Intangible heritage: the production of post-apartheid memorial complexes
- Authors: Dondolo,Luvuyo
- Date: 2015
- Subjects: Historic sites -- South Africa Cultural property -- South Africa Memorials -- South Africa Post-apartheid era -- South Africa
- Language: English
- Type: Thesis , Doctoral , Degree
- Identifier: http://hdl.handle.net/10353/3044 , vital:28242
- Description: This study explores a number of issues relating to the nature and scope of intangible heritage and critically examines some of its salient components in South Africa. It affirms that intangible heritage is socially constructed. Aspects of intangible heritage that seem inherited in the present are social constructs and products of social progression. They present the historical development of the practicing communities. Furthermore, this study affirms that all heritage is intangible. This is expounded in the study by exploring the history of the concept of intangible heritage over the decades which provide its evolution both at international and national levels, and within heritage institutions. Heritage cannot be understood and defined in terms of traditions, indigenousness, pre-colonialism, North and South dichotomies or Western and non-Western dichotomies. This definition would racialise and regionalise heritage, and politics of indigeneity would surface. The separation of tangible, intangible and natural heritage is an artificial demarcation that is for heritage management discourse.
- Full Text:
- Authors: Dondolo,Luvuyo
- Date: 2015
- Subjects: Historic sites -- South Africa Cultural property -- South Africa Memorials -- South Africa Post-apartheid era -- South Africa
- Language: English
- Type: Thesis , Doctoral , Degree
- Identifier: http://hdl.handle.net/10353/3044 , vital:28242
- Description: This study explores a number of issues relating to the nature and scope of intangible heritage and critically examines some of its salient components in South Africa. It affirms that intangible heritage is socially constructed. Aspects of intangible heritage that seem inherited in the present are social constructs and products of social progression. They present the historical development of the practicing communities. Furthermore, this study affirms that all heritage is intangible. This is expounded in the study by exploring the history of the concept of intangible heritage over the decades which provide its evolution both at international and national levels, and within heritage institutions. Heritage cannot be understood and defined in terms of traditions, indigenousness, pre-colonialism, North and South dichotomies or Western and non-Western dichotomies. This definition would racialise and regionalise heritage, and politics of indigeneity would surface. The separation of tangible, intangible and natural heritage is an artificial demarcation that is for heritage management discourse.
- Full Text:
Objecting to apartheid: the history of the end conscription campaign
- Authors: Jones, David
- Date: 2013
- Subjects: End Conscription Campaign (South Africa) , Apartheid -- South Africa , Government, Resistance to South Africa , Conscientious objection South Africa , South Africa -- Social conditions , South Africa -- Politics and government
- Language: English
- Type: Thesis , Masters , MA (History)
- Identifier: vital:11538 , http://hdl.handle.net/10353/d1005998 , End Conscription Campaign (South Africa) , Apartheid -- South Africa , Government, Resistance to South Africa , Conscientious objection South Africa , South Africa -- Social conditions , South Africa -- Politics and government
- Description: It is important that the story of organisations like the End Conscription Campaign be recorded. The narrative of the struggle against apartheid has become a site of contestation. As the downfall of apartheid is still a relatively recent event, the history is still in the process of formation. There is much contestation over the relative contributions of different groups within the struggle. This is an important debate as it informs and shapes the politics of the present. A new official narrative is emerging which accentuates the role of particular groupings, portraying them as the heroes and the leaders of the struggle. A new elite have laid exclusive claim to the heritage of the struggle and are using this narrative to justify their hold on power through the creation of highly centralised political structures in which positions of power are reserved for loyal cadres and independent thinking and questioning are seen as a threat. A complementary tradition of grassroots democracy, of open debate and transparency, of “people’s power”, of accountability of leadership to the people fostered in the struggle is being lost. It is important to contest this narrative. We need to remember that the downfall of apartheid was brought about by a myriad combination of factors and forces. Current academic interpretations emphasize that no one group or organisation, no matter how significant its contribution, was solely responsible. There was no military victory or other decisive event which brought the collapse of the system, rather a sapping of will to pay the ever increasing cost to maintain it. The struggle against apartheid involved a groundswell, popular uprising in which the initiative came not from centralised political structures, orchestrating a grand revolt, but from ordinary South Africans who were reacting to the oppressive nature of a brutally discriminatory system which sought to control every aspect of their lives.4 Leaders and structures emerged organically as communities organised themselves around issues that affected them. Organisations that emerged were highly democratic and accountable to their members. There was no grand plan or centralised control of the process. As Walter Benjamin warned in a different context, but applicable here: “All rulers are the heirs of those who have conquered before them.” He feared that what he referred to as a historicist view constructed a version of history as a triumphal parade of progress. “Whoever has emerged victorious” he reminds us “participates to this day in the triumphal procession in which the present rulers step over those who are lying prostrate. According to traditional practice the spoils are carried along in the procession.” 5 He was warning of just such a tendency, which has been repeated so often in the past, for the victors to construct a version of history which ends up justifying a new tyranny. To counter this tendency it is important that other histories of the struggle are told – that the stories of other groups, which are marginalised by the new hegemonic discourse, are recorded.This aim of this dissertation is thus two-fold. Firstly it aims to investigate “the story” of the End Conscription Campaign, which has largely been seen as a white anti-apartheid liberal organisation. The objective is to provide a detailed historical account and periodisation of the organisation to fill in the gaps and challenge the distortions of a new emerging “official” discourse.Secondly within this framework, and by using the activities and strategies of the organisation as evidence for its suppositions, the question of the role played by the ECC in the struggle.
- Full Text:
- Authors: Jones, David
- Date: 2013
- Subjects: End Conscription Campaign (South Africa) , Apartheid -- South Africa , Government, Resistance to South Africa , Conscientious objection South Africa , South Africa -- Social conditions , South Africa -- Politics and government
- Language: English
- Type: Thesis , Masters , MA (History)
- Identifier: vital:11538 , http://hdl.handle.net/10353/d1005998 , End Conscription Campaign (South Africa) , Apartheid -- South Africa , Government, Resistance to South Africa , Conscientious objection South Africa , South Africa -- Social conditions , South Africa -- Politics and government
- Description: It is important that the story of organisations like the End Conscription Campaign be recorded. The narrative of the struggle against apartheid has become a site of contestation. As the downfall of apartheid is still a relatively recent event, the history is still in the process of formation. There is much contestation over the relative contributions of different groups within the struggle. This is an important debate as it informs and shapes the politics of the present. A new official narrative is emerging which accentuates the role of particular groupings, portraying them as the heroes and the leaders of the struggle. A new elite have laid exclusive claim to the heritage of the struggle and are using this narrative to justify their hold on power through the creation of highly centralised political structures in which positions of power are reserved for loyal cadres and independent thinking and questioning are seen as a threat. A complementary tradition of grassroots democracy, of open debate and transparency, of “people’s power”, of accountability of leadership to the people fostered in the struggle is being lost. It is important to contest this narrative. We need to remember that the downfall of apartheid was brought about by a myriad combination of factors and forces. Current academic interpretations emphasize that no one group or organisation, no matter how significant its contribution, was solely responsible. There was no military victory or other decisive event which brought the collapse of the system, rather a sapping of will to pay the ever increasing cost to maintain it. The struggle against apartheid involved a groundswell, popular uprising in which the initiative came not from centralised political structures, orchestrating a grand revolt, but from ordinary South Africans who were reacting to the oppressive nature of a brutally discriminatory system which sought to control every aspect of their lives.4 Leaders and structures emerged organically as communities organised themselves around issues that affected them. Organisations that emerged were highly democratic and accountable to their members. There was no grand plan or centralised control of the process. As Walter Benjamin warned in a different context, but applicable here: “All rulers are the heirs of those who have conquered before them.” He feared that what he referred to as a historicist view constructed a version of history as a triumphal parade of progress. “Whoever has emerged victorious” he reminds us “participates to this day in the triumphal procession in which the present rulers step over those who are lying prostrate. According to traditional practice the spoils are carried along in the procession.” 5 He was warning of just such a tendency, which has been repeated so often in the past, for the victors to construct a version of history which ends up justifying a new tyranny. To counter this tendency it is important that other histories of the struggle are told – that the stories of other groups, which are marginalised by the new hegemonic discourse, are recorded.This aim of this dissertation is thus two-fold. Firstly it aims to investigate “the story” of the End Conscription Campaign, which has largely been seen as a white anti-apartheid liberal organisation. The objective is to provide a detailed historical account and periodisation of the organisation to fill in the gaps and challenge the distortions of a new emerging “official” discourse.Secondly within this framework, and by using the activities and strategies of the organisation as evidence for its suppositions, the question of the role played by the ECC in the struggle.
- Full Text:
An archaelogy of South Africanness: the conditions and fantasies of a post-apartheid festival
- Authors: Truscott, Ross
- Date: 2012
- Subjects: Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Language: English
- Type: Thesis , Doctoral , D Soc Sc (Psych)
- Identifier: vital:11610 , http://hdl.handle.net/10353/539 , Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Description: It has become commonplace in academic studies, particularly those with a critical bent, to view nations as being historical constructs, as being without essence, though not without effects of exclusion and inclusion, of the constitution of the „authentic‟ national subject and the „other of the nation.‟ The critical impetus at work here is to show how a nation is constructed in order to bring into view the knowledge and power relations this construction entails, to show whose interests the construction serves, and whose it does not. This study examines the discursive production, the performative enactment and the spatial emplacement of post-apartheid „South Africanness‟ through a case study of Oppikoppi music festival. Oppikoppi is an annual event that emerged in 1994, on the threshold of the „new South Africa.‟ The festival is attended predominantly by young white Afrikaans-speaking South Africans and is held on a farm in the northernmost province of Limpopo, South Africa, an area notoriously conservative in its racial politics. Yet, curiously, Oppikoppi has been repeatedly referred to, and refers to itself with an almost obsessive regularity and repetitiveness, as a „truly South African‟ event. Indeed, the festival has been promoted, since 1998, as „The Home of South African Music,‟ and in 2009 the site of the festival was unofficially declared a „national monument.‟ Through the employment of concepts drawn from the writings of French philosopher and historian, Michel Foucault – particularly his earlier archaeological works – and from Sigmund Freud – particularly his metapsychological works – this study has posed two broad sets of questions. Firstly, from a Foucauldian perspective, what have been the conditions for the production of „South Africanness‟ at this festival? What have been the requirements, the discursive „rules of the game‟ for whiteness and Afrikanerness to become „South African‟? To what extent does this constitution of the festival as a „South African‟ event preserve older lines of division, difference and oppression? To what extent does this bring about meaningful social change? Secondly, from a psychoanalytic perspective, what are the fantasies constellated in the discourse of the festival as a „South African‟ event? Who, in these fantasies, is constituted as the „other of the post-apartheid nation‟? How has fantasy provided a kind of „hallucinatory gratification,‟ a phantasmatic compensation for, and a means of conserving, the losses of privilege in the new nation? And how has fantasy oriented the festival towards post-apartheid sociality, soliciting identifications with the post-apartheid nation? The overarching argument proposed is that anti-apartheid post-apartheid nation building has cultivated a melancholic loss of apartheid for whites in general and Afrikaners in particular, a loss that cannot be grieved – indeed, a loss that should not be grieved – and, as such, a grief that takes on an unconscious afterlife. Apartheid and the life it enabled – not only racialised privilege, but also a structure of identification and idealisation, of being and having – becomes a loss that is buried in, and by, the injunctions issued to post-apartheid memory and conduct. Without the discursive resources with which to symbolise this loss, disguised repetitions of the past, a neurotic refinding of the lost objects of apartheid, and melancholia are the likely outcomes, each of which engender a set of exclusions and enjoyments that run along old and new lines.
- Full Text:
- Authors: Truscott, Ross
- Date: 2012
- Subjects: Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Language: English
- Type: Thesis , Doctoral , D Soc Sc (Psych)
- Identifier: vital:11610 , http://hdl.handle.net/10353/539 , Nationalism -- South Africa -- History -- 20th century , Whites -- Race identity -- South Africa , Afrikaner loyalists , Psychoanalysis , Discourse analysis , Multiculturalism -- South Africa
- Description: It has become commonplace in academic studies, particularly those with a critical bent, to view nations as being historical constructs, as being without essence, though not without effects of exclusion and inclusion, of the constitution of the „authentic‟ national subject and the „other of the nation.‟ The critical impetus at work here is to show how a nation is constructed in order to bring into view the knowledge and power relations this construction entails, to show whose interests the construction serves, and whose it does not. This study examines the discursive production, the performative enactment and the spatial emplacement of post-apartheid „South Africanness‟ through a case study of Oppikoppi music festival. Oppikoppi is an annual event that emerged in 1994, on the threshold of the „new South Africa.‟ The festival is attended predominantly by young white Afrikaans-speaking South Africans and is held on a farm in the northernmost province of Limpopo, South Africa, an area notoriously conservative in its racial politics. Yet, curiously, Oppikoppi has been repeatedly referred to, and refers to itself with an almost obsessive regularity and repetitiveness, as a „truly South African‟ event. Indeed, the festival has been promoted, since 1998, as „The Home of South African Music,‟ and in 2009 the site of the festival was unofficially declared a „national monument.‟ Through the employment of concepts drawn from the writings of French philosopher and historian, Michel Foucault – particularly his earlier archaeological works – and from Sigmund Freud – particularly his metapsychological works – this study has posed two broad sets of questions. Firstly, from a Foucauldian perspective, what have been the conditions for the production of „South Africanness‟ at this festival? What have been the requirements, the discursive „rules of the game‟ for whiteness and Afrikanerness to become „South African‟? To what extent does this constitution of the festival as a „South African‟ event preserve older lines of division, difference and oppression? To what extent does this bring about meaningful social change? Secondly, from a psychoanalytic perspective, what are the fantasies constellated in the discourse of the festival as a „South African‟ event? Who, in these fantasies, is constituted as the „other of the post-apartheid nation‟? How has fantasy provided a kind of „hallucinatory gratification,‟ a phantasmatic compensation for, and a means of conserving, the losses of privilege in the new nation? And how has fantasy oriented the festival towards post-apartheid sociality, soliciting identifications with the post-apartheid nation? The overarching argument proposed is that anti-apartheid post-apartheid nation building has cultivated a melancholic loss of apartheid for whites in general and Afrikaners in particular, a loss that cannot be grieved – indeed, a loss that should not be grieved – and, as such, a grief that takes on an unconscious afterlife. Apartheid and the life it enabled – not only racialised privilege, but also a structure of identification and idealisation, of being and having – becomes a loss that is buried in, and by, the injunctions issued to post-apartheid memory and conduct. Without the discursive resources with which to symbolise this loss, disguised repetitions of the past, a neurotic refinding of the lost objects of apartheid, and melancholia are the likely outcomes, each of which engender a set of exclusions and enjoyments that run along old and new lines.
- Full Text:
Re-tracing representations and identities in twentieth century South African and African photography: Joseph Denfield, regimes of seeing and alternative visual histories
- Authors: Mnyaka, Phindezwa Elizabeth
- Date: 2012
- Subjects: Historical museums -- South Africa -- Eastern Cape , Natural history , Photography -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD (History)
- Identifier: vital:11536 , http://hdl.handle.net/10353/540 , Historical museums -- South Africa -- Eastern Cape , Natural history , Photography -- South Africa
- Description: The thesis examines the photographic collection of Joseph Denfield, an archivist and historian who experimented with photography over a twenty-year period. The study is located within the field of critical visual studies that focuses on historical photography in its depiction of identities and groups in the context of social change. The thesis pays attention to the manner and extent to which Denfield participated in regional visual economies at various moments during his photographic career in order to establish his contribution towards a visual history in Africa and more broadly Southern Africa. It follows Denfield’s career trajectory chronologically. It begins with a study of his photographic work in Nigeria which was oriented around so-called ‘pagan tribes’ and which was framed within the discourse of ethnography. It then pays attention to his growth as an artist in photography that resulted from years of exhibiting in salons. I read these photographs and texts in relation to his earlier work in Nigeria given the extent to which he drew on anthropological discourses. It is through his involvement with photographic art circles that Denfield developed as a historian as a result of his research into the history of photography and regional visual histories. This took the form of both unearthing historical photographs as well as photographing historical sites to construct the past in particular ways through the visual. At each stage he translated these histories into public forms of representation and power thus he figures among a small group of ‘colonial’ photographers that shaped the visual economy of Southern Africa. Through a detailed study of his work, the thesis thus aims to re-think through new dimensions of visual culture.
- Full Text:
- Authors: Mnyaka, Phindezwa Elizabeth
- Date: 2012
- Subjects: Historical museums -- South Africa -- Eastern Cape , Natural history , Photography -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD (History)
- Identifier: vital:11536 , http://hdl.handle.net/10353/540 , Historical museums -- South Africa -- Eastern Cape , Natural history , Photography -- South Africa
- Description: The thesis examines the photographic collection of Joseph Denfield, an archivist and historian who experimented with photography over a twenty-year period. The study is located within the field of critical visual studies that focuses on historical photography in its depiction of identities and groups in the context of social change. The thesis pays attention to the manner and extent to which Denfield participated in regional visual economies at various moments during his photographic career in order to establish his contribution towards a visual history in Africa and more broadly Southern Africa. It follows Denfield’s career trajectory chronologically. It begins with a study of his photographic work in Nigeria which was oriented around so-called ‘pagan tribes’ and which was framed within the discourse of ethnography. It then pays attention to his growth as an artist in photography that resulted from years of exhibiting in salons. I read these photographs and texts in relation to his earlier work in Nigeria given the extent to which he drew on anthropological discourses. It is through his involvement with photographic art circles that Denfield developed as a historian as a result of his research into the history of photography and regional visual histories. This took the form of both unearthing historical photographs as well as photographing historical sites to construct the past in particular ways through the visual. At each stage he translated these histories into public forms of representation and power thus he figures among a small group of ‘colonial’ photographers that shaped the visual economy of Southern Africa. Through a detailed study of his work, the thesis thus aims to re-think through new dimensions of visual culture.
- Full Text:
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