References

Footnotes:

 

1 Zeller: Weisse Blicke, pp. 35–36.

 

2 ibid., p. 31.

 

3 ibid., p. 51.

 

4 ibid., p. 17.

 

5 Zeller: Bilderschule, p. 7.

 

6 Nederveen Pieterse: White on Black, pp. 193–194.

 

7 Zeller: Bilderschule, p. 17.

 

8 English version published in 1991.

 

9 cf. Hutter: Mangel an Sensibilität. Citation translated from the German original.

 

10 cf. Haruna: (K)eine zeitlose Kunst.

 

11 Mason: Black and White in Ink, pp. 150 ff.

 

12 Storyteller Group / SACHED Trust (ed.): Mhudi, front cover jacket text.

 

13 Between 1990 und 2000, the Storyteller Group published over thirty comic books (ca. 10 million copies). cf. Schneider: Life in Bubbles, p. 222.

 

14 Mason: Ten Years After, pp. 287–288.

 

15 ibid., pp. 288–289.

 

16 The library of the Basler Afrika Bibliographien has a number of such awareness comics.

 

17 Hillenbach: Authentisierungsstrategien, pp. 139–144.

 

18 After the success of Aya, since 2010, Abouet published seven more volumes with short stories about Akissi, who was introduced in Aya as the younger sister of the protagonist. The drawings were done by Mathieu Sapin.

 

19 Hoeness-Krupsaw: Ivorian Bonus, p. 162.

 

20 ibid., pp. 169–170.

 

21 cf. Harris: “Sex and the City”, p. 119.

 

22 Abouet / Oubrerie: Aya de Yopougon, Vol. 1, p. 51.

 

23 UNESCO (ed.): Lamu Old Town.

 

24 Tempo, No. 303, 25.07.1976, p. 2. According to the accompanying text, this caricature represented the internal enemy. The imagery should help “our people” to recognize and fight Xiconhocas and all they represent. Xiconhoca was never attributed to a creator, but according to Sahlström (Political Posters, pp. 61ff.) José Freire, João Craveirinha and Agostinho Milhafre collaborated on the character.

 

25 Buur: Xiconhoca, p. 31.

 

26 ibid., p. 40.

 

27 Nielsen: Antithesis without Thesis, p. 4.

 

28 Lent: African Cartooning, p. 8.

 

29 Mason: What’s so Funny?, p. 211.

 

30 cf. The Walt Disney Company: Infographic.

 

31 cf. for example the column of the online magazine Afropunk, which partially summarises this controversy about the film: Chutel: Black Panther Has Some Impressive Superpowers.

 

32 Well known is Umberto Eco’s criticism of Superman Comics, where he writes about Superman’s lack of political consciousness as typical of the genre. cf. Eco: Il mito di Superman.

 

33 cf. Schikowski: Der Comic, p. 93.

 

34 cf. for example Lamarr Cunningham: The Absence of Black Supervillains in Mainstream Comics.

 

35 cf. Solinas: Dave Gibbons Interview.

 

36 Illustrator Gibbons talks about some of the considerations behind the comic and the guidelines to the artists in: Solinas: Dave Gibbons Interview.

 

37 It went down in South African history as the Muldergate affair. cf. Worger: Afri-Comics Introduction.

 

38 Mighty Man was produced thanks to investors from the USA.

 

39 After the term that Umberto Eco uses in his Superman critique. Eco: Il mito di Superman, p. 253–260.

 

40 Duncan / Smith: Power of Comics, pp. 39–40.

 

41 ibid., p. 52.

 

42 Stores where one could buy cannabis, cf. ibid., p. 55.

 

43 ibid., p. 52.

 

44 Edited interview quote from Anton Kannemeyer and Conrad Botes in Botes’ Studio, Observatory Cape Town (6 February 2004). Cited in: Hannesen: Bitterkomix, pp. 13–16.

 

45 From an interview with Anton Kannemeyer and Conrad Botes in Botes’ Studio, Observatory Cape Town (6 February 2004). In: ibid., p. 20.

 

46 From an interview with Anton Kannemeyer (31 October 2018).

 

Bibliography

 

Buur, Lars: Xiconhoca. Mozambique’s Ubiquitous Post-Independence Traitor. In: Kelly, Tobias / Thiranamaga, Sharika (eds.): Traitors. Suspicion, Intimacy, and the Ethics of State-Building. Philadelphia 2010, pp. 24–47.

 

Chutel, Lynsey: Black Panther Has Some Impressive Superpowers – Solving Cultural Appropriation Isn’t One of Them. In: Afro Fantasy, 12.06.2017, https://qz.com/1003692/marvels-black-panther-and-wakanda-raises-questions-about-african-cultural-appropriation/ (accessed 30 June 2018).

 

Cunningham, Phillipp Lamarr: The Absence of Black Supervillains in Mainstream Comics. In: Journal of Graphic Novels and Comics, Vol. 1, 2010, pp. 51–62.

 

Duncan, Randy / Smith, Matthew J.: The Power of Comics. History, Form and Culture. New York / London 2013.

 

Eco, Umberto: Il mito di Superman. In: Apocalittici e integrati. Milan 1978, pp. 219–261.

 

Hannesen, Anne-Line: Bitterkomix. A South African Comic as an Indigenous Ethnography. Frankfurt am Main 2007.

 

Harris, Maria: “Sex and the City”: The Graphic Novel Series Aya as West African Comedy of Manners. In: International Journal of Comic Art, Vol. 11, No. 2, 2009, pp. 119-135.

 

Haruna, Hadija: (K)eine zeitlose Kunst. In: Heinrich Böll Stiftung. Heimatkunde. Migrationspolitisches Portal, 24.02.2014, https://heimatkunde.boell.de/2014/02/24/keine-zeitlose-kunst (accessed 2 August 2018).

 

Hillenbach, Anne: Authentisierungsstrategien in historischen Comics. In: Hangartner, Urs / Keller, Felix / Oechslin, Dorothea (eds.): Wissen durch Bilder. Sachcomics als Medien von Bildung und Information. Bielefeld 2013, pp. 131-147.

 

Hoeness-Krupsaw, Susanna: Ivorian Bonus: Teaching Abouet and Oubrerie’s Aya. In: Dong, Lan (ed.): Teaching Comics and Graphic Narratives. Essays on Theory, Strategy and Practice. Jefferson 2012, pp. 161-172.

 

Hutter, Ralf: Mangel an Sensibilität. In: neues deutschland, 02.02.2013, http://www.neues-deutschland.de/artikel/811709.mangel-an-sensibilitaet.html (accessed 8 May 2018).

 

Lent, John A.: African Cartooning. An Overview of Historical and Contemporary Issues. In: Lent, John A. (ed.): Cartooning in Africa. Cresskill 2009, pp. 1–28.

 

Mason, Andy: Black and White in Ink. Discourses of Resistance in South Africa, 1985-1994. Pietermaritzburg 2004.

 

Mason, Andy: Ten Years After: South African Cartooning and the Politics of Liberation. In: Lent, John A. (ed.): Cartooning in Africa. Cresskill 2009, pp. 247-302.

 

Mason, Andy: What’s so Funny? Under the Skin of South African Cartooning. Claremont 2010.

 

Nederveen Pieterse, Jan: White on Black. Images of Africa and Blacks in Western Popular Culture. New Haven / London 1992.

 

Nielsen, Morten: Antithesis without Thesis. Virtuality and Its Negation in Maputo, Mozambique. Aarhus 2010, http://pure.au.dk/portal/files/34321825/Morten_Nielsen_Antithesis_without_Thesis.pdf (accessed 17 April 2018).

 

Sahlström, Berit: Political Posters in Ethiopia and Mozambique. Visual Imagery in a Revolutionary Context. Uppsala 1990.

 

Schikowski, Klaus: Der Comic. Geschichte, Stile, Künstler. Stuttgart 2014.

 

Schneider, Jürg: Life in Bubbles. Comics in Kamerun und Südafrika nach 1990. In: Schneider, Jürg / Roost Vischer, Lilo / Péclard, Didier (eds.): Werkschau Afrikastudien, Vol. 4. Münster 2004, pp. 203-228.

 

Solinas, Antonio: Dave Gibbons Interview. In: Sardinian Connection, 08.10.2009, http://sardinianconnection.blogspot.ch/2009/10/dave-gibbons-interview-1.html (accessed 30 June 2018).

 

Tempo, No. 303, 25.07.1976.

 

UNESCO (ed.): Lamu Old Town, http://whc.unesco.org/en/list/1055 (accessed 23 March 2018).

 

The Walt Disney Company: Infographic: ‘Black Panther’ Reigns Supreme at the Box Office. In: The Walt Disney Company, 13.04.2018, https://www.thewaltdisneycompany.com/infographic-black-panther-reigns-supreme-at-the-box-office/ (accessed 30 June 2018).

 

Worger, William: Afri-Comics Introduction. In: UCLA Library, 07.05.2018, http://idep.library.ucla.edu/news/afri-comics-introduction (accessed 30 June 2018).

 

Zeller, Joachim: Bilderschule der Herrenmenschen. Koloniale Reklamesammelbilder. Berlin 2008.

 

Zeller, Joachim: Weisse Blicke – Schwarze Körper: Afrika im Spiegel westlicher Alltagskultur. Bilder aus der Sammlung von Peter Weiss. Erfurt 2010.

 

Comics

 

Abouet, Marguerite / Oubrerie, Clément: Aya de Yopougon, 6 Vols. Paris 2005-2010.

 

Abouet, Marguerite / Sapin, Mathieu: Akissi, 7 Vols. Paris 2010-2016.

 

Avenall, Don / Bolland, Brian / Gibbons, Dave / Worker, Norman: Power Comics. London 1988.

 

Beninger, Christina: How to Register the Birth of Your Child. Windhoek 2011.

 

Coomer, Rachel: Child Labour. Windhoek 2010.

 

Diantantu, Serge: Mémoire de l’esclavage, 5 Vols. Lamentin / Petit Bourg 2010-2015.

 

Flao, Benjamin: Kililana Song, 2 Vols. Hamburg 2012-2013.

 

FRELIMO (ed.): Xiconhoca o enemigo. Maputo 1979.

 

Hergé: Tintin au Congo, Paris 1974.

 

Hergé: Tintin au Congo, Paris 1982.

 

Hergé: Tim im Kongo, Hamburg 1997.

 

Kannemeyer, Anton: Pappa in Afrika. Auckland Park 2010.

 

Kannemeyer, Anton: Pappa in Doubt. Auckland Park 2015.

 

Kannemeyer, Anton / Botes, Conrad (eds.): The Best of Bitterkomix, Vol. 1. Stellenbosch 1998.

 

Kannemeyer, Anton / Botes, Conrad (eds.): The Best of Bitterkomix, Vol. 2. Cape Town 2002.

 

Kannemeyer, Anton / Botes, Conrad (eds.): Bitterkomix 17. Cape Town 2016.

 

Mkize, Loyiso: Kwezi, Issue 1–6 (Collector’s Edition). Cape Town 2016.

 

N’galle Edimo, Christophe / Al’Mata: Le retour au pays d’Alphonse Madiba dit Daudet. Paris 2010.

 

Okupe, Roye: E.X.O. – The Legend of Wale Williams, Part One. North Bethesda 2015.

 

Okupe, Roye: Malika: Warrior Queen, Part One. North Bethesda 2017.

 

SACHED Trust (ed.): Down Second Avenue. Johannesburg 1988.

 

SACHED Trust (ed.): Equiano: The Slave Who Fought to Be Free. Johannesburg 1988.

 

Storyteller Group (ed.): Heart to Heart. Melville 1994.

 

Storyteller Group (ed.): The Mystery of the Deadly River. Melville 1998.

 

Storyteller Group (ed.): The River of Our Dreams. Melville 1991.

 

Storyteller Group / SACHED Trust (eds.): Mhudi. Sol Plaatje’s Classic Tale of Love and War in the Time of Mzilikazi. Melville / Johannesburg 1991.

 

Zapiro: Pirates of Polokwane. Cartoons from Mail & Guardian, Sunday Times, Independent Newspapers. Auckland Park 2008.

 

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