Son[i]a #372
Sarah Nuttall
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Sarah Nuttall is a South African scholar and the director of the Wits Institute for Social and Economic Research at the University of the Witwatersrand, Johannesburg. Over the past 10 years, her work has focused on post-colonial criticism, urban theory and literary and cultural studies, especially in relation to Africa and its diasporas. Her current area of interest revolves around water, heavy rainfall, flooding and hydrocolonialism, and how they intersect with materiality, time and daily life. But also around how water can be traced and analysed across works of literary fiction from the African continent. ‘Pluviality’, the umbrella term she coined for this purpose, serves as a conceptual framework and a methodological approach to her study of rain in an era of extreme climate emergency. The idea is to try and understand rain and water not just as weather phenomena, but as part of entire epistemologies and spiritualities, in which the human and more-than-human worlds overlap.
We talk to Sarah Nuttall about hydropolitics in the Global South, about entanglement, multi-spirited waters, and the elemental. We also go into extrapolative science fiction as prefigurative social theory, finding the right language and asking the right questions.
<p>Conversation: Roc Jiménez de Cisneros and Anna Ramos. Script and sound production: Roc Jiménez de Cisneros. Sounds: Rain recordings by BJ Nilsen. Voice over: Javiera Cadiz.</p><p>Image: Victoria Falls. Photo: Diego Delso/Wikimedia Commons.</p>
Life at the Edges of Shifting Rhythms
Artist and filmmaker, Shezad Dawood speaks with social and geopolitical anthropologist Mark Nuttall, whose work is embedded in circumpolar rural communities, tracing the entanglements between climate change, extractive industries and identity of place. They discuss the accumulated residues, ecological cosmologies and shifting futures that have emerged from the deepest corners of the oceans, the icy subsurface and geological entanglements of Greenland’s complex landscapes and the lives they hold. Creation myths, told by Greenlandic storyteller Maria Kreutzmann, bubble up from the dark depths of the ocean and rub up against dramatic changes in the landscape throughout the past century.
Deleted scenes
We dig up some outtakes from our conversation with South African artist Sethembile Msezane, who riffs on our disconnection from nature. Movement, water, ancestry and spirituality also come up, along with some side notes on the different types of relationships that institutions and public space make possible.
In previous episodes we have hinted at limits as an interesting feature of objects that are often fuzzy or vague, and therefore hard to outline. This time around, we take a radically different approach to limits. A much darker, urgent take on boundaries and edges, if you will. This is not so much about ontological boundaries, but rather about the dangers of looking at the world with no limits in mind. In dialogue with Andrea Ballestero and Chris Korda. Music by Jessica Ekomane.
Sethembile Msezane
Working from the foundations of historical narrative and its constructs, African knowledge systems, and a contemporary take on colonial wounds, South African artist Sethembile Msezane has an interdisciplinary practice that goes beyond critique. In this podcast, Sethembile talks about her rejection of modern throwaway culture, convinced that the history and experiences of ancestors contain clues and know-how that allow us to imagine different futures. She believes that good omens must enter through spirituality and dialogue with ancestors. Art is simply a tool.
Andrea Ballestero
Whether in her teaching or her participation in the popular resistance for universal access to water, Andrea Ballestero’s approach is a feedback exercise that completely blurs the division between theory and practice. Her work advocates a collaborative, feminist modus operandi on ethnography, as well as the affordances of the environment: be that an ecosystem, a regulatory agency, or 'the technolegal devices at the centre of these political mobilisations'. We talk to Andrea Ballestero about aquifers and amorphous futures, about imagination as an essential part of the academic research process, and about the potential of bureaucratic practices as cogs in a possible machinery of change—which does not necessarily have to involve large-scale global transformations.