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The Individual, Auto/biography and History in South Africa

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advocat<strong>in</strong>g a politics of militant anger to advocat<strong>in</strong>g peace <strong>and</strong> reconciliation. His life<br />

story, as a transition narrative, was presented as a case study <strong>in</strong> new patriotism,<br />

exemplify<strong>in</strong>g the possibilities of national reconciliation. 27<br />

Biographic mediations <strong>and</strong> museum transformations<br />

One of the central <strong>in</strong>stitutions that mediated the production of public history <strong>in</strong> the ‘new<br />

<strong>South</strong> <strong>Africa</strong>’ <strong>in</strong> the mid‐1990s was the Mayibuye Centre for <strong>History</strong> <strong>and</strong> Culture.<br />

Described <strong>in</strong> the early 1990s as a “birthplace for culture” <strong>in</strong> Cape Town, <strong>and</strong> a “rest<strong>in</strong>g<br />

place for history, this was an <strong>in</strong>stitution that focused on “all aspects of apartheid,<br />

resistance, social life <strong>and</strong> culture <strong>in</strong> <strong>South</strong> <strong>Africa</strong>”. It was set up <strong>in</strong> 1991 at the University of<br />

the Western Cape <strong>and</strong> <strong>in</strong>corporated the visual <strong>and</strong> documentary archival hold<strong>in</strong>gs of the<br />

International Defence <strong>and</strong> Aid Fund (IDAF), which had been relocated to <strong>South</strong> <strong>Africa</strong>.<br />

Despite be<strong>in</strong>g based at a university, very little of the Mayibuye Centre’s work was<br />

academic <strong>in</strong> nature. Its focus <strong>in</strong>stead was on the dissem<strong>in</strong>ation of public pasts. Among the<br />

objectives set for the Centre were to recover aspects of <strong>South</strong> <strong>Africa</strong>n history “neglected <strong>in</strong><br />

the past” <strong>and</strong> to make these histories “as accessible as possible”. 28<br />

<strong>The</strong> Mayibuye Centre tried to achieve its objectives through visual <strong>and</strong> documentary<br />

archival work, an oral history collection <strong>and</strong> publish<strong>in</strong>g unit. It also produced several<br />

exhibitions that travelled around the country, <strong>and</strong> its members became keenly <strong>in</strong>volved <strong>in</strong><br />

policy formulation around the transformation of <strong>South</strong> <strong>Africa</strong>’s museums <strong>and</strong> heritage<br />

<strong>in</strong>stitutions. Much of this heritage practice culm<strong>in</strong>ated <strong>in</strong> the Centre’s <strong>in</strong>itiatives <strong>in</strong><br />

plann<strong>in</strong>g for a showcase national museum on Robben Isl<strong>and</strong> that began with the<br />

exhibition Esiqith<strong>in</strong>i, produced <strong>in</strong> conjunction with the <strong>South</strong> <strong>Africa</strong>n Museum. 29 In all of<br />

27 Joe Seremane: No Man’s L<strong>and</strong>, Produced <strong>and</strong> Directed by Hennie Serfonte<strong>in</strong>, 1997.<br />

28 André Odendaal, ‘Let it Return!’, Museums Journal, April 1994; On Campus (Official Newsletter of the<br />

University of the Western Cape), Vol 3, No 19, 21‐27 July, 1995; Mayibuye Centre for <strong>History</strong> <strong>and</strong><br />

Culture, Fourth Annual Report, 1995. As discussed elsewhere <strong>in</strong> this thesis, IDAF was an anti‐<br />

apartheid solidarity <strong>and</strong> <strong>in</strong>formation service based <strong>in</strong> Brita<strong>in</strong>. It was the successor body to the Treason<br />

Trial’s Defence Fund.<br />

29 André Odendaal, ‘Let it Return!’; On Campus (Official Newsletter of the University of the Western<br />

Cape), Vol 3, No 19, 21‐27 July, 1995; Mayibuye Centre for <strong>History</strong> <strong>and</strong> Culture, Fourth Annual<br />

Report, 1995.<br />

201

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