The International Information & Library Review, 2007
During the last 10 years, there have been significant changes in LIS education in the United King... more During the last 10 years, there have been significant changes in LIS education in the United Kingdom. In this paper we have analysed the current provision of education for information professionals at 16 universities in the United Kingdom and set this against the trends and changes of the past decade. In addition to documentary sources, we have conducted a brief survey of the LIS education providers. We conclude that there has been a shift towards postgraduate education for information professionals. We also note that there has also been significant expansion of undergraduate education in information management, almost none of which has been in the form of courses accredited by the principal UK professional body, CILIP.
This article examines ways in which we engage the archive and orality to negotiate traumatic past... more This article examines ways in which we engage the archive and orality to negotiate traumatic pasts in order to transform the legacy of land dispossession. It hones in on the silences of the archive and asks how we draw the inheritance of archival documents and materials into dialogue with living orality and places in the landscape. Who is remembering knowledges and meaning in the landscape of the Northern Cape and how is this being done against the poignant backdrop of the losses resulting from dispossession? How does inter-generational dialogue become an agent in shaping the inheritance of the future? Given the complexity of history and our reading of the past, what does it mean to become a good ancestor? What role could digital technology play in re-shaping identity and heritage among the storytellers, teenagers, ritual specialists and others who populate the region? This study examines the complex tensions between these questions in the context of specific oral history and storyt...
This paper is an extract from my PhD thesis entitled Stories of War and Restitution-curating the ... more This paper is an extract from my PhD thesis entitled Stories of War and Restitution-curating the narratives of the Kapilolo Mahongo (1954-2017). My research focused on how storytelling in indigenous epistemologies are knowledge producing, disruptive of colonial narratives and supports recovery from the post-traumatic effects of dispossession and war among indigenous communities. Mahongo and other !xun storytellers' reconstruction of traditional !xun narratives were part of a project for memory recovery in this community. This paper about the history of Dima and Owl, should be read in this context. Who is Dima and Owl? My first introduction to the !xun creation story, Dima and Owl, was from the visual artist, Katunga Carimbwe, in 2003. He told it to me slowly, in fragments, while he was painting a colourful canvas in a makeshift studio on Platfontein, the farm where his community had finally settled after the 30-year-long war in Angola and the border of Namibia. The images Katunga painted with his words intrigued me more than his brush strokes on canvas. A dark cosmos without fire where people ate their raw food. A dancer who snatched the moon from a bag. A magician who commanded rivers to flow. A beaded man capable of multiple transformations. The story has many episodes, Katunga Carimbwe told me, some of which he had forgotten since he first heard it from his parents in Mavinga, Angola, where he was born in 1958. He said it was a story about the first !xun man, Dima. Katunga's memory ran out and he continued painting his canvas in silence.
This article examines ways in which we engage the archive and orality to negotiate traumatic past... more This article examines ways in which we engage the archive and orality to negotiate traumatic pasts in order to transform the legacy of land dispossession. It hones in on the silences of the archive and asks how we draw the inheritance of archival documents and materials into dialogue with living orality and places in the landscape. Who is remembering knowledges and meaning in the landscape of the Northern Cape and how is this being done against the poignant backdrop of the losses resulting from dispossession? How does inter-generational dialogue become an agent in shaping the inheritance of the future? Given the complexity of history and our reading of the past, what does it mean to become a good ancestor? What role could digital technology play in reshaping identity and heritage among the storytellers, teenagers, ritual specialists and others who populate the region? This study examines the complex tensions between these questions in the context of specific oral history and storytelling projects that took place in previously dispossessed communities in the Northern Cape between 2003 and 2013.
This essay, !Nanni’s Sketchbook - images of loss and abundance, celebrates an extraordinary 19th ... more This essay, !Nanni’s Sketchbook - images of loss and abundance, celebrates an extraordinary 19th century collection of children’s drawings and paintings, made by the Namibian !kun child, !nanni and his three friends, while they lived in the Cape colony during the 1870s. It illuminates the story of where the children came from and reveals how they produced their taciturn part of the larger Bleek and Lloyd Collection.
The !kun children’s maps, notebooks, drawings, paintings and the photographs that their interviewer Lucy Lloyd, had taken of them, is part of a larger collection of |xam stories she and her brother-in-law, Dr. Wilhelm Bleek, had made between 1870 and 1881. Although the now famous Bleek and Lloyd Collection was entered into the UNESCO Register for the World’s Memory in 1997, the children’s part of this acclaimed collection had remained silent. !nanni’s Sketchbook; images of loss and abundance, brings the oldest boy, !nanni’s personal story to life and reveals the historical circumstances in which children were abducted from their homes in Namibia and taken to Cape Town to become labourers in colonial homes. The essay sets the drawings and paintings in the context of their lives, and with the annotations and stories from Lucy Lloyd’s notebooks, illuminates its value as rare historical documents.
The International Information & Library Review, 2007
During the last 10 years, there have been significant changes in LIS education in the United King... more During the last 10 years, there have been significant changes in LIS education in the United Kingdom. In this paper we have analysed the current provision of education for information professionals at 16 universities in the United Kingdom and set this against the trends and changes of the past decade. In addition to documentary sources, we have conducted a brief survey of the LIS education providers. We conclude that there has been a shift towards postgraduate education for information professionals. We also note that there has also been significant expansion of undergraduate education in information management, almost none of which has been in the form of courses accredited by the principal UK professional body, CILIP.
This article examines ways in which we engage the archive and orality to negotiate traumatic past... more This article examines ways in which we engage the archive and orality to negotiate traumatic pasts in order to transform the legacy of land dispossession. It hones in on the silences of the archive and asks how we draw the inheritance of archival documents and materials into dialogue with living orality and places in the landscape. Who is remembering knowledges and meaning in the landscape of the Northern Cape and how is this being done against the poignant backdrop of the losses resulting from dispossession? How does inter-generational dialogue become an agent in shaping the inheritance of the future? Given the complexity of history and our reading of the past, what does it mean to become a good ancestor? What role could digital technology play in re-shaping identity and heritage among the storytellers, teenagers, ritual specialists and others who populate the region? This study examines the complex tensions between these questions in the context of specific oral history and storyt...
This paper is an extract from my PhD thesis entitled Stories of War and Restitution-curating the ... more This paper is an extract from my PhD thesis entitled Stories of War and Restitution-curating the narratives of the Kapilolo Mahongo (1954-2017). My research focused on how storytelling in indigenous epistemologies are knowledge producing, disruptive of colonial narratives and supports recovery from the post-traumatic effects of dispossession and war among indigenous communities. Mahongo and other !xun storytellers' reconstruction of traditional !xun narratives were part of a project for memory recovery in this community. This paper about the history of Dima and Owl, should be read in this context. Who is Dima and Owl? My first introduction to the !xun creation story, Dima and Owl, was from the visual artist, Katunga Carimbwe, in 2003. He told it to me slowly, in fragments, while he was painting a colourful canvas in a makeshift studio on Platfontein, the farm where his community had finally settled after the 30-year-long war in Angola and the border of Namibia. The images Katunga painted with his words intrigued me more than his brush strokes on canvas. A dark cosmos without fire where people ate their raw food. A dancer who snatched the moon from a bag. A magician who commanded rivers to flow. A beaded man capable of multiple transformations. The story has many episodes, Katunga Carimbwe told me, some of which he had forgotten since he first heard it from his parents in Mavinga, Angola, where he was born in 1958. He said it was a story about the first !xun man, Dima. Katunga's memory ran out and he continued painting his canvas in silence.
This article examines ways in which we engage the archive and orality to negotiate traumatic past... more This article examines ways in which we engage the archive and orality to negotiate traumatic pasts in order to transform the legacy of land dispossession. It hones in on the silences of the archive and asks how we draw the inheritance of archival documents and materials into dialogue with living orality and places in the landscape. Who is remembering knowledges and meaning in the landscape of the Northern Cape and how is this being done against the poignant backdrop of the losses resulting from dispossession? How does inter-generational dialogue become an agent in shaping the inheritance of the future? Given the complexity of history and our reading of the past, what does it mean to become a good ancestor? What role could digital technology play in reshaping identity and heritage among the storytellers, teenagers, ritual specialists and others who populate the region? This study examines the complex tensions between these questions in the context of specific oral history and storytelling projects that took place in previously dispossessed communities in the Northern Cape between 2003 and 2013.
This essay, !Nanni’s Sketchbook - images of loss and abundance, celebrates an extraordinary 19th ... more This essay, !Nanni’s Sketchbook - images of loss and abundance, celebrates an extraordinary 19th century collection of children’s drawings and paintings, made by the Namibian !kun child, !nanni and his three friends, while they lived in the Cape colony during the 1870s. It illuminates the story of where the children came from and reveals how they produced their taciturn part of the larger Bleek and Lloyd Collection.
The !kun children’s maps, notebooks, drawings, paintings and the photographs that their interviewer Lucy Lloyd, had taken of them, is part of a larger collection of |xam stories she and her brother-in-law, Dr. Wilhelm Bleek, had made between 1870 and 1881. Although the now famous Bleek and Lloyd Collection was entered into the UNESCO Register for the World’s Memory in 1997, the children’s part of this acclaimed collection had remained silent. !nanni’s Sketchbook; images of loss and abundance, brings the oldest boy, !nanni’s personal story to life and reveals the historical circumstances in which children were abducted from their homes in Namibia and taken to Cape Town to become labourers in colonial homes. The essay sets the drawings and paintings in the context of their lives, and with the annotations and stories from Lucy Lloyd’s notebooks, illuminates its value as rare historical documents.
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The !kun children’s maps, notebooks, drawings, paintings and the photographs that their interviewer Lucy Lloyd, had taken of them, is part of a larger collection of |xam stories she and her brother-in-law, Dr. Wilhelm Bleek, had made between 1870 and 1881. Although the now famous Bleek and Lloyd Collection was entered into the UNESCO Register for the World’s Memory in 1997, the children’s part of this acclaimed collection had remained silent. !nanni’s Sketchbook; images of loss and abundance, brings the oldest boy, !nanni’s personal story to life and reveals the historical circumstances in which children were abducted from their homes in Namibia and taken to Cape Town to become labourers in colonial homes. The essay sets the drawings and paintings in the context of their lives, and with the annotations and stories from Lucy Lloyd’s notebooks, illuminates its value as rare historical documents.
The !kun children’s maps, notebooks, drawings, paintings and the photographs that their interviewer Lucy Lloyd, had taken of them, is part of a larger collection of |xam stories she and her brother-in-law, Dr. Wilhelm Bleek, had made between 1870 and 1881. Although the now famous Bleek and Lloyd Collection was entered into the UNESCO Register for the World’s Memory in 1997, the children’s part of this acclaimed collection had remained silent. !nanni’s Sketchbook; images of loss and abundance, brings the oldest boy, !nanni’s personal story to life and reveals the historical circumstances in which children were abducted from their homes in Namibia and taken to Cape Town to become labourers in colonial homes. The essay sets the drawings and paintings in the context of their lives, and with the annotations and stories from Lucy Lloyd’s notebooks, illuminates its value as rare historical documents.