Sweet Home
In a junk shop in Observatory I find a painting which proclaims “Home Sweet Home”. I purchase it and take it back to furnish my room. I am starting to feel at home here, and its got me thinking about how you make a home, and whether a home begins to make you as well.
“Home..is supposedly a vessel for the identity of its occupants, a container for, and mirror of, the self”1 As migrants make home, they are also forming themselves, their new chosen identities, consciously using their home to reflect what they have chosen to keep, or leave behind, of their past homes. Daniel Miller writes about home as a process, a writing and rewriting of our personal narrative or biography.2
I notice the names of the informal settlements at the edges of town, on the front of the buses. Lost City, Panorama, and Sweet Home. I try to find out more about Sweet Home and discover:
“Sweet Home is an informal settlement that was originally a rubble dump in the Philippi farm area and is now home to approximately 12 000 people, with around ten people per home. It is still largely undeveloped in terms of access to water and electricity. Half of the community have no proper toilets and the other half share six families per toilet unit. Community leaders estimate that the unemployment rate is a shocking 70% and malnutrition and other social ills that go with poverty, pervade. Sweet Home is a community facing many social evils and although only a few kilometres from the wealth of the suburbs and city centre, most of the people who live there will never see the ‘other side’ of Cape Town.”3
The optimism of the name astounds me.
I ask Adelaide, our cleaner, about where she lives, and she describes her shack in Philippi as being about the size of our kitchen, 2 rooms for her and her 2 boys. It cost 4000R (about £400)she says, but she doesn’t own the land.
We make another research trip to Malmesbury, and meet Trevor Ringqvist, who recalls our family’s shop and says he has a photograph of the Darling Salt Pans and Produce Company delivery truck. We drive to his home, a dilapidated wonderland of overgrown jungle and two houses stuffed full with antiques. He lives alone amongst the relics of his family, the last one left. He sorts through piles of old photographs and pulls out a blurry image of a man standing by a truck, the logo clearly visible.
He tells us as he offers us a pomegranate from his tree that he can’t manage the place any more, its too much to keep up.
I think about immigrants arriving in a new place with nothing, gradually making home, acquiring, accumulating. I wonder how many possessions in the average shack and how many possessions in Trevor’s house. His house feels like a museum. The social action of ghosts creating an atmosphere of lost memories.
Katy Beinart
1Jonathan Hill (2009), Immaterial Architecture. Routledge
2Daniel Miller, Accomodating, in Colin Painter (2002), Contemporary art and the home, Berg Publishers
3 http://www.warehouse.org.za/progshf
picture credit: Resource Access cc. http://www.capetown.gov.za/en/stats/CityReports/Documents/Informal%20Settlements/Annexure_2C__Sweet_Home_Photos_2722006122351_359.pdf
