Questions that concern gender and violence against women have been placed firmly on the agenda of interdisciplinary research within the humanities in recent years. Gender-based violence against women has increased exponentially in South Africa and in other countries on the African continent, particularly those with a history of political conflict. Researchers who explore such gender issues have paid limited attention to the intersection between the social contexts of the researched, the positionality of the researcher and the research product. This book brings together an interdisciplinary group of scholars and scholar-activists to explore new terrains of knowledge production, interrogating the connection between the intellectual project of this kind of research and the process of its production. Some chapters draw on theoretical insights and provide new ways of thinking about the kinds of questions that should be asked when conducting research in the field of gender. Other authors grapple with an acknowledgement of their multiple social positions in the world, the ways in which they experience these ever-shifting boundaries, and how this influences their theoretical and practical work. Some contributions go further, discussing the ways in which the researcher and the researched influence each other, and the link between feminist research and social change. These chapters contribute to an understanding of how social movement activism can be developed. Overall, this book represents an important combination of scholarly insights, and provides multiple reflections about practical aspects of conducting gender research in the African context. The work of the contributors to the volume is situated within a post-structural feminist agenda, and, collectively, the chapters link scholarship and activism in a way that pursues a social change agenda in research on gender and gender-based violence.

In Muddying the Waters, Richa Nagar embarks on an eloquent and moving exploration of the promises and pitfalls she has encountered during her two decades of transnational feminist work. With stories, encounters, and anecdotes as well as methodological reflections, Nagar grapples with the complexity of working through solidarities, responsibility, and ethics while involved in politically engaged scholarship. Experiences that range from the streets of Dar es Salaam to farms and development offices in North India inform discussion of the labor and politics of coauthorship, translation, and genre blending in research and writing that cross multiple--and often difficult--borders. The author links the implicit assumptions, issues, and questions involved with scholarship and political action, and explores the epistemological risks and possibilities of creative research that bring these into intimate dialogue Daringly self-conscious, Muddying the Waters reveals a politically engaged researcher and writer working to become ""radically vulnerable,"" and the ways in which such radical vulnerability can allow a re-imagining of collaboration that opens up new avenues to collective dreaming and laboring across sociopolitical, geographical, linguistic, and institutional borders.

What’s a Cellphilm? explores cellphone video production for its contributions to participatory visual research. There is a rich history of integrating participants’ videos into community-based research and activism. However, a reliance on camcorders and digital cameras has come under criticism for exacerbating unequal power relations between researchers and their collaborators. Using cellphones in participatory visual research suggests a new way forward by working with accessible, everyday technology and integrating existing media practices. Cellphones are everywhere these days. People use mobile technology to visually document and share their lives. This new era of democratised media practices inspired Jonathan Dockney and Keyan Tomaselli to coin the term cellphilm (cellphone + film). The term signals the coming together of different technologies on one handheld device and the emerging media culture based on people’s use of cellphones to create, share, and watch media. Chapters present practical examples of cellphilm research conducted in Canada, Hong Kong, Mexico, the Netherlands and South Africa. Together these contributions consider several important methodological questions, such as: Is cellphilming a new research method or is it re-packaged participatory video? What theories inform the analysis of cellphilms? What might the significance of frequent advancements in cellphone technology be on cellphilms? How does our existing use of cellphones inform the research process and cellphilm aesthetics? What are the ethical dimensions of cellphilm use, dissemination, and archiving? These questions are taken up from interdisciplinary perspectives by established and new academic contributors from education, Indigenous studies, communication, film and media studies.

This book explores the textures of women’s narratives of patriarchal oppression of female sexuality. Postcolonial feminist scholars in Africa highlight the importance of moving beyond Westernised lenses of ‘African’ women’s powerlessness, towards a focus on women’s culturally-specific sexual agency. However, few studies explore women’s psychological experiences of sexual oppression/agency in real depth. Narrative Landscapes of Female Sexuality in Africa traces the narratives of heterosexual migrant women from Zimbabwe, Kenya and Congo. The book offers insight into women’s experiences ‘back home,’ travelling through border posts in Africa, and life in current post-apartheid South Africa. Through a unique collectively-based methodology and a feminist poststructuralist lens, the author examines narrative strategies used by the women to manage and psychologically resist harmful discourses surrounding female sexuality and women’s bodies. The book offers rich exploration of the intersections of gender and sexuality, class, race and citizenship situating the narratives within the wider context of poverty and migration in sub-Saharan Africa. These vectors of oppression are illuminated throughout the text via integrated threads of the researcher’s positionality in relation to the women narrators.

Contributors from various theological higher education institutions in South Africa and beyond come together to reflect on the best pedagogical practices to teach on often complex issues of gender, sexual orientation, race, and class, and on how they impact on health in our classrooms, in our churches, and in the communities where we live and work.

The book examines how men and women in Manenberg township, on Cape Town’s inner periphery, manoeuvre to re-define themselves as gendered persons deserving of dignity, through the quotidian practices of ordentlikheid or respectability. Salo shows how reclamation of dignity is an intergenerational and gendered process that is messy and uneven, involves the expression of often-brutal physical and social exclusion of individuals through embodied and social violence. Theoretically, the narrative makes visible the careful, painstaking processes of place making and claiming dignity by men and women in a place represented as a wasteland in the dominant discourse of grand apartheid and in the contemporary neo-liberal turn in Cape Town.

Drawn by South African political cartoonists the Trantraal brothers and Ashley Marais, Crossroads: I Live Where I Like is a graphic nonfiction history of women-led movements at the forefront of the struggle for land, housing, water, education, and safety in Cape Town over half a century. Drawing on over sixty life narratives, it tells the story of women who built and defended Crossroads, the only informal settlement that successfully resisted the apartheid bulldozers in Cape Town. The story follows women’s organized resistance from the peak of apartheid in the 1970s to ongoing struggles for decent shelter today. Importantly, this account was workshopped with contemporary housing activists and women’s collectives who chose the most urgent and ongoing themes they felt spoke to and clarified challenges against segregation, racism, violence, and patriarchy standing between the legacy of the colonial and apartheid past and a future of freedom still being fought for. Presenting dramatic visual representations of many personalities and moments in the daily life of this township, the book presents a thoughtful and thorough chronology, using archival newspapers, posters, photography, pamphlets, and newsletters to further illustrate the significance of the struggles at Crossroads for the rest of the city and beyond. This collaboration has produced a beautiful, captivating, accessible, forgotten, and in many ways uncomfortable history of Cape Town that has yet to be acknowledged. Crossroads: I Live Where I Like raises questions critical to the reproduction of segregation and to gender and generational dynamics of collective organizing, to ongoing anticolonial struggles and struggles for the commons, and to new approaches to social history and creative approaches to activist archives.