This searingly observant illustrated history of the women of Crossroads during the 1970s and 1980s tells a history of past and present organised resistance movements led by black women.

“I heard about the famous women of the Crossroads struggle, which resulted in Crossroads being the only African informal settlement in the 1970s to successfully resist the apartheid bulldozers… I wanted to know what happened to the women who spearheaded the struggle for Crossroads,” so says Koni Benson, the author of this graphic novel-style history, and lecturer in the Department of History at the University of the Western Cape.

Illustrated by South African political cartoonists, André and Nathan Trantraal, together with Ashley Marais, Crossroads: I Live Where I Like, joins some recent histories which are written for both children and adults alike. The candid illustration style and the deeply felt text is a testament not just to the team who produced the book, but to the remaining women of Crossroads, who wanted their stories to have the widest reach possible.

Crossroads: I Live Where I Like is a crucial exploration of a neglected part of South African history. It has all the hallmarks of a book that will be regarded as a pioneer in both form and content.

A broad range of cultural works produced in traditional and modern African communities shows a fundamental preoccupation with the concepts of communal solidarity and hospitality in societies driven by humanistic ideals. African Cultural Production and the Rhetoric of Humanism is an inaugural attempt to focus exclusively and extensively on the question of humanism in African art and culture. This collection brings together scholars from different disciplines who deftly examine the deployment of various forms of artistic production such as oral and written literatures, paintings, and cartoons to articulate an Afrocentric humanist discourse. The contributors argue that the artists, in their representation of civil wars, massive corruption, poverty, abuse of human rights, and other dehumanizing features of post-independence Africa, call for a return to the traditional African vision of humanism that is relentlessly being eroded by the realities of postcolonial nationhood.

A broad range of cultural works produced in traditional and modern African communities shows a fundamental preoccupation with the concepts of communal solidarity and hospitality in societies driven by humanistic ideals. African Cultural Production and the Rhetoric of Humanism is an inaugural attempt to focus exclusively and extensively on the question of humanism in African art and culture. This collection brings together contributors from different fields who critically examine the deployment of various forms of artistic production such as oral and written literatures, paintings, and cartoons to articulate an Afrocentric humanist discourse. The contributors argue that the artists, in their representation of civil wars, massive corruption, poverty, abuse of human rights, and other dehumanizing features of post-independence Africa, call for a return to the traditional African vision of humanism.