LATEST STORIES Ancajas impresses in US debut, stops Gonzalez to retain IBF title Almazan vows to comeback stronger after finals heartbreak Photo by Tristan Tamayo/ INQUIRER.netMany labeled Blackwater’s tussle against Magnolia on Friday as a revenge game for Elite swingman Allein Maliksi, who faced his former team for the first time.But it was the least of Maliksi’s concerns with his focus giving his coach Leo Isaac a win a victory on his birthday which the he and the rest of the Elite failed to do.ADVERTISEMENT OSG plea to revoke ABS-CBN franchise ’a duplicitous move’ – Lacson Jiro Manio arrested for stabbing man in Marikina MOST READ View comments OSG plea to revoke ABS-CBN franchise ’a duplicitous move’ – Lacson Nonito Donaire vs Naoya Inoue is BWAA 2019 Fight of the Year Michael Porter Jr. stays patient as playing time increases Just like last time, Maliksi hopes that Blackwater learned its lesson following another tight loss as it seeks to finally end its misery against San Miguel next Friday.“We need to improve as teammates and as a team for our next game,” he said.Sports Related Videospowered by AdSparcRead Next Lights inside SMX hall flicker as Duterte rants vs Ayala, Pangilinan anew “It was supposed to be our birthday gift to coach Leo. It’s unfortunate because we were there and faltered in the end,” he said after Blackwater lost to Magnolia, 78-72.Blackwater had a chance to steal the game, tying the game at 72 with 1:07 left after trailing by as much as 18.FEATURED STORIESSPORTSTim Cone, Ginebra set their sights on elusive All-Filipino crownSPORTSGinebra beats Meralco again to capture PBA Governors’ Cup titleSPORTSAfter winning title, time for LA Tenorio to give back to Batangas folkThe Elite, however, didn’t have enough gas left in their tank in the endgame to fall to their fourth consecutive defeat.“It’s unfortunate because we were there in the game. But we shouldn’t have allowed ourselves to be down that big. We need to help each other and give a collective effort so that we can beat an elite team,” said Maliksi, who finished with 17 points on 7-of-20 shooting from the field, to go along with four rebounds. Nueva Ecija warehouse making fake cigarettes raided, 29 Chinese workers nabbed Don’t miss out on the latest news and information. Newsome sets focus on helping Bolts open new PBA season on right track Carpio hits red carpet treatment for China Coast Guard PLAY LIST 02:14Carpio hits red carpet treatment for China Coast Guard02:56NCRPO pledges to donate P3.5 million to victims of Taal eruption00:56Heavy rain brings some relief in Australia02:37Calm moments allow Taal folks some respite03:23Negosyo sa Tagaytay City, bagsak sa pag-aalboroto ng Bulkang Taal01:13Christian Standhardinger wins PBA Best Player award
Jo Koy draws ire for cutting through Cebu City traffic with ‘wang-wang’ Truck driver killed in Davao del Sur road accident “We’re happy and proud that in whatever way we were able to match up with them it’s just that we fell short in the end,” said Rondina, whose partnership with Gervacio ended in wins over USA and Canada.Japan’s experience was evident in the first set after Tanaka and Fujii made quick work of Rondina and Gervacio, but the second set became a different story altogether for the Philippines.READ: Rondina, Gervacio oust Canada to barge into FIVB quarterfinalsRondina, the most powerful scorers in the UAAP, starred in the Filipinos’ stirring run, scoring the kill for a 16-11 lead before nailing two straight to seal the second set.Japan, however, found its groove back in the third set after Fujii denied Rondina for the 12-8 lead.ADVERTISEMENT P16.5-M worth of aid provided for Taal Volcano eruption victims — NDRRMC Although Rondina kept the Philippines alive in the third set with back-to-back points, 13-11, Tanaka was eager to put the hosts away as she sent her service ace bouncing off the Philippines’ star to bag the win.Tanaka and Fujii are set to face compatriots Takemi Nishibori and Ayumi Kusano in the semifinals on Sunday.Sports Related Videospowered by AdSparcRead Next In fight vs corruption, Duterte now points to Ayala, MVP companies as ‘big fish’ MOST READ ‘Stop romanticizing Pinoy resilience’ The Philippines’ last stand in the one-star tournament fell to the partnership that was once the top team in Japan and had already played in a four-star event before the Manila Open.Rondina and Gervacio, meanwhile, are both first timers in an FIVB World Tour and taking an experienced team to a third set was enough for them to give themselves a pat on the back.FEATURED STORIESSPORTSGinebra beats Meralco again to capture PBA Governors’ Cup titleSPORTSAfter winning title, time for LA Tenorio to give back to Batangas folkSPORTSTim Cone, Ginebra set their sights on elusive All-Filipino crownREAD: Rondina, Gervacio stun USA for PH’s first win in FIVB Manila Open“We played against a top seed team and we were able to stretch them to three sets,” said Gervacio in Filipino of Tanaka and Fujii, who topped Pool C after two wins in as many games. Scientists seek rare species survivors amid Australia flames Cherry Rondina and Dzi Gervacio’s Cinderella run has come to an end after a bitter defeat to Japan’s Shinako Tanaka and Sakurako Fujii, 21-13, 17-21, 15-11, in the quarterfinals of the FIVB Beach Volleyball World Tour Manila Open Saturday at SM Sands by the Bay.ADVERTISEMENT Japan bullfighting lifts ‘men-only’ rule Don’t miss out on the latest news and information. Carpio hits red carpet treatment for China Coast Guard PLAY LIST 02:14Carpio hits red carpet treatment for China Coast Guard02:56NCRPO pledges to donate P3.5 million to victims of Taal eruption00:56Heavy rain brings some relief in Australia02:37Calm moments allow Taal folks some respite03:23Negosyo sa Tagaytay City, bagsak sa pag-aalboroto ng Bulkang Taal01:13Christian Standhardinger wins PBA Best Player award Lights inside SMX hall flicker as Duterte rants vs Ayala, Pangilinan anew Green group flags ‘overkill’ use of plastic banderitas in Manila Sto. Niño feast Volcano watch: Island fissures steaming, lake water receding LATEST STORIES View comments
In support of the fight against the deadly Ebola virus in the country, 200 community educators from Bong have pledged to support efforts to drive Ebola out of Liberia by running high impact awareness campaigns in various communities across Liberia.The launch is part of the Ebola Community Action Platform (ECAP), founded by United States Agency for International Development (USAID) and developed by Mercy Corps Liberia, which is helping NGOs to engage 3,000 communities by training trusted local communicators with key information on Ebola virus.The launch was run by a local ECAP partner, Equip Liberia, along with its partners from seven counties, Bong, Grand Bassa, Bomi, Grand Cape Mount, Montserrado Nimba and Lofa Counties. Present at the launch were community health educators, county health officials, village chiefs, representatives of Mercy Corps Liberia and many Bong County residents.ECAP head, Mr. Kimen, called on the group to “fight Ebola and stop fighting each other through stigmatization, rejection and discrimination. Ebola is our common enemy—no matter who you are and where you come from,” he added.Also speaking at the event, Richelieu O. Burphy, spokesperson for Mercy Corps Liberia, said that Mercy Corps was proud to be supporting the government’s Ebola must go campaign through the ECAP program.“Effective community engagement remains crucial if we are to eradicate Ebola, maintain the vigilance needed to halt its spread, and prevent such deadly epidemics from occurring in the future,” he said.Over 500 people have so far been trained under the ECAP project, which aims to reach two million citizens with critical information on Ebola. It will also evolve to help communities recover from the devastating social and psychological impacts of the virus.“As a lead agency in the ECAP program, equip Liberia is committed to building the capacity of grassroots and national organizations to improve community health and effectively address crosscutting community development challenges,” said Kimen.Campaigns are delivered in local languages through radio and art to ensure the widest possible reach of anti-Ebola messages.Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)
CCJ ruling on no-confidence casesAhead of the Caribbean Court of Justice (CCJ) highly anticipated ruling on the passage of the No-Confidence Motion, the coalition Government said it is prepared to accept whatever ruling the court hands down in the new week.The Trinidad-based regional court is expected to deliver its decision on Tuesday and according to Government’s spokesperson, Joseph Harmon, his Administration is prepared to accept whatever the CCJ’s decision is.“We will accept the finding of the court and we will act on that finding. So as a Government, I would say this is the legal process coming to a conclusion and, therefore, we feel bound by whatever the CCJ comes up with and we will act accordingly,” Harmon noted.Next week, the CCJ will either uphold the March ruling of the Guyana Court of Appeal which found that the motion needed 34 votes for an absolute majority in order to be successfully passed in the National Assembly.However, the PPP Opposition is asking the regional court to restore a January High Court ruling, which had upheld the December 21, 2018, passage of the motion, tabled by its leader, Bharrat Jagdeo, back in November.While much is hinging on the court’s ruling to bring a final determination to this matter, Harmon, the Director General at the Ministry of the Presidency, posited that the coalition Government has no fear or trepidation about the impending decision.“We have no trepidation or fear about the decision itself. We are prepared for whatever the court will decide… We do not hold any fear about what the court is going to decide, we have no fear about that. We will honour and obey the decision of the court,” he contended.Like the Government, the PPP has also committed to respecting the decision of the regional court while expressing confidence in its case. In fact, Jagdeo told reporters at his weekly press conference on Thursday that they are operating on a “twin-track” in anticipation of the CCJ ruling either way.“We believe we have a good case to win but you can’t predict the results before they actually come out. So we’re operating on a twin-track – one is that if the No-Confidence Motion ruling goes in our favour and if doesn’t go in our favour, a longer-term strategy [is in place],” Jagdeo stated.The latter, he noted, however, would not be that much “long” since in any case, General and Regional Elections are scheduled for 2020 – less than a year away.“So if the No-Confidence Motion goes in our favour, it’s a 100 metres dash, if not it’s 400 metres,” the Opposition Leader posited.The three No-Confidence Motion cases before the CCJ deal with Christopher Ram v the Attorney General of Guyana, the Leader of the Opposition and Joseph Harmon; Opposition Leader Bharrat Jagdeo v the Attorney General of Guyana, Dr Barton Scotland and Joseph Harmon; and Charrandas Persaud v Compton Herbert Reid, Dr Barton Scotland, Bharrat Jagdeo and Joseph Harmon; the last of which deals with Persaud’s eligibility to vote in the House.Last month, the CCJ panel of judges heard oral submissions from the various parties in the consolidated appeals in two marathon sessions on May 9 and 10.Meanwhile, the Trinidad-based court is also expected to hand down a ruling on the unilateral appointment of the Guyana Elections Commission (GECOM) Chairman, retired Justice James Patterson.On May 8, the CCJ heard arguments in the case brought by the People’s Progressive Party’s (PPP) Executive Secretary, Zulfikar Mustapha, challenging the current Chairman’s appointment.Patterson was appointed to the position of Chairman of GECOM in 2017 after President Granger had rejected three lists comprising 18 names submitted by Opposition Leader Bharrat Jagdeo for the post of GECOM Chairman.Last year, Chief Justice (acting) Roxanne George had ruled that the Constitution of Guyana, in fact, allows for the President to unilaterally appoint someone to fill the position of Chairman of GECOM.
Robert Ogilvie and Duncan Cran also share a ranking position. They are both ranked 474th and they were both previously ranked 627th. Finally, Upper Pine Public School sits in 641st place, increasing up from 648th place. Superintendent of School District 60 Larry Espe says the rankings reflect the hard work of the teachers and students across Fort St. John and the programs that support them. Espe says even though the rankings do not give specifics about why a school increased or decreased, itâ€™s much better to be up, than down. Advertisement The Fraser Institute has released its annual report card, ranking elementary schools across B.C.Seven Fort St. John elementary schools were listed in the report and it showed a significant increase in the rankings of all seven schools within the city.The rankings were based on Foundation Skills Assessments given to students in grades four and seven. Scores are based on studentsâ€™ assessments in writing, reading, and math.- Advertisement -The elementary school which received the highest ranking was C.M. Finch Elementary School. Finch was ranked 49th out of 875 schools across the province, during the 09/10 school year. Its rank was up from a rank of 188 taken from the previous five years.The second-highest ranked elementary school in the city was Bert Ambrose. It was ranked 53rd, increasing 21 spots from the previous five-year ranking.Both Ecole Central (Central Arts) and Alwin Holland elementary schools were tied for 281st place. While the past five year rankings were unavailable for Alwin Holland, Ecole Central made a significant jump from its past five year ranking in 342nd place. Advertisement
“We know how to work with employers by streamlining processes; and we know how to support our remote students to make sure they have everything they need to succeed,” Goulis said. Goulis said that current students of the program would be on hand Tuesday to share their online learning experiences. Engineers who meet the USC Viterbi School of Engineering qualifications for admission to its graduate programs can enroll in classes as soon as Jan. 9, when spring semester begins. Kevin L. Petersen, director of NASA’s Dryden Flight Research Center, is also enthusiastic about the addition of USC as a partner to the AERO Institute. “We are excited about the opportunities for further collaborations,” Petersen said. Housed in a former courthouse at the Palmdale Civic Center, the AERO Institute is a partnership that includes NASA Dryden Flight Research Center at Edwards Air Force Base; the city, and other organizations. Among its efforts are expanding higher educational opportunities in the Antelope Valley. For more information on the USC program go to den.usc.edu, contact email@example.com or call (213) 821-1475. 160Want local news?Sign up for the Localist and stay informed Something went wrong. Please try again.subscribeCongratulations! You’re all set! PALMDALE – Working engineers in the Antelope Valley aerospace industry will be earning master of science degrees from the University of Southern California next semester – without stepping foot on campus. The Aerospace Education Research and Operations (AERO) Institute in Palmdale will announce a strategic partnership with the USC Viterbi School of Engineering Distance Education Network at a special daylong event starting at 10 a.m. Tuesday. Regular campus courses will be transmitted from studio classrooms at the USC campus via an extensive Internet-delivery system to enable students to access their classes anytime, from anywhere. Engineers from organizations such as Boeing, Lockheed Martin, BAE Systems, NASA Dryden, Edwards Air Force Base, Northrop Grumman, and China Lake Naval Air Warfare Center will be offered the opportunity to advance their education while balancing work and family, organizers said. AD Quality Auto 360p 720p 1080p Top articles1/5READ MOREBlues bury Kings early with four first-period goals The USI program now enrolls more than 1,200 advanced degree candidates at companies across the nation, offering 28 master of science degrees, five graduate certificates, and professional development short courses. “Engineering has long been a pillar of strength for the University of Southern California,” said Yannis Yortsos, dean of the Viterbi School of Engineering. “When Southern California matured into an economic and industrial giant, we played a leading role in the explosive growth of the aerospace and communications industries. We are excited to continue this growth to the engineers of the Antelope Valley.” The USC DEN program offers degrees from several engineering disciplines but Tuesday’s event will emphasize astronautical engineering. “We have a lot to offer Antelope Valley engineers,” said program director Mike Gruntman. “Astronautics at USC encompasses the dynamic and cutting-edge field of advanced space technology, with a unique focus on spacecraft engineering. It is exceptionally relevant today due to the growing importance of space to both national security and the economy.” DEN executive director Kelly Goulis said USC’s system is designed to cater to engineers who are working full time.
Sean with staff of Our Lady’s Hospital For Sick Children in Crumlin.Little Sean McMenamin and his family have said a huge thank you to the staff of Our Ladys Hospital for sick Children in Crumlin.The Letterkenny lad spent much of his early life at the Dublin hospital undergoing various operations for a heart condition.The McMenamin family decided they wanted to in some way do something in return for the amazing treatment and kindness shown to Sean. Sean’s mum Sheila and her sisters Margaret and Geraldine competed in the ladies mini marathon in Dublin and raised €2,325.This was followed by a karting night and grand display of various motorsport and classic cars in association with the Donegal Motor Club and John Dolan which added another €7,385 to the kitty.Sean’s family have said they are so thankful to everyone who helped them in any way to raise the money which has ben donate dot the hospital. SEAN’S WONDERFUL 9,710 ‘THANK YOUS’ TO CRUMLIN! was last modified: June 5th, 2014 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:Crumlin’s Children HospitalDonegal Motor ClubletterkennySean McMenamin
Tags: Uganda Lady Cricket Cranes The Lady Cricket Cranes defeated Zimbabwe to win the African Championship last year (Courtesy Photo)Kevin Awino will captain the Lady Cricket Cranes next month in Netherlands at the T20 Global Women’s qualifier.The Cranes will face off with seven other national team sides at the global show piece qualifiers.The Lady Cricket Cranes defeated Zimbabwe in a tight final in Windhoek, Namibia late last year to be crowned African Champions and in process, earn the privilege of representing Africa at the tournament.There were no surprises in the side named by Uganda Cricket with Kevin Awino retaining her place as team captain and she will be assisted by Janet Mbabazi.The only absentee will be Naomi Kayondo who went for further studies to the United Kingdom (UK) and she will be reaplced by Prico Nakitende.The rest of the squad that was successful in Namibia remains with African MVP Gertrude Chandiru and Immaculate Nakisuyi who were selected on the ICC Global Development Squad are in the side and will travel to the UK after the qualifiers to compete with other selected players from the participating nations.The side will travel will fly out of Uganda on July 2 and have a few practice games in Netherlands before they take on Scotland on July 7 for their first game.Francis Otieno and Grace Mutyagaba are the coaches of the side with Lydia Bakumpe named as team manager.Summoned Squad:1. Kevin Awino (Captain)2. Janet Mbabazi3. Rachael Ntono4. Mary Nalule5. Gertrude Candiru6. Immaculate Nakisuyi7. Rita Musamali8. Franklyn Najjumba9. Stephanie Nampiina10. Consy Aweko11. Pricco Nakitende12. Saidat Kemigisha13. Carol Namugenyi14. Joyce-Mary ApioReserves:1. Evelyn Anyipo2. Irene AlumoCoaches• Francis Ndege Otieno (Head Coach)• Grace Godfrey Mutyagaba (Assistant)Manager• Lydia Bakumpe NamirimoComments
Fulham are down to 10 men at Craven Cottage following the sending-off of Brede Hangeland.The defender was red-carded after half an hour for a two-footed challenge on Lee Cattermole.To their credit, the Whites responded strongly and Dimitar Berbatov had a low shot saved by Sunderland keeper Simon Mignolet.Earlier, Seb Larsson’s tame shot was held by Fulham keeper Mark Schwarzer and Black Cats forward Stephane Sessegnon sent a 25-yard effort over the bar.Fulham: Schwarzer, Riether, Riise, Hangeland, Hughes, Sidwell, Karagounis (Senderos 34), Kacaniklic, Duff, Ruiz, Berbatov. Subs: Kelly, Petric, Rodallega, Dejagah, Smith, Stockdale.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 Follow West London Sport on TwitterFind us on Facebook
South African art has always taken on the unique flavour of the country, from the 4 000-year-old cave paintings of the San Bushmen – the richest collection of rock art in Africa – to the homegrown conceptual art movement that sprang up as apartheid came to an end in the 1990s.Elephants Charging over Quartos Country (1870) by Thomas Baines (1820-1875)Sections in this article:The 4 000-year-old galleryColonial art The 20th century and apartheidImpact of African forms Emerging black artistsThe outsiders’ viewApartheid in crisis: 1970s and 1980sConceptual art of the 1990sCrafts: the reinvention of traditionUseful links The 4 000-year-old gallerySan Bushman rock painting in the Drakensberg range of mountains.The San Bushmen, Africa’s oldest hunter-gatherers, lived in the massive Drakensberg range of mountains from 4 000 years ago until they were driven out by colonialists in the 19th century. Over that time, they created a vast body of art on the walls of caves and rock shelters – the largest and most concentrated group of rock paintings in sub-Saharan Africa.This rich collection prompted the United Nations Educational and Scientific Organisation – Unesco – to inscribe the Drakensberg as a mixed natural and cultural world heritage site in 2 000. The paintings, Unesco said, “represent the spiritual life of the San people” and are “outstanding both in quality and diversity of subject”.“The San people lived in the mountainous Drakensberg area for more than four millennia, leaving behind them a corpus of outstanding rock art, which throws much light on their way of life and their beliefs,” Unesco said.“The authenticity of the paintings, and their shelter and cave settings, as a reflection of the beliefs of the San peoples, are without question.”Watch: The world heritage San Bushman rock art of the Drakensberg:Colonial artDuring the early colonial era, white South African artists tended to concentrate on depicting what they saw as a “new world”, in accurate detail. Artists such as Thomas Baines travelled the country recording its flora, fauna, people and landscapes – a form of reporting for those back in the metropolis.Towards the end of the 19th century, painters Jan Volschenk and Pieter Hugo Naudé and the sculptor Anton van Wouw began to establish a locally rooted art. Their work – the first glimpse of an artistic vision that engaged with life as lived in South Africa – marked the moment the country began to acquire its own national identity, with the 1910 Union of South Africa marking the formal end of the colonial era.The 20th century and apartheidAn Extensive View of Farmlands by JH Pierneef (1886-1957)In the first decades of the 20th century, the Dutch-born painter JH Pierneef brought a coolly geometric sensibility to the South African landscape; he also, in a way that fed into Afrikaner nationalist ideology, found it bereft of human inhabitants.By the 1930s, two women artists, Maggie Laubscher and Irma Stern, brought the techniques and sensibilities of post-impressionism and expressionism to South African art. Their bold colour and composition, and highly personal point of view, rather scandalised those with old-fashioned concepts of acceptable art. Yet younger artists such as Gregoire Boonzaier, Maud Sumner and Moses Kottler were rejoicing in this new spirit of cosmopolitanism.The apartheid years (1948-1994) witnessed a great diversity in South African art – ranging from landscape painting to abstract art. There was engagement with European and American currents, but also a fiercely local sense of what it meant to be an artist in this country during troubled times.Inevitably, black artists were largely neglected. It was left to white artists, endowed with training, resources and supportive galleries, to build a corpus of South African art.After World War II, returning soldiers and some immigrants brought European ideas to the local art world. In the 1940s, Jean Welz, for instance, born in Austria in 1900, brought a detailed, nuanced and sophisticated style to still lifes, portraits, nudes and landscape paintings. Maurice van Essche, born in Belgium in 1906, applied the modernist techniques of his teacher Matisse to specifically African subject matter.Impact of African forms This detail of a mural by Walter Battiss in the foyer of the Pretoria city hall reveals the influence San Bushman rock painting had on his work.Meanwhile, African forms themselves began to have an impact on the work of white artists. An awareness of art forms ranging from those of the ancient Egyptians to San Bushman rock art increasingly influenced South African artists from the 1950s onwards.Walter Battiss, for one, had developed an interest in rock art long before he became an artist in the 1930s. Until his death in 1982, Battiss returned repeatedly to the motifs and styles of San rock art. In Symbols of Life (1967), for instance, San-type figures and patterns become stylised into a kind of symbolic alphabet.Other artists found different ways of interacting with the visual stimuli of Africa, whether by adapting its outward forms or finding ways to incorporate its textures into the work.Alexis Preller, for instance, created fantastically detailed canvases influenced by the European surrealists of the 1920s and 1930s. Beginning in the late 1940s, Preller painted African scenes and themes such as The Kraal and Hieratic Women, but these were not realistic portraits of African life: instead, they were reinvented by Preller’s startling visual imagination.Cecil Skotnes, by contrast, took a leaf from Picasso’s book – the European art revolution instigated by the great Spaniard had, in part, been generated by his appreciation of African masks. Skotnes became South Africa’s master of the woodcut, bringing European modernism into fruitful collision with African styles.Meanwhile, a host of white artists were engaging with the South African landscape in interesting ways – though such formalism was increasingly criticised during the struggle against apartheid for its detachment from the political situation.Emerging black artists Song of the Pick (1947) by Gerard Sekoto (1913-1993)By contrast, black artists such as Gerard Sekoto and George Pemba concentrated on depicting their realities and environments in a direct, though forcefully expressionist, manner.From the 1930s onward, Sekoto portrayed urban African life in places such as Sophiatown and District Six, vital and tumultuous hotspots of an emerging though unacknowledged black culture.In Sekoto’s works of the early 1940s, such as Street Scene, bustling African figures are placed in the context of their often denuded environment, while Yellow Houses (the first work by a black artist bought by the Johannesburg Art Gallery), reduces the human presence, focusing instead on the environment itself. In Song of the Pick, naturalism gives way to severe stylisation: a rank of workers wield picks in unison, forming a powerful image of African labour; a white overseer’s figure is dwarfed, even threatened, by this phalanx of diggers.In 1947, Sekoto left for Paris. Illness and intermittent impoverishment meant that his work never again reached the heights it had in South Africa.George Pemba, by contrast, stayed in the township of Motherwell near Port Elizabeth, living into his 90s and patiently continuing to paint despite the lack of public acclaim. His often naïvely styled work focused on the simple lives of poor black people, humbly and sometimes humorously evincing their fundamental humanity, though he also treated themes such as the story of the Xhosa prophetess Nongqawuse of the 19th century.Increasingly, and inevitably, black artists began to give voice to a political sensibility that left behind the realist depiction of township life. Lack of resources meant that many had to rely on media other than oil-painting, but making a virtue of necessity gave added force to their work. Dumile Feni (known as Dumile), for instance, became a master of drawing, often in ballpoint pen.Dumile’s sense of anger and despair fed into work of extraordinary power; his distorted figures seemed to have been physically deformed by the very forces of society. Called “the Goya of the townships”, he painted his own version of Picasso’s Guernica, a cry of pain at human suffering. Dumile went into exile in 1968 and died in New York in 1991.Black artists such as Azaria Mbatha and John Muafangejo also made striking use of the accessible and relatively cheap medium of the linocut. In the 1980s and 1990s, artists such as William Zulu, Vuyile Cameron Voyifwa, Cyprian Shilakoe and others extended linocut work into what has become practically a subgenre of its own.The outsiders’ view The Rice Lady by Vladimir Tretchikoff (1913-2006).Meanwhile, the idiosyncratic Jackson Hlungwane, discovered by the mainstream community only late in his life, produced a vast body of sculpture in wood and built environments expressing his own highly individual religious world. It contains a multitude of creatures both mythical and real, as well as a large cast of characters.In this he has something in common with another “outsider artist”, Helen Martins, who obsessively peopled her small-town home – known as the Owl House – with sculptures of concrete and found objects, up to her suicide in 1976.Yet South Africa’s most successful “outsider” artist is perhaps the Russian émigré Vladimir Tretchikoff, who developed a distinctive style in which arch sentimentality was rendered with virtuoso formal exactitude.Tretchikoff had considerable commercial acumen, turning paintings such as The Dying Swan and Chinese Girl (also known informally as The Blue Lady) into prints and selling millions around the world. To the post-modern eye, Tretchikoff’s work, long scoffed at as the peak of kitsch, now has a distinctive ironic charm.From the 1960s on, many South African artists responded to developments in American and British art. The severe yet sensual work of Cecily Sash showed the impact of post-painterly abstraction and later “op art”; the playful surfaces of Helmut Starke and Kevin Atkinson opened the dialogue with pop art.A wide range of styles and modes were now available to South African artists, and the likes of Judith Mason and Andrew Verster extended the traditions of oil painting into personal expressions of life, society and the world around them.Apartheid in crisis: 1970s and 1980s The Conservationists Ball (1985) by William Kentridge (1955-)As the apartheid state became more repressive in the 1970s and 1980s, many artists faced the harsh realities of South African life, sometimes obliquely, sometimes head-on.In the early 1980s, for instance, Paul Stopforth made a series of works dealing with police torture – the cause of the death of resistance heroes such as Bantu Steve Biko. And Robert Hodgins satirised figures of power in paintings that turned leaders into sinister but laughable echoes of Alfred Jarry’s mad king Ubu.In paintings, lithographs and sculpture, Norman Catherine developed the playful sensibilities of Walter Battiss into a disturbing private menagerie of threatening and threatened theriomorphs and larger-than-life human figures.The crowded collages, pastels and charcoals of Helen Sebidi spoke of the struggle of human life; her figures seem to battle upwards, towards the picture plane, as though they were drowning.William Kentridge used expressionist drawings and highly developed personal metaphors, symbols and characters to expose the hypocrisies and ironies of white South African life. More recently, he has employed his powerful drawing technique in “animated” films and installations, and the set design of Mozart’s The Magic Flute.Penny Siopis tackled femininity and history in dense, allusive paintings, and in installations, photographs and other conceptual works.In the 1980s, “resistance art” was increasingly recognised as a genre of expression directed at the white elite’s oppressive exercise of power. For example, trade union posters and T-shirts used imagery that had something in common with the Russian constructivists as well as African art. And anonymous artists placed images of state violence (or bewildering dream reflections) at traffic intersections.Conceptual art of the 1990s The Butcher Boys by Jane Alexander is one of the most famous contemporary sculptures to come out of South Africa. (Photo: Laurent Chicoineau, Flickr)Conceptual art in South Africa seemed to come into its own in the 1990s. Events such as the two Johannesburg Biennales (1995 and 1997) contributed to a new dialogue between local artists and currents from other countries. Media such as video, performance and installation took the place of painting.Jeremy Wafer, for instance, used photography, earth, and fibreglass sculpture to tackle issues such as borders and boundaries.The complex installations of Sue Williamson used found and reworked materials to speak of memory and history. Sandile Zulu made paintings out of the unpredictable marks of fire on surfaces, or created sculptural tableaux from natural materials.Even refuse was turned into suggestive assemblages and collages by Moshekwa Langa. Steven Cohen made drag into a form of sculpture-performance that addressed identity and marginality, while Kendell Geers interrogated the very process of artmaking itself.Other artists put a conceptual spin on traditional artforms: Jane Alexander, for example, took sculpture into new realms with disturbing figures that place the human form in extremis or subject it to frightening transformations, while Jo Ractliffe worked with photography to investigate personal and familial memory, death, decay and love. Hentie van der Merwe also used photographs, taken or found, to talk about the body in an age of HIV/Aids.Crafts: the reinvention of tradition The elaborate beadwork of the Ndebele tradition. (Image: Media Club South Africa. For more free photos, visit the photo library.)While the “high art” continues to blossom in South Africa, the market for crafts has expanded to include every possible form of traditional artwork.There is a host of work in traditional media on the market. Artists are constantly developing the repertoire of African crafts – from intricate and near life-size beaded wire sculpture to tableware, ornaments and embroidered cloth, to stunning costume jewellery, welded cast-iron objects, folk painting and more.At the same time, the status of the traditionally anonymous maker of craft works is changing: “folk art” has made inroads into “high art”. For example, in the 1990s the work of late ceramicist Bonnie Ntshalintshali went well beyond the confines of traditional African pottery, yet her exquisite creations could conceivably still be used at the dinner table.The Ndebele tradition of house-painting exploded with the advent of commercial paints, giving rise to artists such as Esther Mahlangu, whose adaptations of the highly coloured geometric designs adorned everything from cars to aeroplanes.Notwithstanding the appearance of celebrity “folk artists”, ordinary craft continues to thrive – the main examples being beadwork, pottery, basketry and wooden carving.Do you have queries or comments about this article? Email Mary Alexander at firstname.lastname@example.org.Useful linksArtThrobArtslinkAfrican Art CentreContemporary Art in South AfricaDavid Krut Publishing and Arts ResourceJohans Borman Fine Art GallerySouth African Rock Art Digital ArchiveSouth African Virtual Art GalleryArtist websitesIrma SternGerard SekotoGeorge PembaDumile FeniNorman CatherineMajor art galleriesAlliance Française (Johannesburg)Andrew Walford Shongweni Pottery Gallery (Durban)Art on Paper (Johannesburg)Art.b (Cape Town)Artists Under the Sun (Johannesburg)ArtSpace Durban (Durban)Association for Visual Arts (Cape Town)Bag Factory (Johannesburg)BAT Centre (Durban)Bell-Roberts Art Gallery (Cape Town)Cape Gallery (Cape Town)Carmel Art Original (Cape Town)Carnegie Art Gallery (Durban)Cherie de Villiers Fine Art Gallery (Johannesburg)Everard Read Gallery (Cape Town)Everard Read Gallery (Johannesburg)Gallery Momo (Johannesburg)Goodman Gallery (Johannesburg)Greatmore Studios (Cape Town)Irma Stern Museum (Cape Town)Johans Borman Fine Art Gallery (Cape Town)Michaelis Collection (Cape Town)Pretoria Art Museum (Pretoria)Rose Korber Art Consultancy (Cape Town)South African National Gallery (Cape Town)Standard Bank Gallery (Johannesburg)Tatham Art Gallery (Durban)