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In this essay, I offer a feminist reading of Athambile Masola’s award-winning debut collection of poetry, Ilifa, focusing on her use of religious imagination. I demonstrate how Masola’s repeated use of religious metaphor, language, and Christian location illuminates more than aspects of religious community, piety, and belonging, important though these are. In Ilifa, specific appearances of religious language, as well as the rhetorical uses to which religious imagery and the disruption of Christian iconography are put, reveal the poet’s understanding of the making of transgenerational southern African feminist publicness. Her deployment of Christian vocabularies amplifies multigenerational African (women’s) contribution to (South) Africa’s intellectual and creative archives. While her religious references are not confined to Christianity, I limit myself to Biblical references to better tend to the intersections of feminist mapping, epistemic risk, and the poet’s engagement with two centuries of South African isiXhosa literary archive in print. Masola references these intellectual entries into publicness to negotiate her own admission into literary public life. I surface the context and conceptual landscapes of Masola’s own poetic project.

This article analyses post-apartheid public culture and two contemporary short films to build two arguments about the interplay of masculinity and violence in the 2008 and 2015 xenophobic outbreaks. The films are Xoliswa Sithole's Thandeka and Martine and Andy Spitz's Angels on our shoulders, both made as part of Filmmakers Against Racism's 2008 interventions against xenophobic violence. I argue that 'foreigners' are made under conditions of perilous intimacy (not ignorance) and that feted forms of post-apartheid masculinity enable negrophobic/Afrophobic xenophobic violence.

In this extract from a lengthier conversation, Pumla Dineo Gqola speaks to Thembinkosi Goniwe, artist and art historian, on the aesthetics and representations of bodies and sexuality in his work, as well as more broadly about trends in the performances of Black manhoods in contemporary South Africa.

An examination of Blackwomen's writing on race, gender and postcoloniality reveals that new ground has been and continues to be broken. PUMLA DINEO GQOLA suggests that theories from Blackwomencentric spaces are no longer just concerned with writing back-to white feminists, to colonialism, to patriarchy, to apartheid, etc-but are about refashioning the world in exciting ways where the difference within is not a threat but a source of energy

Njabulo Ndebele wrote the above sentences as part of his analysis of \"protest art,\" which celebrates the visibly spectacular at the expense of the reflective and nuanced. In much South African literature, Ndebele argued, the spectacular is the terrain of struggle between the dominant and the weak. However, as this paper will show, Ndebele's critique of literary predictability is theoretically applicable to spaces beyond the literary impulse that was his primary concern in the body of work cited. Ndebele's theorisation of the spectacular remains a powerful commentary on contemporary South African culture and gendered public life, and specifically the ways in which violent masculinities have taken centre stage since the Jacob Zuma rape trial. The subtitle of his first essay collection, Essays on South African Literature and Culture, hints at Ndebele's status as a pioneering figure of South African cultural studies. Consequently, it makes sense that his commentary should offer critical vocabularies applicable beyond 'protest art / literature.'

My personal experience retrospectively, looking back at it as an adult woman is that it [ie modelling] is a really glorified form of prostitution essentially.You might not sell your body for sex, but you're selling your body; your body is the commodity that you trade.