Abstract
Using the protests of the Fees Must Fall movement as his starting point, Jay Pather examines the contradictions inherent within the culturally and politically loaded black body of postapartheid South Africa. Pather discusses the works of Brett Murray, Chuma Sopotela, Themba Mbuli, Ntsikelelo “Boyzie” Cekwana, Brett Bailey, and Tebogo Munyai, among others, to examine questions of representation and the myth of the “postracial,” highlighting the uncomfortable position of live art curators that take contemporary South African protest movements as their subject.
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