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Post-apartheid South African elections have borne an unmistakable racial imprint: Africans vote for one set of parties, whites support a different set of parties, and, with few exceptions, there is no crossover voting between groups. These voting tendencies have solidified the dominance of the ruling African National Congress (ANC) over South African politics and turned South African elections into 'racial censuses'. This book explores the political sources of these outcomes. It argues that although the beginnings of these patterns lie in South Africa's past, in the effects apartheid had on voters' beliefs about race and destiny and the reputations parties forged during this period, the endurance of the census reflects the ruling party's ability to use the powers of office to prevent the opposition from evolving away from its apartheid-era party label. By keeping key opposition parties 'white', the ANC has rendered them powerless, solidifying its hold on power in spite of an increasingly restive and dissatisfied electorate.
The first decade of the 21st century has seen a proliferation of North American and European films that focus on African politics and society. While once the continent was the setting for narratives of heroic ascendancy over self (The African Queen, 1951; The Snows of Kilimanjaro, 1952), military odds (Zulu, 1964; Khartoum, 1966) and nature (Mogambo, 1953; Hatari!,1962; Born Free, 1966; The Last Safari, 1967), this new wave of films portrays a continent blighted by transnational corruption (The Constant Gardener, 2005), genocide (Hotel Rwanda, 2004; Shooting Dogs, 2006), ‘failed states’ (Black Hawk Down, 2001), illicit transnational commerce (Blood Diamond, 2006) and the unfulfilled promises of decolonization (The Last King of Scotland, 2006). Conversely, where once Apartheid South Africa was a brutal foil for the romance of East Africa (Cry Freedom, 1987; A Dry White Season, 1989), South Africa now serves as a redeemed contrast to the rest of the continent (Red Dust, 2004; Invictus, 2009). Writing from the perspective of long-term engagement with the contexts in which the films are set, anthropologists and historians reflect on these films and assess the contemporary place Africa holds in the North American and European cinematic imagination.
As apartheid crumbled in South Africa, racial identity was thrown into question. Based on a year-long ethnographic study of a multiracial high school in Durban, this book explores how youth make meaning of the still powerful, yet changing, idea of race. In a world saturated with media images and global commodities, fashion and music become charged, polarized racial identifiers. As youth engage with this world, race simultaneously persists and falters, providing us with a glimpse into the future of race both within South Africa and throughout urban youth cultures worldwide.
An engrossing look at how history has been produced, contested, and unsettled in South Africa from Mandela's release to 2010.
Safari Nation opens new lines of inquiry in the study of national parks in Africa and the rest of the world. The Kruger National Park is South Africa’s most iconic nature reserve, renowned for its rich flora and fauna. According to author Jacob Dlamini, there is another side to the park, a social history neglected by scholars and popular writers alike in which blacks (meaning Africans, Coloureds, and Indians) occupy center stage. Safari Nation details the ways in which black people devoted energies to conservation and to the park over the course of the twentieth century—engagement that transcends the stock (black) figure of the laborer and the poacher. By exploring the complex and dynamic ways in which blacks of varying class, racial, religious, and social backgrounds related to the Kruger National Park, and with the help of previously unseen archival photographs, Dlamini’s narrative also sheds new light on how and why Africa’s national parks—often derided by scholars as colonial impositions—survived the end of white rule on the continent. Relying on oral histories, photographs, and archival research, Safari Nation engages both with African historiography and with ongoing debates about the “land question,” democracy, and citizenship in South Africa.
An examination of families and schools in South Africa, revealing how the marketisation of schooling works to uphold the privilege of whiteness.
Why and how has race become a central aspect of politics during this century? This book addresses this pressing question by comparing South African apartheid and resistance to it, the United States Jim Crow law and protests against it, and the myth of racial democracy in Brazil. Anthony Marx argues that these divergent experiences had roots in the history of slavery, colonialism, miscegenation and culture, but were fundamentally shaped by impediments and efforts to build national unity. In South Africa and the United States, ethnic or regional conflicts among whites were resolved by unifying whites and excluding blacks, while Brazil's longer established national unity required no such legal racial crutch. Race was thus central to projects of nation-building, and nationalism shaped uses of race. Professor Marx extends this argument to explain popular protest and the current salience of issues of race.
What is the meaning of blackness in Africa? This title tackles the question of race in West Africa through its post-colonial manifestations. Pierre examines key facets of contemporary Ghanaian society, from the pervasive significance of 'whiteness' to the practice of chemical skin-bleaching to the government's active promotion of Pan-African 'heritage tourism'.
An annotated edition of a classic text by South Africa's first black psychologist, a collection of essays reflecting on what it meant to be black during the apartheid years Being-Black-in-the-World, one of N. Chabani Manganyi’s first publications, was written in 1973 at a time of global socio-political change and renewed resistance to the brutality of apartheid rule and the emergence of Black Consciousness in the mid-1960s. Manganyi is one of South Africa’s most eminent intellectuals and an astute social and political observer. He has written widely on subjects relating to ethno-psychiatry, autobiography, black artists and race. In 2018 Manganyi’s memoir, Apartheid and the Making of a Black Psychologist was awarded the prestigious ASSAf (The Academy of Science of South Africa) Humanities Book Award. Publication of Being-Black-in-the-World was delayed until the young Manganyi had left the country to study at Yale University. His publishers feared that the apartheid censorship board and security forces would prohibit him from leaving the country, and perhaps even incarcerate him, for being a ‘radical revolutionary’. The book found a limited public circulation in South Africa due to this censorship and original copies were hard to come by. This new edition is an invitation to a younger generation of citizens to engage with early decolonialising thought by an eminent South African intellectual. While the essays in this book are clearly situated in the material and social conditions of that time, they also have a timelessness that speaks to our contemporary concerns regarding black subjectivity, affectivity and corporeality, the persistence of a racial (and racist) order and the possibilities of a renewed de-colonial project. Each of these short essays can be read as self-contained reflections on what it meant to be black during the apartheid years. Manganyi is a master of understatement, and yet this does not stop him from making incisive political criticisms of black subjugation under apartheid. The essays will reward close study for anyone trying to make sense of black subjectivity and the persistence of white insensitivity to black suffering. Ahead of its time, the ideas in this book are an exemplary demonstration of what a thoroughgoing and rigorous de-colonial critique should entail. The re-publication of this classic text is enriched by the inclusion of a foreword and annotation by respected scholars Garth Stevens and Grahame Hayes respectively, and an afterword by public intellectual Njabulo S. Ndebele.