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13 books match the query 'Post-apartheid era'

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Archiving Sovereignty

Stewart Motha

University of Michigan Press, 2018

Archiving Sovereignty shows how courts use fiction in their treatment of sovereign violence. Law's complicity with imperial and neocolonial practices occurs when courts inscribe and repeat the fabulous tales that provide an alibi for archaic sovereign acts that persist in the present. The United Kingdom's depopulation of islands in the Indian Ocean to serve the United States' neoimperial interests, Australia's exile and abandonment of refugees on remote islands, the failure to acknowledge genocidal acts or colonial dispossession, and the memorial work of the South African Constitution after apartheid are all sustained by historical fictions. This history-work of law constitutes an archive where sovereign violence is mediated, dissimulated, and sustained. Stewart Motha extends the concept of the "archive," as site of origin and source of authority, to signifying what law does in preserving and disavowing the past at the same time.

Sovereignty is often cast as a limit-concept, constituent force, determining the boundary of law. Archiving Sovereignty reverses this to explain how judicial pronouncements inscribe and sustain extravagant claims to exceptionality and sovereign solitude. This wide-ranging, critical work distinguishes between myths that sustain neocolonial orders and fictions that generate new forms of political and ethical life.

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History after Apartheid

Visual Culture and Public Memory in a Democratic South Africa

Annie E. Coombes

Duke University Press, 2003

The democratic election of Nelson Mandela as president of South Africa in 1994 marked the demise of apartheid and the beginning of a new struggle to define the nation’s past. History after Apartheid analyzes how, in the midst of the momentous shift to an inclusive democracy, South Africa’s visual and material culture represented the past while at the same time contributing to the process of social transformation. Considering attempts to invent and recover historical icons and narratives, art historian Annie E. Coombes examines how strategies for embodying different models of historical knowledge and experience are negotiated in public culture—in monuments, museums, and contemporary fine art.

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.

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Indenture Aesthetics

Afro-Indian Femininities and the Queer Limits of South African Blackness

Jordache A. Ellapen

Duke University Press, 2025

In Indenture Aesthetics, Jordache A. Ellapen examines the visual and performance art practices of feminist, queer, femme, and gender-nonconforming Afro-Indian and South African black artists to understand the paradoxes of freedom in contemporary South Africa. Tracing the afterlife of apartheid-era racial categories and revisiting Bantu Stephen Biko’s Black Consciousness, Ellapen theorizes South African blackness through the Indian Ocean World, showing how the development of an Afro-Indian identity after generations of indentured labor and segregation troubles persistent racial hierarchies. Staging unexpected encounters between artists such as Sharlene Khan, Mohau Modisakeng, Lebohang Kganye, and Reshma Chhiba, he analyzes how their works challenge these racial categories to create new imaginaries of freedom. Situated in a context in which the authentic (hetero)normative black subject of the post-apartheid state is bracketed from other formulations of blackness, these artists' aesthetic practices, alongside those of other artists like Ellapen himself, disrupt desires for national belonging and catalyze alternative and transgressive politics and subjects. By rethinking the relationship between blackness, Afro-Indianness, and Africanness, Ellapen highlights the role of the aesthetic in crafting a blueprint for coalitional building across difference in contemporary South Africa.

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Kwaito Bodies

Remastering Space and Subjectivity in Post-Apartheid South Africa

Xavier Livermon

Duke University Press, 2020

In Kwaito Bodies Xavier Livermon examines the cultural politics of the youthful black body in South Africa through the performance, representation, and consumption of kwaito, a style of electronic dance music that emerged following the end of apartheid. Drawing on fieldwork in Johannesburg's nightclubs and analyses of musical performances and recordings, Livermon applies a black queer and black feminist studies framework to kwaito. He shows how kwaito culture operates as an alternative politics that challenges the dominant constructions of gender and sexuality. Artists such as Lebo Mathosa and Mandoza rescripted notions of acceptable femininity and masculinity, while groups like Boom Shaka enunciated an Afrodiasporic politics. In these ways, kwaito culture recontextualizes practices and notions of freedom within the social constraints that the legacies of colonialism, apartheid, and economic inequality place on young South Africans. At the same time, kwaito speaks to the ways in which these legacies reverberate between cosmopolitan Johannesburg and the diaspora. In foregrounding this dynamic, Livermon demonstrates that kwaito culture operates as a site for understanding the triumphs, challenges, and politics of post-apartheid South Africa.

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New South African Keywords

Nick Shepherd

Ohio University Press, 2008

New South African Keywords sets out to do two things. The first is to provide a guide to the key words and key concepts that have come to shape public and political thought and debate in South Africa since 1994. The second purpose is to provide a compendium of cutting-edge thinking on the new society. In this respect some of the most exciting thinkers and commentators on South Africa have tried to capture the complexity of current debates. The result is a concise and insightful guide to postapartheid South Africa, which should be useful to students, citizens, tourists, business managers, decision makers—in fact, to anyone wanting to make sense of South African society today.

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Prismatic Performances

Queer South Africa and the Fragmentation of the Rainbow Nation

April Sizemore-Barber

University of Michigan Press, 2021

Listed as one of Lambda Literary's Most Anticipated LGBTQ Books for September 2020

At his 1994 inauguration, South African president Nelson Mandela announced the “Rainbow Nation, at peace with itself and the world.” This national rainbow notably extended beyond the bounds of racial coexistence and reconciliation to include “sexual orientation” as a protected category in the Bill of Rights. Yet despite the promise of equality and dignity, the new government’s alliance with neoliberal interests and the devastation of the AIDS epidemic left South Africa an increasingly unequal society.

Prismatic Performances focuses on the queer embodiments that both reveal and animate the gaps between South Africa’s self-image and its lived realities. It argues that performance has become a key location where contradictions inherent to South Africa’s post-apartheid identity are negotiated. The book spans 30 years of cultural production and numerous social locations and includes: a team of black lesbian soccer players who reveal and redefine the gendered and sexed limitations of racialized “Africanness;” white gay performers who use drag and gender subversion to work through questions of racial and societal transformation; black artists across the arts who have developed aesthetics that place on display their audiences’ complicity in the problem of sexual violence; and a primarily heterosexual panAfrican online soap opera fandom community who, by combining new virtual spaces with old melodramatic tropes allow for extended deliberation and new paradigms through which African same-sex relationships are acceptable.

Prismatic Performances contends that when explicitly queer bodies emerge onto public stages, audiences are made intimately aware of their own bodies’ identifications and desires. As the sheen of the New South Africa began to fade, these performances revealed the inadequacy and, indeed, the violence, of the Rainbow Nation as an aspirational metaphor. Simultaneously they created space for imagining new radical configurations of belonging.

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Projecting Nation

South African Cinemas after 1994

Cara Moyer-Duncan

Michigan State University Press, 2020

In 1994, not long after South Africa made its historic transition to multiracial democracy, the nation’s first black-majority government determined that film had the potential to promote social cohesion, stimulate economic development, and create jobs. In 1999 the new National Film and Video Foundation was charged with fostering a vibrant, socially engaged, and self-sufficient film industry. What are the results of this effort to create a truly national cinematic enterprise? Projecting Nation: South African Cinemas after 1994 answers that question by examining the ways in which national and transnational forces have shaped the representation of race and nation in feature-length narrative fiction films. Offering a systematic analysis of cinematic texts in the context of the South African film industry, author Cara Moyer-Duncan analyzes both well-known works like District 9 (2009) and neglected or understudied films like My Shit Father and My Lotto Ticket (2008) to show how the ways filmmakers produce cinema and the ways diverse audiences experience it—whether they watch major releases in theaters in predominantly white suburban enclaves or straight-to-DVD productions in their own homes—are informed by South Africans’ multiple experiences of nation in a globalizing world.

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Short-Changed?

South Africa since Apartheid

Colin Bundy

Ohio University Press, 2015

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.

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South Africa’s Suspended Revolution

Hopes and Prospects

Adam Habib

Ohio University Press, 2013

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.

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The Black and White Rainbow

Reconciliation, Opposition, and Nation-Building in Democratic South Africa

Carolyn E. Holmes

University of Michigan Press, 2020

Nation-building imperatives compel citizens to focus on what makes them similar and what binds them together, forgetting what makes them different. Democratic institution building, on the other hand, requires fostering opposition through conducting multiparty elections and encouraging debate. Leaders of democratic factions, like parties or interest groups, can consolidate their power by emphasizing difference. But when held in tension, these two impulses—toward remembering difference and forgetting it, between focusing on unity and encouraging division—are mutually constitutive of sustainable democracy.

Based on ethnographic and interview-based fieldwork conducted in 2012–13, The Black and White Rainbow: Reconciliation, Opposition, and Nation-Building in Democratic South Africa explores various themes of nation- and democracy-building, including the emotional and banal content of symbols of the post-apartheid state, the ways that gender and race condition nascent nationalism, the public performance of nationalism and other group-based identities, integration and sharing of space, language diversity, and the role of democratic functioning including party politics and modes of opposition. Each of these thematic chapters aims to explicate a feature of the multifaceted nature of identity-building, and link the South African case to broader literatures on both nationalism and democracy.

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The Rainy Season

Three Lives in the New South Africa

Maggie Messitt

University of Iowa Press, 2015

Just across the northern border of a former apartheid-era homeland sits a rural community in the midst of change, caught between a traditional past and a western future, a racially charged history and a pseudo-democratic present. The Rainy Season, a work of engaging literary journalism, introduces readers to the remote bushveld community of Rooiboklaagte and opens a window into the complicated reality of daily life in South Africa.

The Rainy Season tells the stories of three generations in the Rainbow Nation one decade after its first democratic elections. This multi-threaded narrative follows Regina, a tapestry weaver in her sixties, standing at the crossroads where her Catholic faith and the AIDS pandemic crash; Thoko, a middle-aged sangoma (traditional healer) taking steps to turn her shebeen into a fully licensed tavern; and Dankie, a young man taking his matriculation exams, coming of age as one of Mandela’s Children, the first academic class educated entirely under democratic governance.

Home to Shangaan, Sotho, and Mozambican Tsonga families, Rooiboklaagte sits in a village where an outdoor butchery occupies an old petrol station and a funeral parlor sits in the attached garage. It’s a place where an AIDS education center sits across the street from a West African doctor selling cures for the pandemic. It’s where BMWs park outside of crumbling cement homes, and the availability of water changes with the day of the week. As the land shifts from dusty winter blond to lush summer green and back again, the duration of northeastern South Africa’s rainy season, Regina, Thoko, and Dankie all face the challenges and possibilities of the new South Africa.

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Violence in a Time of Liberation

Murder and Ethnicity at a South African Gold Mine, 1994

Donald L. Donham

Duke University Press, 2011

How can we account for the apparent increase in ethnic violence across the globe? Donald L. Donham develops a methodology for understanding violence that shows why this question needs to be recast. He examines an incident that occurred at a South African gold mine at the moment of the 1994 elections that brought apartheid to a close. Black workers ganged up on the Zulus among them, killing two and injuring many more. While nearly everyone came to characterize the conflict as “ethnic,” Donham argues that heightened ethnic identity was more an outcome of the violence than its cause. Based on his careful reconstruction of events, he contends that the violence was not motivated by hatred of an ethnic other. It emerged, rather, in ironic ways, as capitalist managers gave up apartheid tactics and as black union activists took up strategies that departed from their stated values. National liberation, as it actually occurred, was gritty, contradictory, and incomplete. Given unusual access to the mine, Donham comes to this conclusion based on participant observation, review of extensive records, and interviews conducted over the course of a decade. Violence in a Time of Liberation is a kind of murder mystery that reveals not only who did it but also the ways that narratives of violence, taken up by various media, create ethnic violence after the fact.

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We Are Not South African

Mediating National Identity in a Postcolonial and Postapartheid State

Rachel Lara van der Merwe

Rutgers University Press, 2026

We Are Not South African explores how national identity functions as a colonial tool of communication, control, and power. Author Rachel Lara van der Merwe examines how humans and the planet are integrally shaped by the idea of the nation and speculates on how different sociopolitical imaginaries, instead of the nation, could inform ways of being-together in the world.

Linking national identity to colonialism, the book broadens the idea of the nation to include its impact on all forms of life, human and more-than-human. Van der Merwe builds her argument on three central observations: that nations are made up of conflicting and fractured imaginaries, not unified, cohesive ones; the nation is divisive by nature, tracing back to its colonial origins; and the nation, along with the state, exploits both humans and more-than-humans. In order to build a more just and sustainable planetary society, she argues, liberation from such colonial formations is vital. In response, the book asks, How could we reimagine how we organize our societies through values of relationality and mutual care rather than rigid borders? What sociopolitical imaginaries do we need, or already possess, that might inform new configurations of community?

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