Public Face of African Scholarship

PHANSI MUSEUM in association with the Public Face of African Scholarship (Campbell Collections UKZN)

presents

In his final lecture in this semester’s lecture series ‘The Public Face of African Scholarship’ Professor Jeff Guy continues the theme of visuality in African studies by demonstrating the importance of seeing photographs as history, not mere illustrations of history. He takes his examples from some of the remarkable photographs of African leaders in colonial Natal, showing how some were able to gain control of their image and use it in their cause, and others had their image torn from them. However, by examining the changing technologies of photography within an historical context, he is able to argue that ultimately, it was the photographic image which was able to assert itself in the anti-colonial cause.

LECTURE 4 in the The Public Face of African Scholarship lecture series organised by Campbell Collections

A paper to be given to the African History Seminar,

Venue: History Department, McIntyre Library, Howard College, University of KwaZulu Natal

LECTURE 2 in the series by Jeff Guy, The Public Face of African Scholarship, organised by Campbell Collections

Venue: Brenthurst Library: Johannesburg

LECTURE 1 in the The Public Face of African Scholarship lecture series organised by Campbell Collections

The lecture builds on photographic material from our own province, KwaZulu-Natal.

VENUE: Campbell Collections

PHYSICAL ADDRESS: 220 Marriott Road

RSVP: Mwelela Cele, (031) 260 1716, celem1@ukzn.ac.za

LECTURE 3 in the The Public Face of African Scholarship lecture series organised by Campbell Collections

On Wednesday 24 October 2007, at 18:00 the Campbell Collections Lecture series "The Public Face of African Scholarship" will continue to explore the theme of visuality and African studies. In an illustrated lecture about the work they’ve been doing on the digital restoration of rock painting, Jeff Guy and Justine Wintjes consider the role of computer technology and the image, and the application of digital technology to the preservation of what some believe to be southern Africa's greatest, and most vulnerable, contribution to the world's artistic heritage.