Romuald Hazoumé La Bouche du Roi (review)
Journal of Contemporary African Art160•Nka musical instruments alternately into a Signal Hill scene and into a constructed Cape Carnival procession, posing questions about the easy assumptions of cultural stereotypes. Perhaps, most tellingly in the context of the present essay, they dress their cast up as Coons, or Minstrels, moving in festival mode through the Bo-Kaap, on their way to wherever. In mockery. In challenge. In a power play.