously monitored?
This artistic output, revolutionary as it is historic, included the poignant photography of Jürgen Schadeberg, Peter Magubane, Alf Khumalo and Sam Nzima, which rendered in freeze-frame and timeless images the brutality, effects and schizophrenia of the system.
The oeuvre of revolutionary and other modes of art in South Africa is receding into the shadows of canon, archives and memory, thus necessitating urgency in transition from the historic to the contemporary and the contemporary to the future. Historicity and the complexities and contradictions of representation have a bearing on the direction and content of individual artistic projects or whole artistic movements.
What new rules and levels of scrutiny need to be applied to subsequent works so revered as to represent the very best or worst in nationhood? The “purity” and sovereignty of nationhood over art can inadvertently become contaminated or swept away by the cultures of much stronger or exploitative nations . In that sense, dominant global canons indirectly dictate the value of whole art systems of “lesser” peoples or artistic endeavours — and thus become, rightly or wrongly, dominant points of reference or global standards: Shakespeare, Hollywood, Renaissance art, Picasso, Beethoven and the like.
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