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Contents
editorial
SIYAMTHANDA-MUHLE MUYANGA
Ngiyasaba makusa, ngoba kumele ngivuke (I fear the morning, because I must wake up)
MNQOBI NGUBANE, TSOGO KUPA & EUGENE SKEEF
Mathonga Elizwe (Spirits of the Land)
ITUMELENG MAHABANE
Towards an ontology of [decolonised] being.
LAVITUDE RAMPHOMANE
The Elephant in the Room
SIMON NKULULEKO SPOOR
Thinking about Violence and GBV in South Africa
DHIRU SONI
The Silent Crisis of South African Libraries
Theme Decay Without Mourning
WAMUWI MBAO
A Circumstantial Account of The State of Decay
LIZABÉ LAMBRECHTS
To Decay - on custodianship, care, and the ethics of returning.
KATI LINDSTRÖM
Antarctica: Continent of the Future
LIZE-MARIÉ HANSEN VAN DER WATT
Imperialism, South Africa’s Antarctic Heritage and Decay, 1910-1961
NICOLA DEANE
Endling by Dominique Edwards & Nicola Deane
LEIF PETERSEN
Decay: transcript of a documentary film about bossiedokters
EVE WONG
Missing People, Present Decay: Fabulous Matter, or the Decomposition of Colonial Ontology
PAKAMA S. NCUME
Digitisation and Decay: An Archivist’s Ethics of Care for Reel-to-Reel Tape Preservation
SIMPHIWE MLAMBO
Flowers on Your Grave - Postcards to the occupants of the subsurface, below the monument line
NELISIWE XABA & BRENTON MAART
In Conversation about vRot: The politics and poetry of decay
NJABULO CHIPANGURA
Relational care in reimaging meanings of African Heritage Objects at Manchester Museum
HANNA B. HÖLLING
What of Conservation? After Permanence: On Decay as a Critical Ethics
SIGRID ADORF & ANDREA SICK
Restaging, De-closing, Versioning: Unfolding Temporalities of “the Archive” (Lecture Script)
TSHOLOFELO MOCHE
Home Truths II: What Is in A Name
MICHAEL SCHOFIELD
Decay, Creativity and Care in Stellenbosch
FLORENCIA LEVY
Audiencia de espectros
NEITH MOORE
Molecular Fabulations: From Ashes to Algorithms
MARISA MARÉ
Beyond Solutionism: Decay as Relational Practice in Bioplastic Art
MAIJA HIRVANEN
Mycoscores / Choreospores
HYUNGGYU KIM
Afterimages of Decay: Rebuilding the Democratic Process of Designing through Digital Ruins
ORLANDO VIEIRA FRANCISCO
Flags of Other Winds: Decay, Resistance, and Infrastructural Entanglements
ALEXANDRA DODD
hypha: A response to the first screening of Aryan Kaganof’s found footage film during the Decay Without Mourning conference
CARA STACEY
Hypha
GLICÉRIA TUPINAMBÁ
Bordunas
IRINEU NJE’A TERENA
Ancestral Ceramic Technology
galleri
LIZABÉ LAMBRECHTS & NICOLA DEANE
Deaccessioned
IO MAKANDAL
Watermelon
CECILIA VICUÑA
'Your Rage is Your Gold'
THOKOZANI MTHIYANE
Fragments (Memory of others)
JOAN OTIENO
Art as the Social Impact of Repurposing Waste Materials
DAVID EDWARDS
Urban Decay in Johannesburg and the Reef: The world as Evidence
BERKVELDT
Necrosonic Landscapes – Exploring the Transitional Realm Between Life and Death
DICK HIGGINS
Symphony No.357 from The Thousand Symphonies 1968
FEDERICO FEDERICI
Reactivating the Score: Unmastered Bones
STEVEN J. FOWLER & FEDERICO FEDERICI
Some notes on bones as writing tools and the Unmastering technique of Federico Federici
ANDREA ROLFES
my mother’s eyes
NICOLA DEANE
Spectres of Decay: The archive breathing at its horizon by Jurie Senekal & Nicola Deane
ADLI YACUBI
The Price of Silence: Gaza, Venice, and the Fear Inside Cultural Institutions
TANIA HABERLAND
the torrid zone
NEILL SOLOMON
33rpm
MEGHAN HO-TONG, MATTY ROODT & LUCIENNE BESTALL
Chorus
FRANCOIS ROBERT
Stop the Violence
TAKAHIRO SAWAMURA
Liberating Letters and Words from Lines and Stanzas
DICK VERDULT
CUANDO BUENA PATADA ES MAS QUE BIENVENIDA
JAMES USILL
Disruption
LOUISE POTGIETER
remarking life
DAVID CRITCHLEY
Trialogue
LUIS HERNANDEZ
Three Figures and Two Landscapes
borborygmus
ANDILE KHUMALO
The Invisible Life of Sound: Nachklang, Decay and Ancestral Temporality
DIMITRI VOUDOURIS
“Sound an ecological engagement”
CARA STACEY, ADAM MIRZA & AKIVA ZAMCHECK
“Where’s Wanda?”
LARS GOTRICH
Divinity From Dust: The Healing Power Of 'The Disintegration Loops'
THE CARETAKER
Decay, Everywhere At The End of Time
PETR FERENC, KRISTUPAS GIKAS & MARTIN JANIČEK
Broken Music Feedback Concert
THOMAS MICHIE
Claudia Molitor's Decay: An evolving and reflective meditation on life's work-in-progress
CY CANTEREL
Living with Ghost Machines - Generative AI as hauntological determinism
MICHAEL SCHOFIELD
Aura, Decay and the Simulation of Ghosts
STEVEN CRAIG HICKMAN
What is Posthuman Porn?
PIOTR BOCKOWSKI
Artaud’s media of corporeal decomposition
ARYAN KAGANOF
Endling: decaymentation as poetics
frictions
SONGEZIWE MAHLANGU
Echoes of Blackness and other Underground Bound Poems for God’s Children on A Cold Night Tenant’s Meeting before the Revolution (Fire Story dub)
LESEGO RAMPOLOKENG
= DECAY
PIETER MADIBUSENG ODENDAAL
a beautiful amnesia
DONALD RICHIE
The Zen Library - A Sermon
JURGEN MEEKEL
Lost in Dictation
RINA GARCIA CHUA
Ataulfo
THOMAS BERNHARD
Fäulnis
ABIGAIL GEORGE
Two Decay Poems
TAKAHIRO SAWAMURA
Asemic Diaries
VONANI BILA
Masonto (an excerpt from the epic LAMENT FOR MZALA)
TUANA
Hiç Anlaşilamamis
SERAME ICEBOUND MAKHELE
"Icebound Keeps Poetry Alive"
MPHUTHUMI NTABENI
The Unmaking of the Colonial Archive and the Aesthetics of Evasion: Mudimbe, Coetzee, and the Problem of Writing Africa from the European Archive
SARAH MANGUSO
The Two Kinds of Decay (excerpts)
claque
DINI SANDISO BAZANA
Receiving Lesego Rampolokeng's When the Fires Go Down, the Reading Begins: Not a review. A reception. A sitting with a book that became dirty because it stayed with me.
MPHUTHUMI NTABENI
The Empire’s Cabinet of Curiosities - A review of Fifteen Colonial Thefts: A Guide to Looted African Heritage in Museums, Edited by Sela K. Adjei and Yann LeGall
STEVEN CRAIG HICKMAN
Chthonic Thresholds: Andrew C. Wenaus and the Decay of Electronic Literature
ARYAN KAGANOF
The Entropic Real: Louis Armand's Entropology through the lens of decay studies
MPHUTLANE WA BOFELO
Neo Lekgotla Langa Ramoupi’s Robben Island: Songs of Struggle – Izingoma Zomzamalazo
SITHEMBELE ISAAC XHEGWANA
Disgrace and the Politics of Shame: Sexual Violence, Colonial Legacies, and Post-Apartheid Identity in J.M. Coetzee’s Disgrace
SIPHOKAZI JONAS
Stacy Hardy’s An Archaeology of Holes
MBE MBHELE
Notes on the Return to the Rural
SEAN O’TOOLE
Gnossienne
MURIEL TINEL-TEMPLE
Jonas Mekas, Shiver of Memory, by Peter Delpeut.
NIDA YOUNIS
A Review of Antemanha's poem Berlin Fragmente
LETHOKUHLE MSIMANG
Fatherland - Theatre Production
FAT CITY VINYL & MUSIC BLOG
Keith Hudson - Flesh Of My Skin (VP, 2021)
MKHULU MBAZO
Under good influence: a warning on the dangers of idolatry and the worship of money.
ekaya
ZANDILE JOY DYWATI
“Black daughters and father(s): love as a praxis embedded in daughters' relationality with Black father(s)”
SOPHIA OLIVIA SANAN
De-centring White Histori(city)
KOPANO RATELE
How You Define African Psychology Determines What You Focus On: A Short Comparison of Five Definitions of African Psychology by African Psychologists
MTHUTHUZELI ZIMBA
The Mourning Project
ANDRÉ CLEMENTS
Urban Decay: A Post-Nihilist Aesthetic
JURGEN MEEKEL
Palinopsia
MARTIJN PANTLIN
The Decay Machine
MARKO PHIRI
Zimbabwe’s artistic truth decay
off the record
Dr SAZI DLAMINI
In memory of Abbey Duze Mahlobo and The Malopoets
LIZABÉ LAMBRECHTS
The Woodstock Sound System and South African sound reinforcement
LAURENCE HAMBURGER
The Lost Films of Abdullah Ibrahim
BLACK PLASTIC POSSE (BPP)
The Black Plastic Project (bpp)
FANIE JASON
Decayed Vinyl and the Real Value of Things
RANDALL ROBERTS
Meet the guardians of the world’s earliest musical recordings
WARRICK SWINNEY
Cow, Bears and Surfers: A few personal intersections with Chris Cutler.
HYBRYDS MUSIC
Erasure: a virulent form of decay
BRENDAN FRANZ & THE OTHER VINYL RECORD COLLECTORS CLUB
Our Grading System Sucks! Agree?
TEAGUE SCHNEITER
Ethical Presentation of Indigenous Media in the Age of Open Video: Cultivating Collaboration, Sovereignty and Sustainability
SAM MATHE
Remembering Michael Tshehla Phahlane
ARYAN KAGANOF
The Last Time I saw Bra Fiks
SOPHIE GRIMES
Beautiful Decay: The Poetry of Lucia Perillo
feedback
ALLAN BOESAK
6 September 2025
TSEPO YA RONA WA MAMATU
1 June 2022
CHRISTIAAN BOONZAAIER
An Interview in Die Burger 13 December 2021
OMOSEYE BOLAJI
My Apologies 6 December 2021
DIMAKATSO SEDITE
1 December 2021
PETER DELPEUT
The Forgotten Evil herri version 1 analysis and proposals 6 December 2020
FACEBOOK FEEDBACK
Facebook
the selektah
TED RIEDERER
Transfigurations
DUNKELHEIT PRODUKTIONEN
Index of Mechanical Signal Decay
PhD
ALÉSHA BREDELL
Visual Enquiries and Idiosyncratic Selections: A Close Reading of Dust
ALÉSHA BREDELL
A Close Reading of Dust as a Rhizomatic Phenomenon
ALÉSHA BREDELL
Dust as Abject
SEZGIN BOYNIK
Dust and the Archive
IGSHAAN ADAMS
When Dust Settles: The Body's Archive
STEVEN CRAIG HICKMAN
The Truth of Dust
DAVID MAISEL
Library of Dust
GLITCHMAN
SIGHTING THE DUST
hotlynx
hotlynx
hot hot
shopping
SHOPPING
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contributors
CONTRIBUTORS
From A to Z
the back page
REZA NEGARESTANI
Undercover Softness: An Introduction to the Architecture and Politics of Decay
WALTER MIGNOLO
HERITAGE, QATAR, ACСESS: Enacting the Archives, Decentring the Muses (on the decolonization of Western museums)
WOLFGANG ERNST
The Archive as Metaphor: From Archival Space to Archival Time
JULIE RESHE & ALENKA ZUPANCIČ
Human Animal, Positive Psychology, and Trauma: A Conversation
STEPHEN SCRIVENER
The art object does not embody a form of knowledge
SIMON TAYLOR
Cinema Signifies a Change in the Fundamental Structure of Reality
JEFFREY BABCOCK
The Alexandria of Absence
ASUBHA
Some Imaginary Conversations About Decay Without Mourning Between the Dead, the Living and the Living Dead
MICHAEL E. ZELLER
New Studies of Rare K+ Decays
© 2026
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    #13
  • Theme Decay Without Mourning

LEIF PETERSEN

Decay: transcript of a documentary film about bossiedokters

[1]information about the film is here.

Decay is too slow for the eye to see or the mind to process. The circumstances that precede decay are often invisible to our senses. We just don’t see it coming. We don’t see it happening. Or maybe we choose to ignore the signs.

This story starts back in 2010. I was on a field trip with my team in the township of Seawinds in Cape Town. While going about our work, Neville van Schalkwyk approached us with curiosity about what we’d been doing in his neighborhood. His self-assured nature and his wisdom set him apart from all the other people that we’d met that day.

Neville van Schalkwyk – bossiedokter

We cannot stop the trend of time, you know? What must be has got to be. We need to go back to creation, then there’s a solution, you know? The only way to get out of this mentality is to go back to creation, you know? Deal with herbs, you know, go back to nature, mentally. You need to… I don’t work for another man. If I’m hungry today, and I go to the mountain, I go pick my herbs, and then I go work, then I can eat them.

Leif – Decay

When I decided to take part in the Decay Without Mourning project, it was clear where I took my inspiration from. Neville introduced me to his community. And that’s where I met Michelle. She also became part of this story.

After my initial meeting with Neville, I learned he was a Bossiedokter, or bush doctor. The indigenous people of South Africa, the Khoisan[2]This is a highly contested term, see Patric Mellet: Leonard Schultze and the term “Khoisan”, from whom Neville and the Bossiedokters are descended, have been gathering herbs for thousands of years. Neville picks these plants for medicinal purposes. The culture of the Bossiedokters evolved for a reason. The Western Cape’s diversity is vast and staggering. There are around 9,000 plant species. 70% of these cannot be found anywhere else in the world. To give you some perspective, the Table Mountain National Park alone has more plant species per square kilometre than the Amazon, and more than the whole of the United Kingdom, despite being 4,000 times smaller. Neville carries with him a culture and tradition of gathering and healing for his local community. This healing comes at an affordable price for the poor. It felt to me that Neville was in harmony and at one with nature and his surroundings. That was in direct contrast to the chaotic, anarchic nature of Sea Wings in the Cape Flats, the township where we met Neville and where he lived. But of course, there’s always another side to a story.

I wanted to find out more about Neville’s journey and about how he became a Bossie doctor. Neville’s path to his vocation was not an easy one. He taught me that some stories start with chaos and decay and grow into something more positive. It felt like this entropy was a necessary counterpart for his personal development.

Neville – bossiedokter

I’m Neville Van Schalkwyk. I’m a Kaapse Bossiedokter, Cape Bush doctor. Before I became a Rastafarian, I was drinking, smoking, doing things that I shouldn’t do, swearing, fighting. When I became a Rastafarian, I became humble. I left everything behind. It was a total change for me. Because when I opened my eyes I was staying in a bush under sails, sleeping in cars, among my brethren, the Rastafarian brethren. So that is where I come from.

It’s not an easy path. There’s a lot of rocks in the way. But you are humble. You are looking up to people instead of looking down. You do not look at the colour or the race or the creed. You just look at the person as we are, who we are. We are basically energies. We are not the person that you see. And that connectivity I define. I don’t look at people, I feel the energies.

Leif – Decay

In his youth, Neville chose a path. I realised this path was born from hardship. His enlightenment grew out of decay.

Michelle – Bossiedokter

My name is Michelle and I’m a herbalist. I’m a Bossie doctor. My husband, he’s a Bossi doctor, so sometimes he gets a job, then I have to follow in. At first, I didn’t know this stuff. It didn’t take me long to remember it and to keep it in my head. For me, it’s like a job. And sometimes I’m so glad to go, to see a lot of people. I sit, the customers come, say not a lot. Sometimes they come to now, to half an hour or an hour’s time. And then for that half an hour I can sit and relax. I take my chair also with me. It’s good to talk about it, because most of the people there, women, then they see my husband there and they don’t want to talk. They don’t want to come to him. Then they wait for me to come. They wait for me. And when I’m there, they’ll tell me, you know, I was here how week you didn’t come. I’ve been waiting for you. So I said, why? You must talk to him also. We the doctors, you must talk to us. Even though we’re a woman or a man, you must talk to us. For me to have this as a job full time, I don’t mind. But I tell them also, if you buy this herbs that you need. I always pray on what I do. Those hands is making it. I ask the Lord to bless those hands, making those herbs for you. And you must believe that it will happen for you. Even if it’s not happening, there’s a reason for that.

Leif – Decay

Like Neville, Michelle’s journey had many challenges. But nature provided an income and a genuine contentment. A purpose to life. So it all looks fine and dandy, right? Remember, you rarely see the decay while it’s happening. Slow and subtle. And if you’re not looking for it, you won’t find it. But that’s why we’re here.

Leif – Decay

Neville previously spoke about how his chosen path was not an easy one. That is an understatement. When we talked to his community, we were told of harassment, intimidation, violence and imprisonment. The laws that were designed to protect the wildlife have made it impossible to carry on his work without breaking a law at every step of the process.

Joseph Johnson – Bossiedokter

The elder said, Joseph, hide yourself. I hid himself under his paper bush, the bush that grows like a blanket, and Anna used it to hide himself. Where Anna was hiding, I could hear ADT talking to Nature Conservation. He asked Nature Conservation, do you know about the rastas in the mountain? Yeah, just keep a watch out for them, because they were watching us. I had to hide my bags and just go walking the hiking trails like everybody else.

When I look at all this, it makes me think, where do you fit in Rasta? We did hide our bags away to look like everybody else, but it didn’t work. And all other people on the mountain look like, at us, and I don’t know what they see. But I think they are afraid. How are we and them gonna work this out? I need to look at creation being destroyed and I know not being free when everybody else is free, and I know that… This will only lead to destruction if there’s no solution. We need restoration because the mountains belong to all of us.

Rasta, you’re not free because of who you are and the way you look.

Andrew Benji Overmeyer – Bossiedokter

People was already using herbs from that time and now in this time the people is this. We are here to make them used to it again, like go back to your roots, like something like that. And at the end of the day it works for us as Rastafarians. We can make a living, we can eat every day, every day we will have a bread, work with the herbs. So we hope and pray for the herbs to, for we to get the permits for the herbs, you see. Just praying for Rastaman to get legal in the mountains as our foreparents like the Khoisans that was go in the mountain and harvest their traditional herbs, traditional healings.

Judah – Bossiedokter

I’m a Rastafarian. I’m very close to nature because that is part of our life, the way we live. We are very much about nature, you know, plants, animals, whatever grace and interval.

We as Rastaman, we are the reincarnation of the Khoisan. We are the people that realise our roots and our culture because as the Western civilisation came, they just brought in buildings and work, but they forgot their roots and their culture and even lost valuable things that is valuable to us, even as an inheritance. And Africa has the most blessed land, it is the most blessed creation place. So we as creation people, we see it as our life, we see it as our duty, we see it as upliftment to the community and bringing a smile back to the community and even bringing joy and even love to community’s hearts. So togetherness is happiness and happiness is unity. So it is more precious than money, more than idol, more than anything else, you see. So we thank the Creator for that.

Neville – bossiedokter

It’s widespread. It’s not only in the West, based in the Western Cape. It’s Northern Cape, Eastern Cape. It’s why I mention the Rastafarians because we’ve been used, and I call it prophecy. We’ve been used by the Creator to bring back something which has been lost. Through technology, through time.

Leif – Decay

The Bossiedokters feel that their purpose in life is as custodians or guardians of nature, and to utilize the inherent bounty for healing. They understand the logic of conservation. But can we wrap our heads around the preservation of their historic culture? It felt to me that the real enemy, the real decay, was being ignored. The elephant in the room wasn’t the indigenous people or the Bossie doctors. They had only been repeatedly performing the same rituals for centuries.

Decay is slow and sometimes unrecognisable in its form. Sometimes it manifests as order amongst chaos, or method within madness. These bush doctors are easy to legislate against, but perhaps the real decay is too uncomfortable to face. Have we chosen to ignore the signs?

Cape Town is growing at an alarming rate. Ever since Jan van Riebeeck arrived in Table Bay in 1652, the landscape has transformed at an increasing rate, and it’s picking up speed. Colonisation, immigration, the discovery of gold, silver, diamonds, minerals have given some economic prosperity. Industrialisation, intensive farming, slavery, apartheid, along with employment opportunities have all contributed to this growth. By the time democracy arrived in 1994, the population had grown from a few hundred people to 2.3 million. Today, the population stands at over 5 million. By 2050, the population is estimated to be around 7 million people. This will have a huge and inevitable impact on the diversity and proportion of nature in Cape Town. Of course, as the urbanisation spreads, the needs of the population increase. And so, the land grab continues. Farmland and dwellings creep up the mountains until the gradient wins. 300 hectares a year of residential estates, gated developments for older and longer living communities, shacks stacked up nose to nose for working migrants, golf courses for the wealthy, industry and infrastructure for an ever-expanding population. To put it in perspective, one single development has the potential to wipe out a species unique and endemic to that area. Nature doesn’t have a chance. And as the city grows and nature retreats, what does that mean for the Bossiedokters and Cape Town’s indigenous people and their culture and their livelihoods?

In April 2021 the Jagger library at UCT caught fire – the flames engulfing irreplaceable material stored in the Special Collections archive.

Global warming is also taking its toll on Cape Town. The fires, which are crucial to the life cycle of the indigenous plant life, are becoming far too commonplace due to the disruption of weather patterns. A University of Cape Town study found that extreme fire weather, defined by high temperatures, low humidity and strong winds, is now 90% more likely due to human-caused climate change. This is exacerbated by the invasive species, which burn more intensely than the fynbos. The fire season is now becoming a thing of the past, as the incidence of fire is now considered an all-year-round threat. The year in which this film was made has been noted by the authorities as being one of the most severe in terms of wildfires in the last decade. Invasive species come in different forms, and the reasons for introducing them were often well-intended at the time. The Port Jackson, rooikrans, longleaf wattle, eucalyptus and pine species were cultivated for building materials, fuel and to stabilise soil erosion. We now know that they displace biodiversity and alter ecosystems.

Other species brought in for aesthetic value can be less harmful and thus adapt in a more harmonious manner. The crops that are cultivated and harvested are necessary for agriculture, food security and export. But the cumulative effect is still the same. The natural indigenous flora diminishes and slowly retreats, quietly and invisibly.

The last threat to biodiversity is notable because historically it has had the least impact. But because of the necessity of conservation, it is the factor that is the easiest to legislate and control. Overexploitation can include the harvesting of nature for the means of fuel, food, and in the case of the Bossiedokter community, for medicinal purposes. It is also worth noting that the other factors we’ve highlighted—urban expansion, global warming, bushfires, invasive species and agriculture—were not evolved or sanctioned by Neville or his community, or indeed by their ancestors who carried out their work for thousands of years. Neville’s ancestors would have enjoyed the freedom and abundance of nature. The evolution and necessity of conservation evolved because it was disappearing so fast. The irony is that those least complicit in historical decay would be the ones to witness the most decay in their own culture and heritage, yet face punishment for doing something about it.

Neville van Schalkwyk

When we started making this film over two years ago, I didn’t have a complete vision of what direction it was going in or what point I even wanted to make. The plight of the Bossiedokters and the surrounding community, in my opinion, was unjust. But where does it stand through the lens of decay? In a world of mounting losses, should we not be mourning? For me, the concept of being at peace with the mourning process seemed alien. From my perspective, both decay and mourning were unpleasant. But I started to realise something, that actually both were fundamentally necessary. I was drawn back to the first words that Neville spoke when we met him years back. “You cannot stop the trend of time. What must be has got to be.” These are not empty platitudes. Neville has been harassed, victimised and even imprisoned for practising his culture. Of all the people in this story, Neville had the biggest reason to feel aggrieved at his situation. But instead, he is at peace with the process and his destiny. Neville came from a humble background and went through a time of decay and hardship before he decided where his destiny ultimately lied. He realised that this process, the process of decay, was an absolute necessity to get where he is today.

When Neville looks at the city surrounding Cape Town, he doesn’t see an amazing, thriving metropolis with opportunity and excitement. What Neville sees is his nature displaced and destroyed irreparably, no longer fit for purpose. After hundreds of thousands of years, a natural equilibrium was destroyed in the last few hundred. But he also knows the decay of Cape Town and its nature will ultimately lead to something else. No one knows what that thing is. And that’s the scary part. The uncertainty of what grows out from decay. But you know what? Neville isn’t scared. Remember what he said when I met him. “What must be has got to be.” We are all, in our own way, sons of the spoil. Whether it’s a mountain being carved up by a city, a culture being displaced by a law, or a life being torn through its own foundations.

We are defined by what we do with the debris of the past.

We often mistake the overturned earth for the end of the garden, and the wreckage of a life for its conclusion. But the spoil is not just waste. It’s the necessary displacement of what was to make room for what must be. To witness decay is not to watch a death, but to stand on the fertile ground of a new beginning. Whether it is slow, like the loss of a habitat to a city, or fast, like the upheaval of a personal journey, without decay, nothing would be precious. What must be, has got to be.

Notes
1. ↑ information about the film is here.
2. ↑ This is a highly contested term, see Patric Mellet: Leonard Schultze and the term “Khoisan”
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NICOLA DEANE
EVE WONG
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