abstract This visual essay is an exploration of slave women’s herstories deploying what Audre Lorde (1982) calls bio-mythography − to creatively imagine unrecorded herstories through art-making. Discovering my home was once a slave lodge, whose history had been artfully deleted, and realising the absence of a meaningful archive of slave women’s lives, I felt pressed to creatively engage with herstories of slave women at the Cape. Honouring slave herstory in the intimate space of home powerfully connects the personal and the political for me. This body of work, Khadi is an engagement with the politics of place, gender, race and culture, responding both to my African heritage, my Indian descent, and viscerally, to the place I call home, and its herstory, through the medium of sculpture. While the sculptures were an organic outflow of creative expression, I am indebted to the intellectual contributions of feminist scholars working on slavery at the Cape from different vantage points. These scholars and creatives include Gabeba Baderoon, Pumla Dineo Gqola, Floretta Boonzaier, Nadia Davids and Berni Searle, all of whom, in one or another way, engage with the Cape’s buried history of slavery and how it connects to our present.

中文翻译：

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卡迪 - 写在身体上：海角奴隶制的视觉之旅

摘要 这篇视觉文章探索了奴隶妇女的历史，运用了奥德丽·洛德 (Audre Lorde，1982) 所说的生物神话——通过艺术创作创造性地想象未记录的历史。发现我的家曾经是一个奴隶小屋，其历史已被巧妙地删除，并且意识到缺乏有意义的奴隶妇女生活档案，我感到有必要创造性地参与开普敦妇女的故事。在家庭的私密空间中纪念奴隶的历史对我来说有力地连接了个人和政治。Khadi 这部作品涉及地方、性别、种族和文化的政治，既回应了我的非洲传统、我的印度血统，又发自内心地回应了我称之为家的地方及其历史，通过媒介雕塑。虽然这些雕塑是创造性表达的有机流出，但我要感谢女权主义学者从不同角度研究开普敦奴隶制的智力贡献。这些学者和创作者包括 Gabeba Baderoon、Pumla Dineo Gqola、Floretta Boonzaier、Nadia Davids 和 Berni Searle，他们都以一种或另一种方式参与了开普敦埋藏的奴隶制历史及其与我们现在的联系。