A Renegade Called Simphiwe

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Pumla Dineo Gqola. A Renegade Called Simphiwe

A Renegade Called Simphiwe. Pumla Dineo Gqola

Acknowledgements

Preface

No paradox:

Rapport

Desiring Simphiwe 1:

Desiring Simphiwe 2:

Love, language and anguish

Uncontained:

Freeing the imagination

Beautiful complexities – Departures

Bibliography

Author biography

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For my parents, Thato and Dambile, with all my love, and in deepest gratitude

Ingrid Masondo

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These are the kinds of artists that I think of as forming part of Simphiwe Dana’s community in a conceptual sense. There are others and different communities that a writer can claim for her subject, some of which are suggested in the chapters that follow. I have provided some information about each of the ones I mention in class and at the beginning of this chapter deliberately. I list them in order to say something about the very important ways in which these artists differ from each other, not only because they work in different artistic mediums, but also to illustrate something about the threads running through the off-centre choices they all make. They are also attractive to me partly because of their individual eccentricities which are evident within and in addition to their art works.

I am not saying that Simphiwe Dana’s renegade community is comprised only of artists, women, Black people, or only of Black women. But I have chosen to prioritise these artists for this chapter to clarify my own project here.

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