CHRIS THURMAN: Chaotic ‘herri’, an incoherent way to coherently learn about music
Cluttered but beautiful, the digital publication promises to ‘turn academic work into public knowledge'
Aryan Kaganof is many things — filmmaker, writer, artist, historian, editor, provocateur. It is tempting to describe him as being like a chameleon, although that isn’t quite right. Certainly, he changes colours, deploying contrasting identities, moving between different environments and contexts with aplomb. As a documentarian or as a promoter of others’ work, he can blend into the background. But he is also, in many ways, conspicuous; he doesn’t fit in, he rubs against the grain, he is by nature nonconformist.
Perhaps it’s better to call him a shape-shifter. Over the years I have encountered him as a poet, as an unconventional political activist — one thinks of his films about Marikana and FeesMustFall — and even as a kind of public performance artist. He is, by turns, ironic and earnest. It’s very difficult to pin him down. Yet he is rigorously self-critical when it comes to the question of whiteness in SA and he is committed to both the ethical and intellectual considerati...
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