Shanade Barnaba
Biographic Data
| ID | 4680705 |
|---|---|
| NAME | Shanade Barnaba |
| GIVEN NAMES | Shanade |
| FAMILY NAME | Barnaba |
| SIGNATURE | BARNABA S |
| AFFILIATIONS | University of Johannesburg |
| ORCID | 0000-0001-9915-9393 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 20 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Indigeneity and Visual Sovereignty: Heritage, Rendition, Vision
Vandalism as a Mode of Visual Sovereignty: A New Definition and Complications Arising
Collective Jamais Vu: The Effects of Counter-Narratives in the Puppetry of Monuments
Tying a (rain)bow at the end: Controversial representations of Krotoa from text to film
Krotoa-Eva, servant-cum-translator-cum-diplomat, instrumental in the dealings between the Dutch and the Khoi at the Cape in the 1600s, is a woman whose story has been (re)constructed countless times. Through sparse historical documentation, she has been described as a drunk, traitor, bad mother, thief, ungrateful primitive, shrewd mediator and most recently a heroic foremother of Afrikaans-speaking South Africans. This article tracks these repres…
Contemporary Bushman Art: The Work of the !Xun Artist Flai Shipipa
Contemporary !Xun artists of South Africa’s Northern Cape Province have produced art that has been described as nostalgic and primitive. Yet the content of these artworks highlights astute political commentary, asserting belonging and immediacy in a political milieu where historically Bushman groups have been ostracized and delegitimized. The !Xun artist Flai Shipipa has created art that is a hybrid spiritual expression with inferences to Bushman…
“When We Are Laughing Like This Now, We Are Also Being Recorded by Them”: Eliamani's Homestead and the Complicity of Ethnographic Film
Eliamani's Homestead is an unfiltered presentation of unequal power relations, othering, suspicions, misunderstandings, and the untranslated in an exchange between Indigenous hosts and their guests in a cultural tourism setting. A family of Dutch tourists visits a Maasai homestead in Tanzania, where Eliamani and her child have no food. The tourists take copious pictures of the women and children and haggle over the price of a bracelet—a common sc…
KhoeSan Identity and Language in South Africa: Articulations of Reclamation
Recent years have seen a rise of KhoeSan revivalism in South Africa as identity politics in the country reach fever pitch. Using Stuart Hall’s notion of articulation and his conceptualisation of cultural identity as either essentialist or reproductive, we explore revivalist articulations as they relate to language and culture. Specifically, we focus on attempts by those who claim KhoeSan descent to revive KhoeSan languages, and on the reclamation…
Engagement with Colonial and Apartheid Narratives in Contemporary South Africa: A Monumental Debate
This article engages with current debates around colonial and apartheid era narratives in South Africa with a focus on heritage. The heritage landscape, receptacle of the nation’s dominant ideology, was the place from where current calls were made for the removal of colonial and apartheid era commemorations in the public sphere and the decolonisation of the intellectual landscape. Applying the notion of identity as exclusivist and the ideological…
Citizen journalism and moral panics: A consideration of ethics in the 2015 South African xenophobic attacks
This article hinges on empirical qualitative data gathered from an illustrative sample to determine perceptions on enforcing ethics on social media from people who acted as citizen journalists during South Africa’s 2015 xenophobic attacks on foreign nationals. The April 2015 attacks were mediated through userdriven social media platforms such as WhatsApp, where truthful and untruthful information on xenophobia was disseminated to warn targeted re…
Heritage-making and the dilemma of multivocality in South Africa: A case of Wildebeest Kuil
Heritage-making is discussed in this paper as it manifests in the South African museum space, specifically that of the Wildebeest Kuil Rock Art Tourism Centre in South Africa’s Northern Cape. This is an archaeologically rich site with the histories of diverse peoples having left impressions on the landscape. It is a relevant microcosm of South Africa’s past fraught with contending histories. The interpretive space at the tourism centre is an exam…
Painting our portraits: The state of contemporary San art in South Africa and its development potential, using !Xun and Khwe art as a case study
This research presents an overview of the state of San art in South Africa, using The!Xun and Khwe Art Project as a case study. Issues relating to primitivity, representation and the San's encounter with modernity are integrated into an analysis of how, and for whom, contemporary San art functions. Examples are drawn from Australian indigenous art to illustrate how the creation of a code of conduct could serve to protect San artists, art dealers …
Picking at the Paint: Viewing Contemporary Bushman Art asArt
In most writing on contemporary Bushman art the art is discussed as a tool of development, a tourism endeavor and an income generator. While these are aims both legitimate and beneficial to the communities involved, they also work (implicitly yet effectively) to separate the art, artist and subsequently the community out of which the art is produced from “the rest of us,” defining these communities as “other.” This article attempts to engage with…
KhoeSan Identity and Language in South Africa: Articulations of Reclamation
Recent years have seen a rise of KhoeSan revivalism in South Africa as identity politics in the country reach fever pitch. Using Stuart Hall’s notion of articulation and his conceptualisation of cultural identity as either essentialist or reproductive, we explore revivalist articulations as they relate to language and culture. Specifically, we focus on attempts by those who claim KhoeSan descent to revive KhoeSan languages, and on the reclamation…
Picking at the Paint: Viewing Contemporary Bushman Art asArt
In most writing on contemporary Bushman art the art is discussed as a tool of development, a tourism endeavor and an income generator. While these are aims both legitimate and beneficial to the communities involved, they also work (implicitly yet effectively) to separate the art, artist and subsequently the community out of which the art is produced from “the rest of us,” defining these communities as “other.” This article attempts to engage with…
Heritage-making and the dilemma of multivocality in South Africa: A case of Wildebeest Kuil
Heritage-making is discussed in this paper as it manifests in the South African museum space, specifically that of the Wildebeest Kuil Rock Art Tourism Centre in South Africa’s Northern Cape. This is an archaeologically rich site with the histories of diverse peoples having left impressions on the landscape. It is a relevant microcosm of South Africa’s past fraught with contending histories. The interpretive space at the tourism centre is an exam…
Painting our portraits: The state of contemporary San art in South Africa and its development potential, using !Xun and Khwe art as a case study
This research presents an overview of the state of San art in South Africa, using The!Xun and Khwe Art Project as a case study. Issues relating to primitivity, representation and the San's encounter with modernity are integrated into an analysis of how, and for whom, contemporary San art functions. Examples are drawn from Australian indigenous art to illustrate how the creation of a code of conduct could serve to protect San artists, art dealers …
Vandalism as a Mode of Visual Sovereignty: A New Definition and Complications Arising
Citizen journalism and moral panics: A consideration of ethics in the 2015 South African xenophobic attacks
This article hinges on empirical qualitative data gathered from an illustrative sample to determine perceptions on enforcing ethics on social media from people who acted as citizen journalists during South Africa’s 2015 xenophobic attacks on foreign nationals. The April 2015 attacks were mediated through userdriven social media platforms such as WhatsApp, where truthful and untruthful information on xenophobia was disseminated to warn targeted re…
Picking at the Paint: Viewing Contemporary Bushman Art asArt
In most writing on contemporary Bushman art the art is discussed as a tool of development, a tourism endeavor and an income generator. While these are aims both legitimate and beneficial to the communities involved, they also work (implicitly yet effectively) to separate the art, artist and subsequently the community out of which the art is produced from “the rest of us,” defining these communities as “other.” This article attempts to engage with…
Painting our portraits: The state of contemporary San art in South Africa and its development potential, using !Xun and Khwe art as a case study
This research presents an overview of the state of San art in South Africa, using The!Xun and Khwe Art Project as a case study. Issues relating to primitivity, representation and the San's encounter with modernity are integrated into an analysis of how, and for whom, contemporary San art functions. Examples are drawn from Australian indigenous art to illustrate how the creation of a code of conduct could serve to protect San artists, art dealers …
Engagement with Colonial and Apartheid Narratives in Contemporary South Africa: A Monumental Debate
This article engages with current debates around colonial and apartheid era narratives in South Africa with a focus on heritage. The heritage landscape, receptacle of the nation’s dominant ideology, was the place from where current calls were made for the removal of colonial and apartheid era commemorations in the public sphere and the decolonisation of the intellectual landscape. Applying the notion of identity as exclusivist and the ideological…
Citizen journalism and moral panics: A consideration of ethics in the 2015 South African xenophobic attacks
This article hinges on empirical qualitative data gathered from an illustrative sample to determine perceptions on enforcing ethics on social media from people who acted as citizen journalists during South Africa’s 2015 xenophobic attacks on foreign nationals. The April 2015 attacks were mediated through userdriven social media platforms such as WhatsApp, where truthful and untruthful information on xenophobia was disseminated to warn targeted re…
Heritage-making and the dilemma of multivocality in South Africa: A case of Wildebeest Kuil
Heritage-making is discussed in this paper as it manifests in the South African museum space, specifically that of the Wildebeest Kuil Rock Art Tourism Centre in South Africa’s Northern Cape. This is an archaeologically rich site with the histories of diverse peoples having left impressions on the landscape. It is a relevant microcosm of South Africa’s past fraught with contending histories. The interpretive space at the tourism centre is an exam…
“When We Are Laughing Like This Now, We Are Also Being Recorded by Them”: Eliamani's Homestead and the Complicity of Ethnographic Film
Eliamani's Homestead is an unfiltered presentation of unequal power relations, othering, suspicions, misunderstandings, and the untranslated in an exchange between Indigenous hosts and their guests in a cultural tourism setting. A family of Dutch tourists visits a Maasai homestead in Tanzania, where Eliamani and her child have no food. The tourists take copious pictures of the women and children and haggle over the price of a bracelet—a common sc…
KhoeSan Identity and Language in South Africa: Articulations of Reclamation
Recent years have seen a rise of KhoeSan revivalism in South Africa as identity politics in the country reach fever pitch. Using Stuart Hall’s notion of articulation and his conceptualisation of cultural identity as either essentialist or reproductive, we explore revivalist articulations as they relate to language and culture. Specifically, we focus on attempts by those who claim KhoeSan descent to revive KhoeSan languages, and on the reclamation…
Tying a (rain)bow at the end: Controversial representations of Krotoa from text to film
Krotoa-Eva, servant-cum-translator-cum-diplomat, instrumental in the dealings between the Dutch and the Khoi at the Cape in the 1600s, is a woman whose story has been (re)constructed countless times. Through sparse historical documentation, she has been described as a drunk, traitor, bad mother, thief, ungrateful primitive, shrewd mediator and most recently a heroic foremother of Afrikaans-speaking South Africans. This article tracks these repres…
Contemporary Bushman Art: The Work of the !Xun Artist Flai Shipipa
Contemporary !Xun artists of South Africa’s Northern Cape Province have produced art that has been described as nostalgic and primitive. Yet the content of these artworks highlights astute political commentary, asserting belonging and immediacy in a political milieu where historically Bushman groups have been ostracized and delegitimized. The !Xun artist Flai Shipipa has created art that is a hybrid spiritual expression with inferences to Bushman…
Vandalism as a Mode of Visual Sovereignty: A New Definition and Complications Arising
Collective Jamais Vu: The Effects of Counter-Narratives in the Puppetry of Monuments
Indigeneity and Visual Sovereignty: Heritage, Rendition, Vision
Sociology (10 works) · Art (8 works) · Political science (8 works) · Aesthetics (6 works) · Politics (6 works) · Law (5 works) · Narrative (5 works) · Anthropological Studies and Insights (4 works) · Archaeology and Rock Art Studies (4 works) · History (4 works)