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Reveals how liberal democracy and free-market economics reproduce the inequalities of apartheid in Cape Town, South Africa.
In this engaging book, Amber Reed provides a new perspective on South Africa’s democracy by exploring Black residents’ nostalgia for life during apartheid in the rural Eastern Cape. Reed looks at a surprising phenomenon encountered in the post-apartheid nation: despite the Department of Education mandating curricula meant to teach values of civic responsibility and liberal democracy, those who are actually responsible for teaching this material (and the students taking it) often resist what they see as the imposition of “white” values. These teachers and students do not see South African democracy as a type of freedom, but rather as destructive of their own “African culture”—whereas apartheid, at least ostensibly, allowed for cultural expression in the former rural homelands. In the Eastern Cape, Reed observes, resistance to democracy occurs alongside nostalgia for apartheid among the very citizens who were most disenfranchised by the late racist, authoritarian regime. Examining a rural town in the former Transkei homeland and the urban offices of the Sonke Gender Justice Network in Cape Town, Reed argues that nostalgic memories of a time when African culture was not under attack, combined with the socioeconomic failures of the post-apartheid state, set the stage for the current political ambivalence in South Africa. Beyond simply being a case study, however, Nostalgia after Apartheid shows how, in a global context in which nationalism and authoritarianism continue to rise, the threat posed to democracy in South Africa has far wider implications for thinking about enactments of democracy. Nostalgia after Apartheid offers a unique approach to understanding how the attempted post-apartheid reforms have failed rural Black South Africans, and how this failure has led to a nostalgia for the very conditions that once oppressed them. It will interest scholars of African studies, postcolonial studies, anthropology, and education, as well as general readers interested in South African history and politics.
Growing up in the new South Africa is based on rich ethnographic research in one area of Cape Town, together with an analysis of quantitative data for the city as a whole. The authors, all based at the time in the Centre for Social Science Research at the University of Cape Town, draw on varied disciplinary backgrounds to reveal a world in which young people's lives are shaped by an often adverse environment and the agency that they themselves exercise. This book should be read by anyone, whether inside or outside of the university, interested in the well-being of young South Africans and the social realities of post-apartheid South Africa.
Through a specific architectural lens, this book exposes the role the British Empire played in the development of apartheid. Through reference to previously unexamined archival material, the book uncovers a myriad of mechanisms through which Empire laid the foundations onto which the edifice of apartheid was built. It unearths the significant role British architects and British architectural ideas played in facilitating white dominance and racial segregation in pre-apartheid Cape Town. To achieve this, the book follows the progenitor of the Garden City Movement, Ebenezer Howard, in its tripartite structure of Country/Town/Suburb, acknowledging the Garden City Movement's dominance at the Cape at the time. This tripartite structure also provides a significant match to postcolonial schemas of Self/Other/Same which underpin the three parts to the book. Much is owed to Edward Said's discourse-analytical approach in Orientalism - and the work of Homi Bhabha - in the definition and interpretation of archival material. This material ranges across written and visual representations in journals and newspapers, through exhibitions and events, to legislative acts, as well as the physicality of the various architectural objects studied. The book concludes by drawing attention to the ideological potency of architecture which tends to be veiled more so through its ubiquitous presence and in doing so, it presents not only a story peculiar to Imperial Cape Town, but one inherent to architecture more broadly. The concluding chapter also provides a timely mirror for the machinations currently at play in establishing a 'post-apartheid' architecture and urbanity in the 'new' South Africa.
This study provides a window into the lives of ordinary South Africans more than ten years after the end of apartheid, with the promises of the democracy movement remaining largely unfulfilled. Catherine Besteman explores the emotional and personal aspects of the transition to black majority rule by homing in on intimate questions of love, family, and community and capturing the complex, sometimes contradictory voices of a wide variety of Capetonians. Her evaluation of the physical and psychic costs to individuals involved in working for social change is grounded in the experiences of the participants and illu-minates two overarching dimensions of life in Cape Town: the aggregate forces determined to maintain the apartheid-era status quo, and the grassroots efforts to effect social change.
DIVHow should post-apartheid South Africa present its history - in museums, monuments, and parks./div
In this innovative book, Duane Jethro creates a framework for understanding the role of the senses in processes of heritage making. He shows how the senses were important for crafting and successfully deploying new, nation-building heritage projects in South Africa during the post-apartheid period. The book highlights how heritage dynamics are entangled in evocative, changing sensory worlds. Heritage Formation and the Senses in Post-Apartheid South Africa features five case studies that correlate with the five main Western senses. Examples include touch and the ruination of a series of art memorials; how vision was mobilised to assert the authority of the state sponsored Freedom Park project in Pretoria; how small memories of apartheid era social life in Cape Town informed contemporary struggles for belonging after forced removal; how taste informed debates about the attempted rebranding of Heritage Day as barbecue day; and how the sound of the vuvuzela, popularised during the FIFA 2010 Football World Cup, helped legitimise its unofficial African and South African heritage status. This book makes a valuable contribution to the field of sensory studies and, with its focus on aesthetics and material culture, is in synch with the broader material turn in the humanities. This is important reading for students and scholars of anthropology, sociology, sensory studies, and transnational studies.
This open access book investigates the link between income inequality and socio-economic residential segregation in 24 large urban regions in Africa, Asia, Australia, Europe, North America, and South America. It offers a unique global overview of segregation trends based on case studies by local author teams. The book shows important global trends in segregation, and proposes a Global Segregation Thesis. Rising inequalities lead to rising levels of socio-economic segregation almost everywhere in the world. Levels of inequality and segregation are higher in cities in lower income countries, but the growth in inequality and segregation is faster in cities in high-income countries. This is causing convergence of segregation trends. Professionalisation of the workforce is leading to changing residential patterns. High-income workers are moving to city centres or to attractive coastal areas and gated communities, while poverty is increasingly suburbanising. As a result, the urban geography of inequality changes faster and is more pronounced than changes in segregation levels. Rising levels of inequality and segregation pose huge challenges for the future social sustainability of cities, as cities are no longer places of opportunities for all.
The political freedoms ushered in by the post 1994 transition were seen at that time as the basis for redressing long-standing economic deprivations suffered by the majority of the population. The reduction of poverty, in all its dimensions, was the goal. The volume will be of interest to researchers, graduate students, and to the technical staff of international agencies and government ministries.
For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an "identity" which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social - in this case pseudo-racial - identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Town's musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and "racial" categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.