![]() In many ways one can read in Jan Van Riebeek’s nascent segregationist project the expansion of what might be termed ”global whiteness” that has come to define not only colonialism but, also, global capitalism.ĭefining design is a fraught and complex issue for it pertains to nearly every way in which reality is perceived or what one might call “social constructivism.” However, for the sake of this article we shall constrain it to physical readings, rather than abstract ones. ![]() Apartness in spatiality as defined by racial hegemony would only flourish in the years to come regardless of who was at the helm, be it the Dutch or the British or the Boers of Afrikaner nationalism of the mid-20th century in what had become widely known as Apartheid. However, it was not until Jan Van Riebeek and his henchmen planted an almond hedge with thorny bushes to wade off the natives from what he considered as the pristine paradise of whiteness at the Cape Peninsular that the elementary particles of racism in design were planted. It is not news that the roots of racism in South Africa arrived with Europeans at the Cape in the mid-17th century. ![]()
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