(2013) Negotiating the ‘(Ab)normality’ of (Anti-)Apartheid: Transnational Relations within a Dutch-South African Family (original) (raw)
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Negotiating memory and nation building in new South African drama
2009
This thesis examines the representation of trauma and memory in six post-Apartheid plays. The topic is explored through a treatment of the tropes of racial segregation, different forms of dispossession as well as violence. The thesis draws its inspiration from the critical and self-reflexive engagements with which South African playwrights depict the Truth and Reconciliation Commission. The dramatists are concerned with the contested nature of the TRC as an experiential and historical archive. Others explore the idea of disputed and seemingly elusive notions of truth (from the embodied to the forensic). Through the unpacking of the TRC, as reflected in three of the plays, the thesis argues that apart from the idea of an absolute or forensic truth, the TRC is also characterised by the repression of truth. Furthermore, there is a consideration of debates around amnesty, justice, and reparations. Underpinning the politics and representations of trauma and memory, the thesis also interrogates the concomitant explorations and implications of identity and citizenship in the dramas. In the experience of violence, subjugation and exile, the characters in the dramas wrestle with the physical and psychological implications of their lived experiences. This creates anxieties around notions of self and community whether at home or in exile and such representations foreground the centrality of memory in identity construction. All these complex personal and social challenges are further exacerbated by the presence of endemic violence against women and children as well as that of rampart crime. The thesis, therefore, explores the negotiation of memory and identity in relation to how trauma could be mitigated or healing could be attained. The thesis substantially blurs the orthodox lines of differentiation between race and class, but emphasises the centrality of the individual or self in recent post-Apartheid engagements.
South African Historical Journal, special issue on Anti-Fascism, 2022
This contribution addresses the dynamics of Dutch memory politics in the Dutch–South African exchanges between 1948 and 1975. The 1948 election victory of the Nationalist Party and their Apartheid policies brought about painful memories of Nazi attrocities, antisemitic persecurtion and anti-fascist struggle in the Netherlands. Soon, however, the Dutch government acquired an interest in highlighting a different history in relation to South Africa when referring to the notion of stamverwantschap. This implied an ethnic–racial identification of the Dutch with White, Nationalist South Africans on the basis of an alleged shared history of Dutchness. These memory politics changed after ‘Sharpeville’ in the 1960s. Once more memories of racist exclusion during National Socialism were revived in relation to the Apartheid regime. These memories facilitated and were strengthened by a growing anti-Apartheid movement. Yet, in their effort to be ‘on the right side of history’, the grassroots memory politics of the anti-Apartheid movement ignored the Dutch colonial implementation of racial inequality and its effects, not only on the Apartheid policies but also in contemporary Dutch society. This article aims to explore spaces for a synergy between narratives of historical catastrophe such as colonialism and Nazism, both with deep historical and intellectual roots in many parts of the world.
South African Historical Journal, special issue on Anti-Fascism, 2022
This contribution addresses the dynamics of Dutch memory politics in the Dutch–South African exchanges between 1948 and 1975. The 1948 election victory of the Nationalist Party and their Apartheid policies brought about painful memories of Nazi attrocities, antisemitic persecurtion and anti-fascist struggle in the Netherlands. Soon, however, the Dutch government acquired an interest in highlighting a different history in relation to South Africa when referring to the notion of stamverwantschap. This implied an ethnic–racial identification of the Dutch with White, Nationalist South Africans on the basis of an alleged shared history of Dutchness. These memory politics changed after ‘Sharpeville’ in the 1960s. Once more memories of racist exclusion during National Socialism were revived in relation to the Apartheid regime. These memories facilitated and were strengthened by a growing anti-Apartheid movement. Yet, in their effort to be ‘on the right side of history’, the grassroots memory politics of the anti-Apartheid movement ignored the Dutch colonial implementation of racial inequality and its effects, not only on the Apartheid policies but also in contemporary Dutch society. This article aims to explore spaces for a synergy between narratives of historical catastrophe such as colonialism and Nazism, both with deep historical and intellectual roots in many parts of the world.
Chapter from the book ‘Post-1990 Documentary: Reconfiguring Independence’ edited by Camille Deprez and Judith Pernin - UNPUBLISHED This chapter aims to explore how South African documentary practice has evolved since the 1990s, leading to the emergence of film practices based on a single individual. Beyond the inherent benefits and drawbacks of working alone, it mainly questions its consequences on the filmmakers' practices and film aesthetics. Films referred to in this chapter include The Mothers’ House (Verster, 2006), Surfing Soweto (Blecher, 2010), Dawn of a New Day (Grunenwald, 2011), Imam and I (Shamis, 2011), Saying Goodbye (Mostert, 2012) and Incarcerated Knowledge (Valley, 2013). Although these are not the only films pertaining to this filmmaking model, they reflect how more individualised and personal film documentary practices are intrinsically linked to the character of independent documentary filmmaking in South Africa today, as they contribute new critical views on the contested issue of post-apartheid national identity. In order to understand the significance of the current, post-1990, practice of lone documentary filmmaking, this chapter will first trace some of SA's political and broadcast history.
South African Journal of African Languages, 2011
From the early 1990s, the South African Broadcasting Corporation (SABC) emphasized social engineering policies such as nation building and neo-liberalist policies in their programming that were in line with South Africa's new political economy. Through a study of two South African drama series, Ifa LakwaMthethwa and Hlala Kwabafileyo, this article will demonstrate how these films drew from the neo-liberal policies and popular culture discourses germane to contemporary creolized cultural processes to construct 'aspirational' narratives (as defined by Vundla and McCarthy, producers of Generations and Gaz' Lam II respectively), that reflect changing economic patterns in post-apartheid African society. Furthermore, the article will demonstrate how these films highlight notions of contemporeinity brought about by the interplay between tradition and modernity, the international world system and the local, and the flow of metropolitan meaning through national culture right up to that of the most remote backwater villages. The change underpinned by the thematic frontiers of these films is read against the traditional cultural frames of inheritance convention, which in both filmic narratives are signalled by the pivotal use of the genres from the oral/popular discourse. Changing dramatic form or the technical apparatus of theatre or other media does not automatically lead to the transformation of society. ... only a full transformation of the social relations that determine who produces, finances and validates the dramatic form-whether in the theatre, radio or film, or in our day, in television, and an array of new media-will amount to a revolution.
Remembering life under apartheid with fondness: the memoirs of Jacob Dlamini and Chris van Wyk
English in Africa, 2016
A number of works of non-fiction written in the post-apartheid period reflect on childhood and adolescent experiences during the apartheid years. This paper looks at three of them: Jacob Dlamini's Native Nostalgia (2009) and Chris van Wyk's two memoirs, Shirley, Goodness and Mercy (2004) and Eggs to Lay, Chickens to Hatch (2010). Dlamini's memoir describes his childhood in Katlehong, while van Wyk's deal with his early experiences in Riverlea. These memoirs are unusual in that, while they do not hesitate to expose the injustices of apartheid, they nevertheless seek to convey the persistence of normality and the "ordinariness" of family and community life within the abnormality of apartheid. This paper considers the implications of "fondness" or nostalgia in all three memoirs, as well the ways in which Dlamini and van Wyk present non-deterministic conceptions of identity and pay tribute to powerful matriarchal figures. The use of humour in Shirley, Goodness and Mercy and Eggs to Lay, Chickens to Hatch is also analysed. Finally, some possible reasons are given as to why van Wyk's memoirs seem to have been spared much of the criticism which has been directed at Dlamini's.
2012
This research seeks to be a methodological contribution to the fields of visual and memory studies. It enters these conversations through the family photograph found in the home of forcibly removed ex-residents of Roger Street, District Six, Cape Town in an attempt to think about ways of living during and after apartheid. Through this study, practically and theoretically, I engage with the challenges of restorative justice and contemplate how the family photograph may be engaged as a transactional object of translation in this contested area. I look at apartheid through District Six land claims and address as well, questions of trauma, memory, and freedom in the aftermath of apartheid. This dissertation therefore seeks to place three seemingly distinct literatures in the same frame: that of photography, that of memory, and that of justice and freedom. Conflicts over land, both local and global, range across the continuum, where long-term residents are displaced to make way for new developments and the other extreme where residents are forcibly displaced, violently evicted. What is clear in all of these instances, however, is that the problem cannot be reduced to one of monetary remuneration, that the land itself is imbued with meaning that cannot be measured in monetary terms. It is important to recognize-not only that land/place may mean different things to different people, but also that it can mean multiple "things" to the same person. Unless we recognize the multidimensionality of the meanings of land, as well thinking about what it means to be oppressed, any attempts to engage in restitution or restorative justice are destined to fail. This thesis attempts to think through how an ordinary object-the photograph-can be used to gain an interior look into how oppressed people lived during apartheid, and how they List of Acronyms