Fractured compounds: photographing post-apartheid compounds and hostels

Abstract

Hostels and compounds have held a compelling fascination for South African photographers over many decades, from the colonial to the post-apartheid era. The photographic representations of these spartan barracks have permeated the narrative of South Africa as the photographers showed the lives, recreations and living conditions, the institutionalised, alienating nature of the environment, its dehumanising conditions, and the cultural and geographical schizophrenia experienced by the migrant labourer navigating the urban/rural divide. In the last two decades, the monolithic structure of the hostel compound has become fractured, as aspects of this environment have altered due to changes in the political, social and economic landscape of South Africa. But it is not just the hostel that has changed, post-apartheid: the photographic representations have transformed too. These adjustments include: a shift from black and white to colour; an increased reluctance to present the hostel dweller as victim; decreased prominence of exposé; a more optimistic and less violent image of the hostels; essays which highlight the permanence of the hostel dweller; a trend which puts less emphasis on the hostel dweller and more on his or her environment; and new narratives around gender, sexuality and individuality have emerged. As a result of the use of colour, the display of these works in commercial art galleries and the decline of the human figure in the picture, the works are arguably less political. It is the complex nature of these shifts in post-apartheid hostel imagery that will be investigated in this paper, with specific reference to the work of Peter Magubane, T.J. Lemon, Sabelo Mlangeni, Angela Buckland, Jodi Bieber, David Goldblatt, Zwelethu Mthethwa and Sam Nhlengethwa.

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