2014-15 uncovering apartheid digital exhibition
TRANSCRIPT
Uncovering Apartheid
Am I ready to be forgo/
en? Am
I ready to leave this hateful world?
“I wanted to do a yin yang sign because I think that it shows equality and mix which is
important because I wanted to make it be the opposite of apartheid.”
Elizabeth MacM
illan
A line in my poem says: ‘painCng our kitchen red’ and in my visual, my background is broken black and white Cle with red peeking out behind it. My photos Ce in with my poem because I displayed photos of trauma and that Ced into my idea.
painCng our kitchen red her black eyes no longer twinkled she no longer smelled of flowers
Pa/y Delmedico
dark. light. restricted. free. how can one be bare while the other is full. with no space.
“I showed the difference by separaCng the field and the woods then around the hope I showed them merged together. I wanted to show the difference I described in poem and captured in my photo, but I also wanted to show how during apartheid people had hope
even though the differences.”
Lillie Ammons
Alone in the city No one with me I was different no one around me
“I represented the segrega=on by having the one orange sphere surrounded by blue spheres to show to segrega=on between the blacks and whites and how the blacks would be discriminated so oBen.”
Dylan Pham
Katrina Mangs
The sweat of a man working for nothing. Scars from old burns that have been forgo/en.
“The difference is the color of the skin, but we are all the same on the inside. And by spla/ering the black paint on a white piece of paper instead of spla/ering white paint on a black piece of paper I wanted to show in a symbolic way of how the white men used to think of the black men as mistakes and that hey we're not meant to be how they weren't educated and dirty creatures. I cut my pictures up into broken glass shards to represent our bong in humanity being broken into a thousand shards falling into a deep hole, fallen from the wounded heart of black man.”
Yelling screaming crying day in day out same pain it is an endless cycle the ground shaking from glass breaking on the ground i can not help in any way it is like i am frozen forced to watch this happen
Michael Lorenz
Why it wonders why must people suffer because the are of a different pigment. What difference does it make? Is it worth all of the death sadness despair pain and bloodshed.
Griffin Misshula
The bread controls the roast beef. I press the sandwich fla/er, No longer is it appeCzing. The bread does not prevail, It has the roast beef in its firm grasp. But the inevitable happens.
Melissa Schroder
“The central meaning of my visual product is oppression. I display this by having a huge piece of bread and two smaller pieces of bread in the middle.”
The ebony and pale, sliced with strict corners. Black then white black then white lines, Only touching their color through corners. Sides sit in silence, stained wood sCll like walls. UnCl the ghostly knights charge.
Reece Brind’Amour
“My free verse poem describes a chess match. I showed how the white races held the power over others. It shows how dominaCon took place during apartheid.”
The forest is dark. A thick canopy blocks the sun from peeking through. It is lost. But not disregarded. Something roams the woods. Searching.
The trees will watch you. Hungrily. Pleadingly. The great thwack of an axe, revol=ng.
Emily Holmes
“The central meaning of my visual product is misery. This misery is one that results from both separaCon and segregaCon. I created meaning by using a contrasCng and mulCcolored color scheme and by using unambiguous representaCon of the subject ma/er. I used my color scheme to show pain in most areas by using a blood-‐like red and only used green, indicaCng a healthy society or relaConship, in moderaCon.”
Ivan Petropoulos
…I could savor once crisp and cold and clear water and I could adore Our differences.
Ma/hew Ng
“My goal in creaCng my product was to show that, although terrible things were happening, normal life went on for other people. I showcased that with
headlines and ads that were not apartheid related.”
Indifference tries to trip me But I walk past it I pick up my pace The spilled blood fuels me I raise my fist high Today I am strong Today I keep on figh=ng
John Russo “To create the meaning of segregaCon I found a ro/ed brown leaf and placed it on one side of the sidewalk and then I took a bright green leaf that was very lively and placed it on the other side of the line in the sidewalk.”
two races separated with hate and laws keeping them apart protesters gathered in the streets giving calls of jus=ce geVng voices heard
Alex Rangnow
one day peace is going to occur in this world where nobody has to use violence for freedom or one race has control of many others
Harrison Kielb
Black. Brown. Yellow. White. Combined, they are beau=ful. Like a Picture, A Picture of the world. But even so, ABer: Giving. Sharing. Teaching. Some refuse to accept the Picture. They are not Colours. They are Erasers. Slowly, ea=ng away; at the once beau=ful Picture. Crea=ng a muddy canvas.
…And when the Erasing is done, and the Colours are dead, the Erasers realize what they have become. And see the Picture, Erased, in blood red.
Mehtab Singh
Nicole Schroder
“The central meaning of my visual product is freedom. I again used the tree to symbolize, ‘inches bearing me close to freedom.’ […]. On my poster you can see that the posiCon of the tree shows that the green tree is not the enCre tree. This creates meaning because it shows that the tree could have extended further, and there was sCll more to see, higher to go.”
I grabbed a tree branch that slammed hard into my hand. Pulling my burning muscles up higher and higher I started climbing I wanted to see more Every inch bearing me closer to more freedom I kept climbing Un=l all at once, I was struck miles down.
“The brown spots sca/ered along the edges are the homelands of the black South Africans and they represent the separaCon that was created during
apartheid, despite being one country.”
tears well up in my eyes and they fall to the grimy floor the unpalatable truth of my imprisonment is yet to be discovered
Aastha Dubal
Darkness darkness is approaching there is no light peeking in from window cracks It is ready to pounce on you like a cat a/acking a mouse Approaching in all direcCons from the leZ right above behind Now you are hidden beneath the shadows It will take you away from the exhilaraCon delight humor of life It seems as if it is a never ending depression conCnuing for years and years That foul taste in your mouth is the fear
“[I] made some of [my poem] lines long to make the reader lose their breath like the black South Africans were running out of
breath.”
Isabel McGowan
When I want to get away from it all I go to my happy place The place where I am free I can run and play with no worries I smell everything beauCful in nature The truth is I can never have this. Dreams are dreams.
Claire Steffe
ns
“This poem represents how people have dreams but they know they are not ever going to be reality. She says, “I truly wish my dreams became reality.” She says this because she has all these ideas but when she sees all of the figh=ng she knows they were just dreams.”
“I cut the photo that shows injus=ce in half and put the side with the three boys having a good =me on one side of the wall, while the one boy is huddled on the other side to maximize the impact the photo shows. Also, the one side is much larger and is meant to symbolize the larger African popula=on of South Africa, while the other side represents the white minori=es of South Africa.”
Crumbling roads imita=ng the unjust hardship of most, and when the oppressed speak up in opposi=on to these atroci=es, the oppressors retaliate with guns blazing. In the name of a state of emergency, in absolute control quenching the protest.
Thomas Macaulay
“My visual is a grave for apartheid. But unlike most graves this one is covered with cobwebs and blood that should not have been shed. A photo torn into two shows the different spliVng sides.”
people, of the same earth, like moses parCng red sea. they don't share anything, only air, against their own will. will things ever be the same? wind howling through the skies, replicas of cries from distressed souls. confidence and sympathy replaced by fear and hatred, will things ever be the same? Shayleigh Larsen
Books co-‐exist in the hot rays of a solar orb, one is favorable than the other. one loved so darling, so close, another sits out just to boast. Polished maybe everyday just to be set out and put away.
Jackson Hughens
shoved aside, without a use they are inferior, we say
lacking any meaning, treated poorly we keep them distant from us
for they are a hazard and a toxin
to us, the superiors this is apartheid this is segrega=on
Daniel Jiroutek
As we get closer to the front of the line the smell of fear and tear gas fills the air with sorrow. We hear the guards yell but we can't understand them, voices get louder as we get closer.
The papers start to come out, we are split into two lines. As we get closer there was a enormous yellow sign saying:
“RESTRICTED AREA FOR NON-‐WHITE PERSONNEL, MUST HAVE PASS LAW DOCUMENTS WITH YOU AT ALL TIMES.”
“The meaning of my free verse poem was to show how pass laws took over people’s lives back then.”
Hannah Massey
“The meaning of my poem was about the protest during the apartheid and how the police would some=mes use force to stop the protesters. I wanted to write the poem from a person standing as a protester’s perspec=ve.”
The yelling was so loud.
Then “BOOM” silence.
A gunshot and silence.
I stood there.
I watched.
Jessica Emanuel
I sca/ered the pictures and Clted them a bit in order to bring out how messy and careless Apartheid was. My poetry is wri/en in sharpie in order for it to be seen, and is in a messy fashion for the same reason the pictures are. Over top of everything are pastelled words such as ‘violence’ and ‘why.’ These words are in a variety of different colors and look like graffiC, which brings out the confusion and despair. In the center of the poster in pastel is South Africa’s flag, with arrows of every different color poinCng to it. This represents that to ma/er what color you are, we need to
unite, bring peace, and put violence to rest.
Dylan Peverall
“The central meaning of my visual product is how
you are bound by apartheid. To create this meaning I made the
biggest piece a picture of shackles. Also I put my pictures up there with chains around them
showing that they were being bound by apartheid. “
Sadness in the air Violence in the streets Death and destrucCon all around Laws that do not allow people to depart without passes Families gedng detached from one another Rubble where houses used to be The sound of gunshots and explosives everywhere Only 11 bathrooms for 7000 people Racial segregaCon everywhere you can see
Josh Deming
Devin Clark
We were protesCng protesCng for our freedom against the passes without having our passes we were arrested together my friend and I were protesCng in the town square the square was crowded with people my friend and I were holding a signs, like many his sign said FREE SOUTH AFRICA and my sign said MANDELA FOR FREEDOM others had signs but I could not read them People were chanCng, yelling, shouCng
Crackling. Air staCc with tension. Glares fighCng their way through the endless chains. Chains pulled by a puppetmaster. Pale hands pulling strings Overused wooden handles clu/ering together Splinters worming their way into white skin
“Like my poem, the Theatre of Injus=ce mainly demonstrates control and
injus=ce by taking my poem’s analogy of puppets and
building on it. It replicates an old, poorly taken care of puppet theatre. I used watered paint and old
cloth to compare it to a homeland and how they were not taken care of. The puppets are
painted the same as the background to show how they
weren’t considered real people, and were made faceless.”
Paige Stevenson