Abstract
South African history is such that Blackness/Indigeneity were excluded from institutions of knowledge production. Contemporarily, the traditional University is defined as an institution predicated on the abjection of Blackness. This reality neither predetermined the positions and responses, nor presupposed complete/successful erasure of Blackness/Indigeneity owing to exclusion. I contend and detail how theorising, thinking about and through the Fact of Blackness, continue(d)—using the artistic works of Mhlongo, Makeba, Mbulu, and contemporarily, Leomile as examples. Analysing the music of the abovementioned artists, a move rooted in intersectional feminist approaches, will reveal modes of theorising that characterised the artistic expressions that define(d) the country. Theory generation, so construed, necessitates a judicious philosophical consideration if we are to resurrect the Black Archive. I conclude with an introspective question aimed at inspiring similar projects in other traditions that constitute the Black Archive, i.e. African languages and literature, theatre, art practice and theory.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
