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This volume explores the inner dynamics of memory in all its variations, from its most destructive and divisive impact to its remarkable potential to heal and reconcile. It addresses issues on both the conceptual and the pragmatic level and its theoretical observations and reflections are informed by first-hand experiences ...
Essays in Memory of Jan-Georg Deutsch The volume observes some of the principles that drove Prof. Jan-Georg Deutsch's research: highlighting present-day politics for the way they shape historical remembrance, learning from people on the ground through fieldwork and oral history, and bringing various parts of the African continent into discussion with one another. From Cape Town to Charlottesville, many societies are grappling with historical consciousness and the production of public memory. In particular, how and why societies remember and forget, what should serve as symbols of collective memory, and whether there exists space for multiple memory cultures are questions being vigorously debated once again. These discussions present particular challenges not only to official memory bound to ideological constructions of nationhood but also to the teaching of history and its links to social justice movements. The volume re-centres Africa and African history in memory studies, with each chapter drawing parallels to comparable cases in Africa and the world. An underlying assumption is that what can be learned from the politics of historical memory in Africa will have relevance for contemporary politics globally and for understanding how memories can be mobilised for political ends.
African pasts examines African literatures in English since the end of colonialism, investigating how they represents African history through the twin matrices of memory and trauma. Inextricably tied up with the historical conditions of Africa’s colonisation, charting the emergence of its independence, and scrutinising Africa’s contemporary neo-colonial and postcolonial states as a legacy of the colonial past, African literatures are continually preoccupied with exploring modes of representation to ‘work through’ their different traumatic colonial pasts. Among other issues, this book deals with literature in the era of apartheid, the post-apartheid aftermath, metafictional experiments in African fiction, gender representation in reaction to the trauma of colonialism and ‘imprisonment narratives’. African pasts covers a wide range of African literatures and a cross-section of genres – fiction, poetry, prison-narratives, postcolonial theory – and embraces such well-known writers as Soyinka, Coetzee, Ngugi and Achebe, and more recent writers such as Nuruddin Farah, Tsitsi Dangarembga, Achmat Dangor, Etienne van Heerden, Zakes Mda, Gillian Slovo and Calixthe Beyala.
Explores the relation between histories of violence and their contemporary commemoration.
Nations as well as individuals are in many ways the sum of their memories, which are shaped by perception as much as by events. This collection of essays by South African academics looks at the ways the country is dealing with its past, a complex mixture of colonialism, slavery, apartheid,struggle, and guilt. The emphasis is on how that past is being perceived and moulded in the post-apartheid era.
DIVHow should post-apartheid South Africa present its history - in museums, monuments, and parks./div
In this collection, some of South Africa's most distinguished historians and social scientists present their views on the importance of history and heritage for the transformation of the South African society. Although popular use of history helped remove apartheid, the study of history lost status during the transition process. Some of the reasons for this, like the nature of the negotiated revolution, social demobilization, and individualization, are analyzed in this book. The combination of scholarly work with an active role in changing society has been a central concern in South African history writing. This book warns against the danger of history being caught between reconciliation, commercialization, and political correctness. Some of the articles critically examine the role of historians in ideological debates on gender, African agency, Afrikaner anti-communism, early South African socialism, and the role of the business world during late apartheid. Other contributions explore continuing controversies on the politics of public history in post-apartheid South Africa, describe the implementation of new policies for history education, or investigate the use of applied history in the land restitution process and in the TRC. The authors also examine a range of new government and private initiatives in the practical use of history, including the establishment of new historical entertainment parks and the conversion of museums and heritage sites. For readers interested in nation building processes and identity politics, this book provides valuable insight.
During the colonial period, Africans told each other terrifying rumors that Africans who worked for white colonists captured unwary residents and took their blood. In colonial Tanganyika, for example, Africans were said to be captured by these agents of colonialism and hung upside down, their throats cut so their blood drained into huge buckets. In Kampala, the police were said to abduct Africans and keep them in pits, where their blood was sucked. Luise White presents and interprets vampire stories from East and Central Africa as a way of understanding the world as the storytellers did. Using gossip and rumor as historical sources in their own right, she assesses the place of such evidence, oral and written, in historical reconstruction. White conducted more than 130 interviews for this book and did research in Kenya, Uganda, and Zambia. In addition to presenting powerful, vivid stories that Africans told to describe colonial power, the book presents an original epistemological inquiry into the nature of historical truth and memory, and into their relationship to the writing of history.
History, Memory and Public Life introduces readers to key themes in the study of historical memory and its significance by considering the role of historical expertise and understanding in contemporary public reflection on the past. Divided into two parts, the book addresses both the theoretical and applied aspects of historical memory studies. ‘Approaches to history and memory‘ introduces key methodological and theoretical issues within the field, such as postcolonialism, sites of memory, myths of national origins, and questions raised by memorialisation and museum presentation. ‘Difficult pasts‘ looks at history and memory in practice through a range of case studies on contested, complex or traumatic memories, including the Northern Ireland Troubles, post-apartheid South Africa and the Holocaust. Examining the intersection between history and memory from a wide range of perspectives, and supported by guidance on further reading and online resources, this book is ideal for students of history as well as those working within the broad interdisciplinary field of memory studies.
South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still fi nds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.