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The Individual, Auto/biography and History in South Africa

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constructions of national history. In consider<strong>in</strong>g all this biographic attention, it is also<br />

important to analyse the relations of cultural production through which biographies were<br />

produced, claimed <strong>and</strong> asserted <strong>and</strong> the biographic genealogies that these narrations drew<br />

upon.<br />

Here we also suggest that these public biographic productions have not been without<br />

contest. In significant cases, <strong>in</strong> national heritage <strong>in</strong>stitutions as well as community<br />

museums, the discursive <strong>and</strong> methodological boundaries of these public histories were<br />

subjected to important challenges. While heritage projects cont<strong>in</strong>ued to serve up new<br />

discourses of the heroic leader who delivered the new nation from apartheid’s evil, <strong>and</strong> of<br />

reconciliation, <strong>South</strong> <strong>Africa</strong>’s ‘special offer<strong>in</strong>g’ to the world, almost every sphere of<br />

heritage production has seen controversy <strong>and</strong> contestation. <strong>The</strong>se contests have been<br />

fuelled by tensions with<strong>in</strong> <strong>and</strong> between heritage <strong>in</strong>stitutions over the politics of memory,<br />

the imperatives of commerce <strong>and</strong> tourism, the dem<strong>and</strong>s of <strong>in</strong>tellectual property, <strong>and</strong><br />

claims on authority <strong>and</strong> primacy to <strong>in</strong>terpret a biographic legacy. <strong>The</strong>y have also seen the<br />

plots <strong>and</strong> methods of dom<strong>in</strong>ant biographic representations <strong>in</strong> museums subjected to<br />

significant critique.<br />

This chapter suggests that the doma<strong>in</strong> of heritage <strong>and</strong> public history requires serious<br />

exam<strong>in</strong>ation, for it is here that attempts were be<strong>in</strong>g made to fashion the categories, images<br />

<strong>and</strong> stories of the post‐apartheid nation. From the mid‐1990s, it seems that the<br />

responsibility for the ideological work of national‐identity formation, <strong>and</strong> the task of the<br />

creation of ‘good citizens’, seem<strong>in</strong>gly shifted away from the schools to heritage<br />

<strong>in</strong>stitutions <strong>and</strong> mediums of public culture. Far from us hav<strong>in</strong>g seen a retreat from history,<br />

the place of the past was redef<strong>in</strong>ed <strong>in</strong> the spaces of public history <strong>and</strong> heritage<br />

construction. Some academic historians began to reth<strong>in</strong>k the conventions, hierarchies,<br />

rout<strong>in</strong>es <strong>and</strong> spaces of their discipl<strong>in</strong>e’s teach<strong>in</strong>g <strong>and</strong> research procedures. 1 Others long<br />

1 On these matters, see the issues raised by Tim Nuttall <strong>and</strong> John Wright, ‘Explor<strong>in</strong>g beyond <strong>History</strong><br />

with a Capital “H”’, <strong>South</strong> <strong>Africa</strong>n <strong>and</strong> Contemporary <strong>History</strong> Sem<strong>in</strong>ar, University of the Western<br />

Cape, 8 October 1998. See also the arguments about <strong>South</strong> <strong>Africa</strong>n history <strong>and</strong> doma<strong>in</strong>s of production<br />

<strong>and</strong> representation <strong>in</strong> Gary M<strong>in</strong>kley, Ciraj Rassool <strong>and</strong> Leslie Witz, `Thresholds, Gateways <strong>and</strong><br />

Spectacles: Journey<strong>in</strong>g through <strong>South</strong> <strong>Africa</strong>n hidden pasts <strong>and</strong> histories <strong>in</strong> the last decade of the<br />

195

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