The Not-so-Quiet Violence of Bricks and Mortar
The Drill Hall is a historic site in the central business district of Johannesburg. While it has mostly been in sync with the wider development and history of the city, it has since 2004 been reimagined as a site for hosting a range of cultural organisations, charities and collectives. This chapter focuses on the Drill Hall and the resident arts collective Keleketla! to explore ideas of planned violence and city-making in the post-apartheid African metropolis. The chapter attempts to make links between direct violence and more abstract forms of planned violence. Central to this account is the question of the ability of creative arts processes to work as diagnostic and critically emancipatory tools. To what extent can the performative force of arts and cultural activism reimagine and make city space more humane in the face of increasingly neoliberal machinations? This case of the Drill Hall and Keleketla! offers an example of a city mobilising arts and culture in an attempt to achieve ‘world class’ status, but ultimately falling short of the ability to implement long-term and sustainable systems through structural and bureaucratic violence and the withdrawal of basic infrastructure such as water and electricity.
- Austin, J.L. (1962). How to Do Things With Words. Oxford: Oxford University Press.Google Scholar
- Beavon, K. (2004). Johannesburg: Making and Shaping of the City. Pretoria: University of South Africa Press.Google Scholar
- Borden, I., Hall, T., & Miles, M. (Eds.). (2003). The City Cultures Reader. London and New York: Routledge.Google Scholar
- Gaylard, J. (2012). Conversation with Joseph Gaylard [Transcript].Google Scholar
- Gaylard, J. (2017). Interview with Joseph Gaylard [Audio recording].Google Scholar
- Gaylard, J., Ben-Zeev, K., Smuts, H., & Venn, G. (Eds.). (2006). The Drill Hall. Johannesburg: Joubert Park Project.Google Scholar
- Gillingham, J. (1996). Violence: Reflections on Our Deadliest Epidemic. London: Jessica Kingsley Publishers.Google Scholar
- Kestner, Grant H. (2004). Conversation Pieces: Community and Communication in Modern Art. University of California Press.Google Scholar
- Kwon, M. (2004). One Place After Another: Site Specific Art and Locational Identity. Cambridge Massachusetts: The MIT Press.Google Scholar
- ‘Keleketla!’. Online Source https://keleketla.org/about/ Accessed 1 July 2017
- Mnisi, K. (2013). Niggas and Sushi. Online Source: https://keleketla.org/newwriting/ Accessed 3 July 2017.
- Moiloa, M. (Ed.). (2014). 58 Years to the Treason Trial. Johannesburg: Keleketla Media Arts Project NPC.Google Scholar
- Rosler, M. (2013). Culture Class. Berlin: Sternberg Press.Google Scholar
- Roy, A., & Ong, A., eds. (2011). Worlding Cities: Asian Experiments and the Art of Being Global. Oxford: Wiley-Blackwell.Google Scholar
- Siso, S. (2017). Anti-substance Abuse Activist Stabbed to Death by a Junkie. Online Source: http://citizen.co.za/news/1524603/anti-substance-abuse-activist-stabbed-death-junkie/ Accessed 2 July 2017.
- Tomlinson, R., Beauregard, R., Bremner, L., & Mangcu, X. (Eds.). (2003). Emerging Johannesburg: Perspectives on the Postapartheid City. New York: Routledge.Google Scholar
- Visible Project, Longlist. Online Source: www.visibleproject.org/blog/award/2017-award/keleketla-library/ Accessed 10 July 2017.
- Von Ruckteschell-Katte, K., & Grohs, H. (Eds.). (2014). Creating Spaces: Non-formal Arts Education and Vocational Training for Artists in Africa Between Cultural Policies and Cultural Funding. Nairobi: Goethe Institut Kenya.Google Scholar
- Von Schnitzler, A. (2016). Democracy’s Infrastructure: Techno-Politics and Protest after Apartheid. New Jersey: Princeton University Press.Google Scholar
- Žižek, S. (2008). Violence: Six Sideways Reflections. London: Profile Books.Google Scholar