History after Apartheid explores the dilemmas posed by a wide range of visual and material culture including key South African heritage sites. How prominent should Nelson Mandela and the African National Congress be in the museum at the infamous political prison on Robben Island? How should the postapartheid government deal with the Voortrekker Monument mythologizing the Boer Trek of 1838? Coombes highlights the contradictory investment in these sites among competing constituencies and the tensions involved in the rush to produce new histories for the “new” South Africa.
She reveals how artists and museum officials struggled to adequately represent painful and difficult histories ignored or disavowed under apartheid, including slavery, homelessness, and the attempted destruction of KhoiSan hunter-gatherers. Describing how contemporary South African artists address historical memory and the ambiguities uncovered by the Truth and Reconciliation Commission, Coombes illuminates a body of work dedicated to the struggle to simultaneously remember the past and move forward into the future.
What have been the most significant developments—political, social, economic—in South Africa since 1994? How much has changed since the demise of apartheid, and how much remains stubbornly the same? Should one celebrate a robust democracy now two decades old, or lament the corrosive effects of factionalism, greed, and corruption on political life? Colin Bundy tries to answer such questions, while avoiding simplistic or one-sided assessments of life under Mandela, Mbeki, and Zuma. He recognizes real advances under ANC rule but also identifies the limits and contradictions of such progress. Bundy demonstrates, too, how the country’s past permeates the present, complicating and constraining the politics of transition, so that genuine transformation has been short-changed.
South Africa’s Suspended Revolution tells the story of South Africa’s democratic transition and the prospects for the country to develop a truly inclusive political system. Beginning with an account of the transition in the leadership of the African National Congress from Thabo Mbeki to Jacob Zuma, the book then broadens its lens to examine the relationship of South Africa’s political elite to its citizens. It also examines the evolution of economic and social policies through the democratic transition, as well as the development of a postapartheid business community and a foreign policy designed to re-engage South Africa with the world community.
Written by one of South Africa’s leading scholars and political commentators, the book combines historical and contemporary analysis with strategies for an alternative political agenda. Adam Habib connects the lessons of the South African experience with theories of democratic transition, social change, and conflict resolution. Political leaders, scholars, students, and activists will all find material here to deepen their understanding of the challenges and opportunities of contemporary South Africa.
An award-winning historian and journalist tells the very human story of apartheid’s afterlife, tracing the fates of South African insurgents, collaborators, and the security police through the tale of the clandestine photo album used to target apartheid’s enemies.
From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid’s enemies. The political rogue’s gallery was known as the “terrorist album,” copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination.
All of the albums were ordered destroyed when apartheid’s violent collapse began. But three copies survived the memory purge. With full access to one of these surviving albums, award-winning South African historian and journalist Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters. Their inclusion is a stark reminder that apartheid’s guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic.
With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today’s South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa’s newest export: “security consultants” serving as mercenaries for Western nations and multinational corporations. The Terrorist Album is a brilliant evocation of apartheid’s tragic caprice, ultimate failure, and grim legacy.
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