The Castle of Good Hope

Click the image to view the present day layout of the Castle.

A walkabout at the Castle

Installations at the Castle, 2022-2023

During the Politics of Memory short course run by the University of Cape Town and the Foundation for Human Rights in June 2023 members visited the Castle of Good Hope. Unfinished Business projects on display were captured by Associate Professor and Project Director, Dr Helen Scanlon.

The Unfinished Business of Transitional Justice in South Africa Programme included the most recent projects of EdJAM's Unfinished Business in the walkabout of the grounds. Speakers from the FHR and the Justice and Transformation Programme, UCT, also reflected on how the projects explore the theory and practice of memory politics in South Africa.

The Castle of Good Hope, images from the Krotoa Forum: Reflections on the Life and Legacy of Krotoa, 01 October 2022 (see News and Events for more information)

About the installations

Sethembile Msezane, the Castle Chapel

The Rain of a Weeping River

The Rain of a Weeping River (2022)

Reborn from the cold fronts of the ocean that cloak Table Mountain with clouds, is the promise of a rain. This cloudburst becomes the streams and rivers that voyage across contested lands, disputed indigeneity and troubled pasts that continue to haunt the present.


Under the city currently known as Cape Town, is a story of a peoples, who like the streams of water that make up Camissa River(s) have become mythologised and buried underground by British and Dutch colonial rule. Absent figures are marked with staffs that are the rivers, the streams that voyage across lands of the Zambezi, Shashe-Limpopo, Umgeni, Vaal, Kai !Gariep, Kei, Keiskamma, Cumissa (Fish) down to the Camissa River which still flows in channels under the City of Cape Town.


On December 2022 on behalf the First Nation People, Kai Biá Hennie Van Wyk reiterates, “South Africa within the immediate period has not relinquished its oppressive character and nature that has been prevalent over the last 370 years in orchestrated campaigns, focused on destroying and annihilating the natural order of customary law practiced for centuries prior to the advent of discovery, by our indigenous aboriginal peoples who excelled in developing in complete harmony with all of creation.”


The Rain of a Weeping River is an ode to the sweet water that was meant to cleanse, heal and nourish. It is also for its custodians who once protected it and continue to try preserve indigenous knowledge that continues to flow through their descendant’s consciousness.

Images from behind the scenes of the installation at the Castle, November 2022.

Haroon Gunn-Salie, the Castle Arsenal

Crying for Justice

crying for justice
crying for justice
Crying for Justice, 2021

Crying for Justice was a site-specific installation by Haroon Gunn-Salie presented on the unmarked site near the historic gallows at the Castle of Good Hope in Central Cape Town.

The installation is made up of 118 graves excavated into the landscape, symbolising the 117 known activists killed in detention by apartheid security forces. The last grave acknowledges activists killed in detention and who remain unaccounted for.

The sculptural graveyard highlights the need to dig up the past to reveal the truth behind these brutal killings and is intended to remain in the landscape until the truth is revealed. 

When viewed from the rampart elevation of the Castle walls, the installation spells the word JUSTICE as a reverberating call to continue the fight for truth, justice and accountability in post-apartheid South Africa, and for the prosecution of those responsible for these politically-motivated crimes against humanity.

The Crying for Justice webinar is available to view here in our news updates.

About the ARTISTS

Sethembile Msezane

Using interdisciplinary practice encompassing performance, photography, film, sculpture and drawing, Msezane creates commanding works heavy with spiritual and political symbolism. The artist explores issues around spirituality, commemoration and African knowledge systems. She processes her dreams as a medium through a lens of the plurality of existence across space and time, asking questions about the remembrance of ancestry. Part of her work has examined the processes of mythmaking which are used to construct history, calling attention to the absence of the black female body in both the narratives and physical spaces of historical commemoration.

Her Public Holiday Series, a series of pieces placing her body in contrast to the colonial-era monuments in Cape Town’s CBD which she started in 2013, speaks to the necessary disruption of the Castle. View an excerpt from her TEDGlobal talk, ‘Living sculptures that stand for history’s truths,’ (2017), here and her recent written piece on the talk here (2020).

Sethembile_Msezane
Haroon Gunn-Salie

Haroon Gunn-Salie translates community oral histories into artistic interventions and installations and has worked with the Castle of Good Hope in this regard.

His multidisciplinary practice utilises a variety of mediums, drawing focus to forms of collaboration in contemporary art based on dialogue and exchange.

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