• Issue #01
  • Issue #02
  • Issue #03
  • Issue #04
  • Issue #05
  • Issue #06
  • Issue #07
  • Issue #08
  • Issue #09
  • Issue #10
  • Issue #11
  • Issue #12
  • Issue #13
13
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
Order Online | Pay Online |
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
Archive About Contact
    • Issue #01
    • Issue #02
    • Issue #03
    • Issue #04
    • Issue #05
    • Issue #06
    • Issue #07
    • Issue #08
    • Issue #09
    • Issue #10
    • Issue #11
    • Issue #12
    • Issue #13
    #13
  • ekaya

ZANDILE JOY DYWATI

“Black daughters and father(s): love as a praxis embedded in daughters' relationality with Black father(s)”

The invitation to participate in a panel entitled “Black masculinities and love” at the 2026 Black Men and Masculinities in Post-Colonial Southern Africa: Fragilities, Ruptures, and Possibilities symposium rang a personal mantra that loudly echoed throughout the years of my Master’s in the Gender and Transformation degree. As an affirmation and a reminder of the pledge to embody and perform a decolonial feminist ethic in my contribution on Black males, men, and masculinities. “I LOVE BLACK MEN”. My public declaration of love for Black men during this time was a “survival mechanism” – my research on undocumented Black African immigrant men in the township of KwaLanga and eMfuleni was on numerous occasions met with despair, fear, suspicion, and, in the most extreme occasion, anger. These emotions often found themselves masked through questions and concerns about my safety in the field. “If anything happens to you, these men will not be found”, and “They are undocumented, right? Is someone going with you?”

News on the supposed ‘crisis’ of Black and/or African immigrant men in South Africa was never new to me, even in the pursuit of my master’s degree. It was discourse on news, in the streets, at home, in the taxi, and every other public and intimate space I engaged with, but the church was different. At church, we prayed and were taught to love beyond state borders. And it is:

“Love others [your neighbour] as much as you love yourself.”

Matthew 22:39

Something I never shared publicly was that I was on two occasions pastored [spiritually fathered] by Black African immigrant men, and one was undocumented. They were precisely Nigerian men. The concept of love in my faith is a given, I would want to think. As a Pentecostal Christian, love and to love is the foundation of my relationship with Christ Jesus and his creation.

And now these three remain: faith, hope and love. But the greatest of these is love.

1 Corinthians 13:13

However, my pursuit of a Master’s degree on undocumented immigrant men was partially accidental and also self-indulgent. Once having read the literature, I was astonished by the sense of Black-male-phobia [fear & hate] that seems to entangle Black men (Fanon, 1952; Mangezvo, 2015; Masito, 2026). Moreso, the Black, African immigrant man with a non-South African accent, who eats fufu and egusi and dresses up in ‘obnoxious’ regalia. He was the framed model of everything wrong in South Africa. However, for me, I encountered such a man in the confines of religion. So I guess my mantra was a safety net for being grounded in the fact of loving and appreciating my now ex-pastors to the point of researching their lived experiences.

Do black men know how to love?

Above, I shared one of the relationships that was imperative in shaping my research interest in doing a decolonial narrativisation of Black men. While personal to some extent, it was also void [of something I am struggling to put into words as of yet]. However, preparing for the 2nd of July panel, moderated by Prof. Kopano Ratele, the mantra returns, and this time around, it echoes softly and almost faintly. This is because I have found reason to love Black men, not simply as a research praxis, method or ethic, or as an epistemic saviour or redeemer, but as a daughter. With my PhD, I am still considering whether it will be postured as an apology, a love letter, or both. But sufficient to say, I have returned to my childhood with all its complexities in an attempt to re-imagine and rewrite from the early encounters with Black men a not-so-common-yet-not-new script of Black men.

“Write for yourself first, and if you do not like someone’s story, write your own”

Chinua Achebe

Black men know how to practise love!

For this conversation, I meditated on my relationship with my father. I thought I had some level of conceptual and experiential grasp of what love is until I was confronted by my hollow definition

of ‘love’. I struggled to bring myself to take a position on what love truly is. Is it a feeling? An emotion? An action?. I had to turn back to my title for this contribution, which centres on my father. I guess love in this diad between my father and me was and continues to be a sense and a praxis of holistic safety [emotionally, mentally, spiritually and physically]. I consciously did not write financially because that is what Black fatherhood has been made to be synonymous with.

I reflected that from our relationship, love looked like him waking up at 05:00 am every school day to ensure I had a lunch box, my school skirt and shirt ironed, my school tie made, my shoes polished, there was warm bathing water prepared, my tooth brush was prepared with warm water to rinse my mouth. Love looked like our favourite Christian show in the morning, where he would pray over a glass of water. Love looked like him, walking me to the bus stop at 06:00 and waiting until the bus arrived, and in the afternoon, waiting until I came back. To complicate this ‘neatened’ representation of love – with my dad, love also looked like a stern, low voice – ‘usukaphi Zandile ebusuku, awuboni kumnyama phandle’. Contrary to bell hooks (2003), I had my father’s love, from how he would affectionately and proudly introduce me as his daughter, and celebrate my birthdays, showing up to every teacher-parent meeting… I could go on.

This demonstration, feeling, and knowing of love, which was normal to me, I soon realised was too foreign? Too absurd? Like bell hooks (2003), a distant imagination for many Black daughters. For hooks (2003), this was the deep inner misery for men – a misery which was induced by the terrible terror that gnaws at the soul when one cannot love. In these words, she chastises feminism for not teaching about the inner turmoil Black men face when they cannot return home to themself on the pathway offered by loving another, and in hooks’ (2003) experience, their daughter.

However, for me, my discomfort with feminism remains in its inability to imagine and help usher into existence a world in which Black men do not rage violently because they are longing for love.

The feminist spaces I was part of, whether the classroom, imbizo or caucus, safety spaces, taught and reminded me, Black + man = patriarchy, violent, criminal, to be feared, in crisis, “trash”. I believed it, I internalised it…

Can they [Black men] really love? Why does it hurt when they love?

“Love is intentional, and usually comes with the responsibility to protect others. You can not love a person and endanger them”.

Vuyi Qotoyi

Granted, several Black women writing on violent masculinities in Black and African feminist spaces produce these works and theories from encounters, registers and vantage points of the manifestations of patriarchy through Femicide, Sexual & Gender-based violence (SGBV), Infanticide and Incest[1] (Gqola, 2007; Nkealah, 2018; Moolman, 2011; Molope, 2012) . However, their imprintment onto the curriculum was as though these voices became the “Voice of god [de-gendered]”. Religiously, these feminist scriptures taught the holy mantra, BLACK MEN ARE IN CRISIS, are violent, are patriarchal… it goes on and on.

So unlike hooks (2003), instead of searching for my father’s love, I sought after and waited in anticipation of the monstrosity of an animal that a Black man could be. In embodying the feminist consciousness, I raged in solidarity and in fear, in fear of how destructive patriarchal cultures are to the black and female being. 2019 came with the terror of an atmosphere of solidarity fatigue, yet also an obligation to continue… because Black females were not safe, not safe at schools, at bus stops, at homes and in the postal office. A young female had died yet again in the hands of a black man.

Our African feminist caucus and safety space, from which we were taught tenderness towards the feminine being and its allies, was charged with a looming atmosphere of hostility. #MenAreTrash, #AMINEXT? Like Luyanda Botha, #ALLMENARE… Was my dad this, too? In a conversation, we heard in between sobs, “he might be a safe space and person to you, but you do not know how he is outside the home”. It was from that line it crept… Black Male-phobia, I ought to fear black men. Even the one at home? At this point, I avoided going home entirely, black men are everywhere – the taxi rank, the Uber, the township street, and at home.

“He might be a safe space and person to you, but you do not know how he is outside the home”

Professor at UCT.

These words were like a double-edged sword piercing through me most painfully, and yet a sharpening of my growing suspicion – why has my dad not put on his regalia of being a monster yet?

Let me bask in my nakedness a bit…

I did not want to meet the monster of a Black man that dad supposedly had the inherent potential to be; his little daughter would not have been able to bear it – but maybe had I met it, I would not have had any problem with rationalising my hatred and fear for Black men. I remember one day praying, “God, please take my dad”. This was a prayer I made because if he died, then I would not have to live to see him shatter my faith in him, right?

Someone once said, God has a sense of humour. Because tell me why my dad almost died due to strokes twice. The first time, I was jerked into a whirlwind of fear [this time, a fear of losing my dad]. It sent me into a trance of unlearning and relinquishing my pledge to the Anti-black male & black male phobic cults. I could never not love my dad in this state; he was vulnerable. He was no longer the strong and also busy fixing something, man, I knew. It was at this vulnerability that my heart swelled. Perhaps there was still love in me for Black men. I saw it in the way I would prepare his food, count his tablets, read the scripture for him, and wail in prayer beside his bed. I saw it in the way my other sisters cross-checked work and school calendars to ensure someone was at home to take care of dad and that he was taken to all his doctor’s appointments.

We nursed our dad to health only because he loved us first, and ours was a return of the same praxis of love he taught us.

“Our display of love as his daughters was forced into patience, not to be proud. To not dishonour nor be self-seeking. My love for my dad keeps no record of wrongs. It is a Love that does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres. And I hope that our Love never fails”.

1 Corinthians 13: 4-8

The apologetic-love letter

“I came to theory because I was hurting-the pain within me was so intense that I could not go on living”

bell hooks

Returning to hooks (1989), as an act of rebellion, my apologetic-love letter is embedded in the politics of “talking back”, a defiance to the feminist authoritative voices and their mantra to banish black maleness, manhood and fathers to a realm of non-beingness. My disagreement, of course, does not disregard the experience from which Black fathers were monsters; my differing opinion is rather postured against the totalising registers that are used to debilitate black men from any attempt to be and being human. My letter insists on the love relationships between Black men and daughters to become a site from which the dialogic is encountered as a necessary vice for the revolutionary and radical feminist struggle. Now I no longer pray for death, I pray for healing and health.

Notes
1. ↑ (Gqola, 2007; Nkealah, 2018; Moolman, 2011; Molope, 2012)
Share
Print PDF
ekaya
SOPHIA OLIVIA SANAN
© 2026
Archive About Contact