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                <text>New Notes on Kaoko: The Northern Kunene Region in Texts and Photographs</text>
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                <text>Die Fotografin Lieselotte Prozesky-Schulze. Ihr fotografisches Schaffen und Bildarchiv zu Namibia (1957)</text>
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                <text>"Die Fotografin und promovierte Zoologin Dr. Lieselotte Schulze (1917–2011) erhielt 1951/1952 von Anneliese Scherz (1900–1985) die Einladung, das Fotografen- und Forscherehepaar Scherz in Windhoek zu besuchen. Fünf Jahre sollten vergehen, bevor Schulze der Einladung folgen konnte: Ihr Fotoatelier, welches Schulze 1951 in Freiburg i.B. eröffnet hatte, brachte nicht die erhofften Einnahmen. Aus finanziellen Gründen sah sie sich Mitte der 1950er Jahre gezwungen, ihr Geschäft zu verkaufen. Seither arbeitete sie als Angestellte in einem Fotostudio. Dank der finanziellen Unterstützung ihrer Mutter, die sah, wie schlecht es ihrer Tochter im Angestelltenverhältnis ging, entschloss sich Schulze 1957, die Fahrt nach Namibia endlich anzutreten. Diese Reise sollte ihr Leben verändern: Über den internationalen Bekanntenkreis des Ehepaars Scherz lernte sie die wissenschaftlichen Mitarbeitenden des Transvaal Museums in Pretoria kennen, zu denen auch ihr zukünftiger Ehemann, der Ornithologe O.P.M. Prozesky, zählen sollte. Der Kurator der Coleoptera Collection1 des Transvaal Museums, Dr. Charles Koch, bot ihr kurzerhand eine Stelle als Entomologin an, die sie bereitwillig annahm. Um ihre Angelegenheiten zu klären und das Fotoatelier zu verkauften, reiste sie noch einmal nach Freiburg zurück. Ab Oktober 1958 lebte sie bis zu ihrem Tod im Jahr 2011 in Südafrika."</text>
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&#13;
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                <text>Die Fotografin Anneliese Scherz und die „Marshall Expedition“ von 1953 in die Nyae Nyae Region/Kalahari. Anmerkungen zum Bildarchiv</text>
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                <text>"Die Fotografin Anneliese Scherz begleitete 1953 als Auftragsfotografin über vier Wochen hinweg die amerikanische Ethnologen-Familie Lorna, Laurence und John Marshall während ihrer Forschungen bei den Ju/‘hoansi in der Nyae Nyae Region in Namibia. Dabei entstanden über 1400 Bilder, die im Bildarchiv von Anneliese und Ernst Rudolf Scherz lediglich als zumeist kleinformatige Abzüge erhalten sind. Bislang blieb dieser Teilbestand im Scherz-Archiv der Basler Afrika Bibliographien (BAB) unkatalogisiert. Im Sommer 2016 habe ich den Teilbestand im Rahmen eines Archivpraktikums katalogisiert und inhaltlich erschlossen. Das vorliegende Working Paper reflektiert meine Herangehensweise an den Bestand, rekonstruiert die archivalische Überlieferung der Abzüge, beschreibt die Sammlung, erläutert die Erschliessungsarbeit und geht schliesslich auf inhaltliche Aspekte der Bilder und ihre Relevanz für die Forschung ein."</text>
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                <text>"In der heutigen Vorlesung möchte ich Sie auf eine etwas andere Reise durch namibische Landschaft nehmen, und ich möchte Ihnen dazu ein paar Dinge ins geistige Gepäck mitgeben: 1) Die anfänglich gezeigte Bilderschau hat verdeutlicht, dass namibische Landschaftsdarstellungen und -wahrnehmungen gegenwärtig wie historisch auf unterschiedlichen Medien basieren: Photographie und Malerei (auf Film kann ich heute nicht eingehen). Hinzu kommen literarische Texte, Reiseberichte, Abenteuerromane, usw. (Sie erinnern sich an meinen Hinweis auf Blixen und van der Post). All diese verschiedenen Medien und Genres tragen zu den realen und imaginären Bildern namibischer Landschaften bei. 2) Weder Malerei, Literatur, noch Photographie sind hermetische, in sich abgeschlossene und voneinander getrennte Medien. Vielmehr haben wir es historisch wie zeitgenössisch mit Intermedialitäten zu tun, also mit der gegenseitigen Durchdringung von Malerei, Photographie und Text. Diese Verflechtung und Verdichtung ist mit Blick auf Landschaft etwas ganz entscheidendes. 3) Die eben gezeigte Bilderschau spiegelt den europäischen (oder westlichen) Blick auf namibische Landschaften. Landschaft ist aber ein Genre und Medium, das in allen Gesellschaften und Kulturen vorkommt; es ist bei weitem kein „europäisches Phänomen“. Obschon ich heute in dieser Vorlesung nicht näher darauf eingehen kann, sind im südlichen Afrika afrikanische Perspektiven, Wahrnehmungen und Darstellungen von Landschaft etwas ganz zentrales, das sich wiederum in unterschiedlichen Medien artikuliert. Dag Henrichsen hat zum Beispiel auf die Bedeutung mündlicher Tradierungen, von Preisliedern und topographischem Wissen hingewiesen, die in Zentralnamibia im 19. Jahrhundert zur Formulierung historisch geschichteter Topologien führen: Narrative also, die Landschaft strukturieren, imaginieren und bei Bedarf sowohl ideologischen wie politischen Visionen zudienen können. 4) In der rezenteren theoretischen Diskussion über Landschaft hat sich eine These des bereits erwähnten Kulturwissenschaftler W.J.T. Mitchell durchgesetzt, dass nämlich Landschaft weniger als Genre zu verstehen, sondern vielmehr als Medium zu betrachten ist, also als ein System kultureller Codes, symbolischer Formen und Zeichen, mittels derer der Mensch seiner Umwelt Bedeutung zuschreibt und mittels derer er diese Bedeutung darzustellen und zu vermitteln sucht. Landschaft, so fasst es Mitchell prägnant zusammen ist also kein Substantiv, keine Sache, sondern ein Verb, etwas das man macht." BAB Working Paper 2014:01 Presented at the Voklshochschule Basel, 13 February 2014</text>
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                <text>© The author © Basler Afrika Bibliographien</text>
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                <text>Betrachtungen zum Bildarchiv der Solidaritätsgruppe „Medic’ Angola / kämpfendes afrika“ (Zürich, 1971 – 1988)</text>
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                  <text>This collection holds full length dissertations written on and/or from Namibia. Unless the dissertations are particularly dated, or the author has passed, I have obtained permission before uploading the files. There are both M.A. and PhD Dissertations uploaded.</text>
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                <text>Enduring Suffering - The Cassinga Massacre of Namibian Exiles in 1978 and the Conflicts Between Survivors' Memories and Testimonies</text>
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                <text>PhD Dissertation - "During the peak of apartheid, the South African Defence Force (SADF) killed close to a thousand Namibian exiles at Cassinga in southern Angola. This happened on May 4 1978. In recent years, Namibia commemorates this day, nationwide, in remembrance of those killed and disappeared following the Cassinga attack. During each Cassinga anniversary, survivors are modelled into „living testimonies‟ of the Cassinga massacre. Customarily, at every occasion marking this event, a survivor is delegated to unpack, on behalf of other survivors, „memories of Cassinga‟ so that the inexperienced audience understands what happened on that day. Besides survivors‟ testimonies, edited video footage showing, among others, wrecks in the camp, wounded victims laying in hospital beds, an open mass grave with dead bodies, SADF paratroopers purportedly marching in Cassinga is also screened for the audience to witness the agony of that day. Interestingly, the way such presentations are constructed draw challenging questions. For example, how can the visual and oral presentations of the Cassinga violence epitomize actual memories of the Cassinga massacre? How is it possible that such presentations can generate a sense of remembrance against forgetfulness of those who did not experience that traumatic event? When I interviewed a number of survivors (2007 - 2010), they saw no analogy between testimony (visual or oral) and memory. They argued that memory unlike testimony is personal (solid, inexplicable and indescribable). Memory is a “true picture” of experiencing the Cassinga massacre and enduring pain and suffering over the years. In considering survivors‟ challenge to the visually and orally obscured realities of the Cassinga massacre, this study will use a more lateral and alternative approach. This is a method of attempting to interrogate, among other issues of this study, the understanding of Cassinga beyond the inexperienced economies of this event production. The study also explores the different agencies, mainly political, that fuel and exacerbate the victims‟ unending pathos. These invasive miseries are anchored, according to survivors, in the “disrupted expectations” or forsaken human dignity of survivors and families of the missing victims, especially following Namibia‟s independence in 1990."</text>
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                <text>Vilho Amukwaya Shigwedha</text>
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