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The Individual, Auto/biography and History in South Africa

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<strong>in</strong> “a wide range of <strong>in</strong>ventive political responses <strong>and</strong> <strong>in</strong>novative forms of action”. 4 Black<br />

opposition, particularly before the 1950s, was seen as varied, fragmented, richer, more<br />

diverse <strong>and</strong> less predictable than <strong>Africa</strong>n nationalist mythologies, <strong>in</strong> search of a<br />

consistent trajectory of responses, would allow.<br />

In spite of these analytical advances <strong>in</strong> the conceptualisation of <strong>Africa</strong>n identities <strong>and</strong><br />

agency, other features of Be<strong>in</strong>art’s history po<strong>in</strong>ted ambiguously to a perspective that<br />

could be seen as less than social. Large segments of text were devoted to political<br />

history, with the personal characteristics of <strong>in</strong>dividual political personalities, like Smuts,<br />

Hertzog, Malan, Vorster <strong>and</strong> Botha, often used to expla<strong>in</strong> historical processes. Reference<br />

was made, for example to the value of Smuts, who had “a personal simplicity <strong>and</strong><br />

asceticism”, a “love of nature <strong>and</strong> environmental concern”, <strong>and</strong> “efficiency <strong>in</strong><br />

government if not <strong>in</strong> party organization”. His “very capacity for political compromise”<br />

we were told, “permitted a period of relative openness dur<strong>in</strong>g the Second World War<br />

when the countryʹs more liberal whites <strong>and</strong> welfare planners briefly had greater<br />

<strong>in</strong>fluence than at any other time until 1990”. 5<br />

Notwithst<strong>and</strong><strong>in</strong>g Be<strong>in</strong>art’s <strong>in</strong>tentions to transcend the l<strong>in</strong>ear resistance narratives of<br />

nationalist history, key themes such as the history of the ANC as well as race <strong>and</strong> power<br />

<strong>in</strong> the context of the history of resistance were dealt with rather uncritically. <strong>The</strong><br />

apparent ‘non‐racialism’ of the Congress movement <strong>in</strong> the 1950s was treated as self‐<br />

evident <strong>and</strong> was left unproblematised. Without any questions posed, the ANC was<br />

referred to as hav<strong>in</strong>g had “long established traditions <strong>and</strong> symbols of resistance” <strong>and</strong><br />

the United Democratic Front was seen simplistically as “explicitly non‐racial <strong>in</strong> the<br />

tradition of the ANC”. 6 Be<strong>in</strong>art himself, perhaps unwitt<strong>in</strong>gly, slipped <strong>in</strong>to a nationalist<br />

4 William Be<strong>in</strong>art, Twentieth Century <strong>South</strong> <strong>Africa</strong>, p 92. For critical evaluations of Be<strong>in</strong>art’s book, see Ciraj<br />

Rassool, ‘Revisionist Texts’, <strong>South</strong>ern <strong>Africa</strong>n Review of Books, No 34, November/December, 1994 as well as<br />

Ran Greenste<strong>in</strong>, ‘<strong>The</strong> Future of the <strong>South</strong> <strong>Africa</strong>n Past’ (Review Article), Journal of <strong>South</strong>ern <strong>Africa</strong>n<br />

Studies, Volume 22, No 2, June 1996.<br />

5 William Be<strong>in</strong>art, Twentieth Century <strong>South</strong> <strong>Africa</strong>, pp 133‐134.<br />

6 William Be<strong>in</strong>art, Twentieth Century <strong>South</strong> <strong>Africa</strong>, pp 215, 234.<br />

110

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