Refiguring the Archive at once expresses cutting-edge debates on the archive' in South Africa and internationally, and pushes the boundaries of those debates. It brings together prominent thinkers from a range of disciplines, mainly South Africans but a number from other countries. Traditionally archives have been seen as preserving memory and as holding the past. The contributors to this book question this orthodoxy, unfolding the ways in which archives construct, sanctify, and bury pasts. In his contribution, Jacques Derrida (an instantly recognisable name in intellectual discourse worldwide) shows how remembering can never be separated from forgetting, and argues that the archive is about the future rather than the past. Collectively the contributors demonstrate the degree to which thinking about archives is embracing new realities and new possibilities. The book expresses a confidence in claiming for archival discourse previously unentered terrains. It serves as an early manual for a time that has already begun.

Handwriting is a learnt, physical skill that needs to be taught and practised. This manual shows how to get handwriting right from the outset and to progress successfully. Poor handwriting is a major cause of low self-esteem and can disguise ability. Only thorough assessment can pinpoint the weakness once something has gone wrong. Methods of assessment for pupils in difficulty and techniques to help them are given.;The manual: includes photocopiable pages for use in the classroom; introduces a teaching system and provides templates for assessment, monitoring and recording both for the individual and the whole class; offers clever and effective ways of assessing pupil ability and identifying and avoiding problems; offers teaching techniques to use with pre-writing pupils, the beginner writer and the more advanced learner with difficulties; and looks at some of the underlying causes of poor handwriting.

Handwriting is a learnt, physical skill that needs to be taught and practiced. This manual shows how to get handwriting right from the outset and to progress successfully. Poor handwriting is a major cause of low self-esteem, and can disguise ability. Only thorough assessment can pinpoint the weakness once something has gone wrong. Methods of assessment for pupils in difficulty and techniques to help them are given. The materials are tried and tested and have been used successfully in both mainstream and SEN settings and with pupils with dyslexia.

Refiguring the Archive at once expresses cutting-edge debates on `the archive' in South Africa and internationally, and pushes the boundaries of those debates. It brings together prominent thinkers from a range of disciplines, mainly South Africans but a number from other countries. Traditionally archives have been seen as preserving memory and as holding the past. The contributors to this book question this orthodoxy, unfolding the ways in which archives construct, sanctify, and bury pasts. In his contribution, Jacques Derrida (an instantly recognisable name in intellectual discourse worldwide) shows how remembering can never be separated from forgetting, and argues that the archive is about the future rather than the past. Collectively the contributors demonstrate the degree to which thinking about archives is embracing new realities and new possibilities. The book expresses a confidence in claiming for archival discourse previously unentered terrains. It serves as an early manual for a time that has already begun.

South African artist William Kentridge's drawings, films, books, installations, and collaborations with opera and theater companies have established him as a world-class star in contemporary art, media, and theater. In 2010, and again in 2013, he staged Dmitri Shostakovich's The Nose at the Metropolitan Opera; after the premiere, the New York Times noted that "Kentridge, who directed this production, helped design the sets and created the videos that animate the staging, received the heartiest bravos." In this book, Jane Taylor, Kentridge's friend and frequent collaborator, invites us to take an extraordinary behind-the-scenes look at his work for the show. Kentridge has long been admired for his unconventional use of conventional media to produce art that is stunning, evocative, and narratively powerful and how he works is as important as what he creates. This book is more than just a simple record of The Nose. The opera serves as a springboard into a bracing conversation about how Kentridge's methods serve his unique mode of expression as a narrative and political artist. Taylor draws on his etchings, sculptures, and drawings to render visible the communication that occurs between his mind and hand as he thinks through the activity of making. Beautifully illustrated in color, William Kentridge offers striking insights about one of the most innovative artists of our present moment.

First premiered in South Africa at the Grahamstown festival in 1997, the play Ubu and the truth commission is being restaged around the world to mark the occasion of 20 years after the end of apartheid. Over its life it has become a set work in drama courses locally and internationally. The play is a collaboration between writer Jane Taylor, artist William Kentridge, and Basil Jones and Adrian Kohler of the Handspring puppet company, recently acclaimed for their play War horse, which has toured the world. The script, together with a selection of William Kentridge's drawings, and photographs taken from the performance showing the puppets and performers, brings together the powerful multimedia effects of the stage performance. And in this revised edition, the writer, director and puppeteers have added to their notes accompanying the play, reflecting on what the play means 20 years after it was first performed. Ubu and the truth commission is based on the scandalous character created by the French surrealist poet, Alfred Jarry, but it is more than just a dramatisation of evil adapted to a contemporary South African context. Taylor and Kentridge have skilfully woven Jarry's themes of extreme violence, conceit, cowardice and self-pity with revelations from the Truth and reconciliation commission. Ubu is forced to confront the consequences of his actions through the testimony of his victims. The play remains as relevant today as it was 20 years ago.