Studies in Art, Heritage, Law and the Market

Volume 2

Series Editors

Rachel Pownall, School of Business and Economics, Maastricht University, Maas-tricht, The NetherlandsAna Quintela Ribeiro Neves Ramalho, Faculty of Law, Maastricht University,Maastricht, The NetherlandsChristoph Rausch, Faculty of Science and Engineering, Maastricht University,Maastricht, The NetherlandsHildegard Schneider, Faculty of Law, Maastricht University, Maastricht, TheNetherlandsVivian van Saaze, Faculty of Arts and Social Sciences, Maastricht University,Maastricht, The NetherlandsRenée van de Vall, Faculty of Arts and Social Sciences, Maastricht University,Maastricht, The NetherlandsLars van Vliet, Faculty of Law, Maastricht University, Maastricht, The NetherlandsDonna Yates , Faculty of Law, Maastricht University, Maastricht, TheNetherlands

Advisory Editors

Bert Demarsin, KU Leuven, Leuven, BelgiumHester C. Dibbits, Department of History, Erasmus University Rotterdam, Rotter-dam, The NetherlandsPatty Gerstenblith, DePaul University, Chicago, IL, USASusan Legêne, VU Amsterdam, Amsterdam, The NetherlandsPeggy Levitt, Department of Sociology, Wellesley College, Wellesley, MA, USASimon Mackenzie, Faculty of Humanities and Social Sciences, Victoria Universityof Wellington, Wellington, New ZealandOlav J. M. Velthuis, Faculty of Social & Behavioural Sciences, University ofAmsterdam, Amsterdam, The NetherlandsAndrea Wallace, Law School, University of Exeter, Exeter, UKMatthias Weller, Department of Law, University of Bonn, Bonn, Germany

The book series Studies in Art, Heritage, Law and the Market provides an interna-tional and interdisciplinary forum for volumes that

• investigate legal, economic, and policy developments related to arts, heritage, andintellectual property;

• critically assess how and for whom art and heritage values come about;• promote novel forms of user engagement, participatory presentations, and digi-

talization of arts and heritage;• examine the processes that transform cultural objects and practices into arts and

heritage; and• highlight new approaches in preservation and conservation science.

The series addresses a need for research and practice in the fields of art, culture,conservation, and heritage including a focus on legal and economic aspects. It dealswith complex issues such as questions of authenticity and provenance; forgery andfalsification; the illicit trade, restitution, and return of cultural objects; the changingroles of museums; the roles of experts and expertise; and the ethics of the art market.

More information about this series at http://www.springer.com/series/16197

Christian Ernsten

Colonial Heritage and UrbanTransformation in the GlobalSouthExcavating the Ruins of Cape Town’s Rebirth

Christian ErnstenDepartment of HistoryFaculty of Arts and Social Sciences,Maastricht UniversityMaastricht, The Netherlands

ISSN 2524-7425 ISSN 2524-7433 (electronic)Studies in Art, Heritage, Law and the MarketISBN 978-3-030-85805-6 ISBN 978-3-030-85806-3 (eBook)https://doi.org/10.1007/978-3-030-85806-3

© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature SwitzerlandAG 2021This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whetherthe whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse ofillustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, andtransmission or information storage and retrieval, electronic adaptation, computer software, or bysimilar or dissimilar methodology now known or hereafter developed.The use of general descriptive names, registered names, trademarks, service marks, etc. in this publicationdoes not imply, even in the absence of a specific statement, that such names are exempt from the relevantprotective laws and regulations and therefore free for general use.The publisher, the authors, and the editors are safe to assume that the advice and information in thisbook are believed to be true and accurate at the date of publication. Neither the publisher nor the authors orthe editors give a warranty, expressed or implied, with respect to the material contained herein or for anyerrors or omissions that may have been made. The publisher remains neutral with regard to jurisdictionalclaims in published maps and institutional affiliations.

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For Adriaan(1952–2020)

Preface

The coming to fruition of this book on Cape Town is the result of a creative processthat is really just a succession of magnificent coincidences. This haphazard trajectoryof moments and meetings started when I was still a graduate student at the Universityof Cape Town (UCT) in 2005.

Sometime in early 2005, on our way to a used-car dealership, I had a conversationwith Ntone Edjabe, a friend of my housemates. When he heard that I planned tostudy African Studies at the UCT, he advised (or perhaps warned) me first to read a1998 text by the Ugandan scholar Mahmood Mamdani, entitled “Is African Studiesto Be Turned into a New Home for Bantu Education at UCT?” Edjabe, who I laterlearned was the founding editor of the extraordinary Chimurenga Magazine, gaveme exactly the nudge I needed to set me on the path for an incredible experience atthis university.

The “Mamdani debate”, as it became known, seemed to cut to the very heart ofscholarship about Africa at the time. The intellectual conversation—predominatelybetween this Ugandan scholar, who was appointed as the chair of the Centre forAfrican Studies (CAS) at UCT in 1996, and South African archaeologist and fellowUCT faculty member Martin Hall—demonstrated in clear ways the complex rela-tionship between power and knowledge and the contestations surrounding curricu-lum transformation within African studies in post-apartheid South Africa (Mamdani1999). Commentator Isaac A. Kamola observed that the debate took place at a timewhen UCT was self-marketing as a “world-class African university”. Instead ofconforming to some global standard, however, Mamdani’s argument insisted upon anew type of African excellence. The debate ended with Mamdani’s suspension fromhis position as chair.

Like many before me, I was impressed by UCT, one of the oldest universities onthe continent. At that time a statue of British imperialist Cecil Rhodes, who gifted asection of his Groote Schuur estate in 1829 to establish what would later become theuniversity grounds, still occupied a plinth above the steps in front of the university’smain hall. When I entered CAS as a young graduate student in 2005, the Mamdanidebate felt far away. The department felt vibrant and driven by a transformativeagenda. Archaeologist Nick Shepherd (who was later to become my supervisor),

vii

architect Noeleen Murray and historians Ciraj Rassool and Leslie Witz from theUniversity of the Western Cape (UWC) were all progressive thinkers who wereinvolved in teaching at CAS at the time.

The combined scholarly efforts of Rassool, Witz, and Shepherd took the form ofthe Project of Public Pasts (POPP) and were directed at problematizing both thearchive and the disciplines fundamental to representations of public history. Theircritique was aimed at a specific kind of knowledge production in the public domain.It not only challenged the standard analytical categories within the academy, but italso undermined the dominant historical discourse vocalized outside the universityby the institutions of the new South African state and other agencies. While thePOPP has since ceased to exist, the work of these scholars of history, as well as thatof anthropologist Steven Robins, remains formative for my research.

CAS also has a gallery that hosted great debates and exhibited interesting artworkwhile I was a student there. An exhibition that really guided my thinking on therelationship between visuals and text was entitled The Model Man: The Hero of hisOwn Drama (2004). This exhibition consisted of illustrations and text by artist JohanSchönfeldt, writer Ivan Vladislavić, and literary scholar Andries Walter Oliphant. Itpresented certain iconographic images and an accompanying storyline. Rather thanthe normal procedure, in this exhibition, the narrative was written after the imageswere made. I was intrigued by the idea, articulated in the exhibition brochure, ofobjects as an “augmentation to speech” and by Schönfeldt’s remark that the historyof African oral societies is constructed from objects. I found his question: “In speech,when does a speaker revert to visuals?” particularly useful for describing my earlyfascination with heritage and urban design in Cape Town.

Later, when preparing for my PhD research, I would meet Vladislavić. Thisauthor’s fiction writing on cities and on photography, especially The RestlessSupermarket (2001), The Exploded View (2004), and TJ/Double Negative (2011),guided my later thinking and writing. His co-edited work with architect Hilton Judin,Blank—Architecture, Apartheid and After (1999), is still a seminal work onSouth African cities.

The invaluable suggestion that I read fiction while doing research came from NickShepherd, whom I mentioned earlier. As a graduate student in archaeology andEnglish literature, Shepherd worked for fiction writer J. M. Coetzee, who was aprofessor at UCT at the time, on the research for White Writing: On the Culture ofLetters in South Africa (1988). I read this work and other titles by Coetzee, but I alsoread André Brink, Zakes Mda, Nadine Gordimer, and others who I felt were relevantin terms of a literary history of the Cape. Beyond this suggestion, I am generally indebt for much of my research progress to Shepherd.

Shepherd mentored me in 2005 when I researched the contestations around theunearthing of human remains at Prestwich Street as a graduate student. Then, while Iwas developing a research proposal for my PhD project, he invited me to join theUrban Heritage and Creative Practice project organized by Brown University in2012 in Istanbul. This would be another key moment for me, as it was in Istanbul thatI was introduced to important Cape Town-based practitioners in the field of artistic

viii Preface

research, including artist Meghna Singh, choreographer Jay Pather, and architect IlzeWolff.

Later, when I was again based at UCT, Shepherd invited me to join his decolonialreading group. With his generous guidance, we read and discussed the work ondecolonial thought and practice by Walter Mignolo, Madina Tlostanova, NelsonMaldonado-Torres and the like. He also introduced me to work by colleagues of hisfrom around the world working on undisciplining archaeology, notably CristobalGnecco, Alejandro Haber, and Yannis Hamilakis. In general, the enthusiasm, thecreativity, and the clarity of thinking that Shepherd applies to his work have beenincredibly contagious and motivational for me.

While writing the PhD manuscript that is the basis for this book, the Rhodes MustFall movement successfully advocated for the removal of the statue of Cecil Rhodesat UCT and later for the decolonization of the university’s curriculum. Ironically,perhaps in an attempt to pacify the prevailing rebellious mood, UCT Vice-Chancellor Max Price invited Mahmood Mamdani to UCT in 2017, to deliver theannual T. B. Davie Memorial Lecture on academic freedom. True to form, Mamdanicalled for African universities “to stop importing Western theories to impose on localexperiences and instead theorize our own reality”. These moments were sources ofinspiration when writing this book. Yet, even more than the necessary inspirationthat any book requires, this book has been shaped by the enormous support Ihave had.

Here I want to express my gratitude to a number of other people whose supportand advice, along with Shepherd’s, have been invaluable. I would like to thankNoeleen Murray and Ciraj Rassool for their insightful comments and encourage-ments concerning my project. My sincere thanks also go to Mikela Lundahl andCristobal Gnecco, who have been generous and supportive scholars. I want toexpress my appreciation to Jay Pather and Laurine Platzky for their openness andtheir interest in my research project. In addition, I would like to thank photographersDirk-Jan Visser, Sara de Gouveia, and Barry Christianson for working with me.

I am grateful to Christoph Linder for hosting me as a guest PhD researcher at theAmsterdam School of Cultural Analysis of the University of Amsterdam. I wouldalso like to thank Ingrid Martins Holmberg and Henric Benesch for inviting me as aguest PhD researcher to the Conservation Department of the University of Gothen-burg. I truly enjoyed the months I spent at Gothenburg University. I am grateful toJan Iversen for inviting me as a guest PhD researcher to Aarhus University. I wouldlike to thank my colleagues at the Faculty of Arts and Social Science of MaastrichtUniversity, especially Vivian van Saaze, and the Department of History for theirencouragement. I am also grateful to my PhD colleagues and friends Meghna Singhand Duane Jethro, whose comments and critiques have been greatly appreciated.

While writing my manuscript, I would often think of the typical words ofencouragement dispensed by my grandmother Auke in Groningen dialect: “Kopd’r veur!” or stay focused! I would not have been able to finish this project withoutthe support and understanding of my family, most notably my parents, Adriaan andIna Ernsten. It saddens me greatly that I would not be able to offer my father a copy

Preface ix

of this book. I am also thankful to my friends in South Africa, in the Netherlands, andelsewhere who always had my back.

Finally, I find it impossible to even imagine completing this research trajectorywithout Suzan, my love, friend, and companion. Her strength, open-mindedness, andlove in our shared life—which, as of 4 May 2015, includes Izaak and Felix—havebeen a guiding inspiration over the years.

Regarding funding, I appreciate the support of the UCT Postgraduate FundingOffice and the Critical Heritage Studies initiative at Gothenburg University. I amalso thankful to the Prince Bernhard Culture Fund, the Van Eesteren-Fluck and VanLohuizen Foundation, and the Harry Oppenheimer Institute. In terms of technicalsupport, I am incredibly thankful to Daniela Franca Joffe for helping with the editingof this book.

Parts of this book have appeared elsewhere, in different formats, as book chaptersor journal articles. Parts of Chap. 2, for example, were published in Archaeologies10 (2014). An earlier version of Chap. 6 appeared in Archaeologies 11 (2015) and isreproduced here with that journal’s permission. An earlier version of Chap. 3 waspublished in the International Journal of Heritage Studies 23 (2017) and is likewisereproduced here with the permission of that journal. Chapter 7 was published in anadapted form in a collection edited by Laura McAtackney and Krysta Ryzewski:Contemporary Archaeology and the City: Creativity, Ruination, and PoliticalAction, published by Oxford University Press in 2017. Permission by OxfordUniversity Press to reproduce this chapter is hereby acknowledged. An earlierversion of Chap. 4 was published in Urban Forum 29 (2017) and is reproducedhere with the journal’s permission. Finally, an adaptation of Chap. 5 was publishedin Social Dynamics 45 (2019) and permission for reproduction is hereby acknowl-edged.

Maastricht, The Netherlands Christian Ernsten2021

x Preface

Contents

1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.1 Rebirth of an African City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.2 Newness in the Old Colonial City . . . . . . . . . . . . . . . . . . . . . . . . 31.3 District One and District Six . . . . . . . . . . . . . . . . . . . . . . . . . . . 31.4 Global Imaginaries and Local Identities . . . . . . . . . . . . . . . . . . . 61.5 Renaissance and Revenants . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71.6 Probing the Contemporary Condition . . . . . . . . . . . . . . . . . . . . . 81.7 Redressing Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111.8 A Note on Methodology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

2 Walking Back Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172.1 Discourse of the Cape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172.2 The Fort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202.3 The Garden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222.4 The Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262.5 The Slum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282.6 The Ruin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312.7 The Cemetery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332.8 Following the Ancestors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

3 Resurfacing Colonial Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413.1 Coffee and Skeletons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413.2 The Unknown at Prestwich Street . . . . . . . . . . . . . . . . . . . . . . . . 433.3 Realigning the Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473.4 Exhumation Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493.5 A Lack of Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523.6 Improvisation and Historical Recapitulation . . . . . . . . . . . . . . . . 543.7 The Idea of the Return . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

xi

4 Engineering an Urban Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . 634.1 Perceiving Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 634.2 Talking Apartheid Out of Existence . . . . . . . . . . . . . . . . . . . . . . 654.3 Business as Usual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674.4 A Time to Come . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 704.5 Old and New Global Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . 754.6 Separated by Apartheid; Reconnected by Design . . . . . . . . . . . . . 774.7 Irony of Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 804.8 The Bigger Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

5 Contesting Apartheid Ruins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 875.1 “Zonnebloem Renamed” at Art Basel . . . . . . . . . . . . . . . . . . . . . 875.2 From Hands off to Hands on . . . . . . . . . . . . . . . . . . . . . . . . . . . 895.3 The Ideology of the Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . 905.4 The Legibility of District Six . . . . . . . . . . . . . . . . . . . . . . . . . . . 925.5 Thinking About Fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . 945.6 A Time for District Six . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 955.7 Restitution Gone Rogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 985.8 Unruly Citizens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1015.9 Echoes and Residues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

6 Scripting Utopias and Dystopias . . . . . . . . . . . . . . . . . . . . . . . . . . . 1096.1 Leapfrogging Into the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . 1096.2 Lynedoch and Oude Molen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1106.3 Visions for Renewal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1186.4 Slow Violence and Deep Crisis . . . . . . . . . . . . . . . . . . . . . . . . . 1196.5 A Praxis of the Future . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1236.6 Abstract Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1256.7 Broken City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

7 Reimagining Urban Truth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1337.1 Afterlife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1337.2 Homage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1357.3 Witness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1397.4 Truth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1427.5 Percolate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1457.6 Scar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1487.7 Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

8 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1578.1 Glimpses Beyond History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1578.2 Play of Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

xii Contents

8.3 Horizon of Expectations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

9 Epilogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1659.1 Who Is Doing the Knowing? . . . . . . . . . . . . . . . . . . . . . . . . . . . 1659.2 Frontier Histories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Contents xiii

List of Acronyms and Abbreviations

ACC African Centre for CitiesACO Archaeological Contract OfficeANC African National CongressCCID Central Cape Town Improvement DistrictCCT Creative Cape TownCEO Chief Executive OfficerCMP Conservation Management PlanCoCT City of Cape TownCPUT Cape Peninsula University of TechnologyCRM Cultural Resource ManagementCSRF Cultural Sites and Resources ForumCTP Cape Town PartnershipD6BRT District Six Beneficiary and Redevelopment TrustD6M District Six MuseumD6RG District Six Reference GroupDA Democratic AllianceFIFA Fédération Internationale de Football AssociationGIPCA Gordon Institute of Performing ArtsHIA Heritage Impact AssessmentHOPSAHC Hands Off Prestwich Street Ad Hoc CommitteeHRS Heritage Resources Section of the City of Cape TownMOU Memorandum of UnderstandingNGO Non-governmental OrganizationNHRA National Heritage Resources ActNMC National Monuments CouncilNUSAS National Union of South African StudentsPGWC Provincial Government of the Western CapePOPP Project of Public PastsPPPC Prestwich Place Project CommitteeRESUNACT Research Unit for the Archaeology of Cape TownSAFA South African Football Association

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SAHRA South African Heritage Resources AssociationSFRG Special Focus Reference GroupTRC Truth and Reconciliation CommissionTRUP Two Rivers Urban ParkUCT University of Cape TownUCU Urban Conservation Unit of the City of Cape TownUDF United Democratic FrontUWC University of the Western CapeVOC Dutch East India Company (Verenigde Oostindische Compagnie)WAC World Archaeological CongressWDC World Design Capital

xvi List of Acronyms and Abbreviations

List of Figures

Fig. 1.1 Cape Town and Table Mountain 1727. (Reproduced from Philips1727) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Fig. 1.2 Cape Town in 1827. (Reproduced from Thompson 1827) . . . . . . . . 5Fig. 2.1 Part 1, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20Fig. 2.2 Part 2, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Fig. 2.3 Part 3, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Fig. 2.4 Part 4, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Fig. 2.5 Part 5, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Fig. 2.6 Part 6, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Fig. 2.7 Part 7, Cape Town walk. (Map illustration by Erinn Straughan,

2020) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34Fig. 3.1 Truth Coffee logo, Cape Town. (Photo by Andrea Brennen,

2010) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Fig. 5.1 Witness, a site-specific intervention by Haroon Gunn-Salie, Cape

Town. (Photo by Dirk-Jan Visser, 2012) . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Fig 6.1 The old Drie Gewels Hotel, Lynedoch. (Photo by Dirk-Jan Visser,

2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Fig. 6.2 Clay house, Lynedoch. (Photo by Dirk-Jan Visser, 2014) . . . . . . . . 112Fig. 6.3 Low-cost house, Lynedoch. (Photo by Dirk-Jan Visser, 2014) . . . 113Fig. 6.4 Private garden, Lynedoch. (Photo by Dirk-Jan Visser, 2014) . . . . . 113Fig. 6.5 Communal garden, Lynedoch. (Photo by Dirk-Jan Visser,

2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Fig. 6.6 Nursery, Oude Molen. (Photo by Dirk-Jan Visser, 2014) . . . . . . . . . 114Fig. 6.7 Private house, Oude Molen. (Photo by Dirk-Jan Visser, 2014) . . . 115

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Fig. 6.8 The Gaia Waldorf school’s vegetable garden, Oude Molen. (Photoby Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Fig. 6.9 Overview of the City Desired exhibition rooms, Cape Town.(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Fig. 6.10 The City Desired diversity data set, Cape Town.(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Fig. 7.1 A tourist frame at Harrington Square, District Six.(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Fig. 7.2 A commercial photo shoot at Loader Street, District One.(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Fig. 7.3 Waiting for Rain, performed by Jazzart Dance Theatre,choreographed by Jacqueline Manyaapelo, GIPCA “Land”project, 21 November 2013, Cape Town. (Photo by AshleyWalters, 2013) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Fig. 7.4 The storage area of the Prestwich Ossuary, Cape Town.(Photo by Sara de Gouveia, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Fig. 7.5 The Prestwich Ossuary, Cape Town. (Photo by Dirk-Jan Visser,2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Fig. 7.6 John Goodwin and Adam Windwaai. (Photograph by unknown,courtesy of the Goodwin Collection Photographs, University ofCape Town, Cape Town: BV290/ 39 [I am grateful to NickShepherd for providing this photograph.]) . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Fig. 7.7 Witness, a site-specific exhibition by Haroon Gunn-Salie, GIPCA“Land” project, Cape Town. (Photo by Ashley Walters, 2013) . . . 140

Fig. 7.8 “All who pass,” St. Mark’s Anglican Church, District Six.(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Fig. 7.9 “Reform,” District Six. (Photo by Dirk-Jan Visser, 2014) . . . . . . . . 141Fig. 7.10 Coffee blends at Truth Coffee, Buitenkant Street, District Six

(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Fig. 7.11 Truth Coffee, Buitenkant Street, District Six. (Photo by Dirk-Jan

Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Fig. 7.12 De Waterkant House, Loader Street, District One.

(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Fig. 7.13 Parking lot, Salesian Institute, District One. (Photo by Dirk-Jan

Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Fig. 7.14 Parking lot, Salesian Institute, District One. (Photo by Dirk-Jan

Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Fig. 7.15 Wall on Hospital Street, District One. (Photo by Dirk-Jan Visser,

2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Fig. 7.16 Trees in schoolyard, Prestwich Primary School, District One.

(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Fig. 7.17 Parking garage, The Rockwell, District One. (Photo by Dirk-Jan

Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Fig. 7.18 The remains of Horstley Street, District Six. (Photo by Dirk-Jan

Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

xviii List of Figures

Fig. 7.19 “Residence parking only,”District Six. (Photo by Dirk-Jan Visser,2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Fig. 7.20 A bottle and a pair of shoes, District Six. (Photo by Sara G.F.Gouveia, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Fig. 7.21 “Once a king’s throne,” District Six. (Photo by Dirk-Jan Visser,2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Fig. 7.22 “Opportunity to meet with skyways,” District Six.(Photo by Barry Christianson, 2015) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Fig. 7.23 “A corner to watch drama unfold,” District Six.(Photo by Barry Christianson, 2015) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Fig. 7.24 “The gatherings corner—where worlds collide,” District Six.(Photo by Dirk-Jan Visser, 2014) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

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