Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll

The collection of A.M. Duggan-Cronin photographs at the University of Cape Town has experienced mixed fortunes since it was acquired some seventy years ago, being displayed proudly at one moment and stowed away in embarrassment at the next, only to be exhibited again for some new purpose. This paper...

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Main Author: Michael Godby
Format: Article
Language:English
Published: University of the Western Cape, Centre for Humanities Research and the History Department 2010-11-01
Series:Kronos
Online Access:http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902010000100003
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spelling doaj-1ec7d72b07824b8794717cdfe58064c82020-11-24T23:11:34ZengUniversity of the Western Cape, Centre for Humanities Research and the History DepartmentKronos0259-01902010-11-013615483Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyllMichael GodbyThe collection of A.M. Duggan-Cronin photographs at the University of Cape Town has experienced mixed fortunes since it was acquired some seventy years ago, being displayed proudly at one moment and stowed away in embarrassment at the next, only to be exhibited again for some new purpose. This paper looks at the original context of Duggan-Cronin's The Bantu Tribes of South Africa in political, anthropological and aesthetic terms; and it examines the first volume on The Bavenda (1928) in some detail. The paper argues that Duggan-Cronin may be shown to have constructed his photographs of African subjects in certain ways apparently to create a specific image of Africa that had obvious political connotations. This primitivising image made a forceful contribution to the 'Native Question', which was the most important single issue of South African politics of the mid-twentieth century. However, given the openness of visual communication, on the one hand, and change in political circumstances, on the other, the Duggan-Cronin photographs show that, over time, the same image can serve apparently quite contradictory purposes.http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902010000100003
collection DOAJ
language English
format Article
sources DOAJ
author Michael Godby
spellingShingle Michael Godby
Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll
Kronos
author_facet Michael Godby
author_sort Michael Godby
title Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll
title_short Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll
title_full Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll
title_fullStr Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll
title_full_unstemmed Alfred Martin Duggan-Cronin's photographs for the Bantu tribes of South Africa (1928-1954): the construction of an ambiguous idyll
title_sort alfred martin duggan-cronin's photographs for the bantu tribes of south africa (1928-1954): the construction of an ambiguous idyll
publisher University of the Western Cape, Centre for Humanities Research and the History Department
series Kronos
issn 0259-0190
publishDate 2010-11-01
description The collection of A.M. Duggan-Cronin photographs at the University of Cape Town has experienced mixed fortunes since it was acquired some seventy years ago, being displayed proudly at one moment and stowed away in embarrassment at the next, only to be exhibited again for some new purpose. This paper looks at the original context of Duggan-Cronin's The Bantu Tribes of South Africa in political, anthropological and aesthetic terms; and it examines the first volume on The Bavenda (1928) in some detail. The paper argues that Duggan-Cronin may be shown to have constructed his photographs of African subjects in certain ways apparently to create a specific image of Africa that had obvious political connotations. This primitivising image made a forceful contribution to the 'Native Question', which was the most important single issue of South African politics of the mid-twentieth century. However, given the openness of visual communication, on the one hand, and change in political circumstances, on the other, the Duggan-Cronin photographs show that, over time, the same image can serve apparently quite contradictory purposes.
url http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902010000100003
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