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The Individual, Auto/biography and History in South Africa

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iographic work of collection, arrangement <strong>and</strong> edit<strong>in</strong>g by Ruth First <strong>in</strong> the 1965 book. 268<br />

While freedom was an aspiration under conditions of adversity <strong>and</strong> repression <strong>in</strong> the<br />

1950s <strong>and</strong> particularly 1960s, the notion of a ‘walk’ granted hope through perseverance<br />

<strong>and</strong> commitment. By 1994 <strong>and</strong> M<strong>and</strong>ela’s election as President, the mean<strong>in</strong>g of M<strong>and</strong>elaʹs<br />

(<strong>and</strong> the nation’s) walk, as <strong>in</strong> Long Walk to Freedom, had shifted to one signify<strong>in</strong>g the<br />

ultimate triumph of dest<strong>in</strong>y. In this long walk, Nelson M<strong>and</strong>ela’s <strong>biography</strong> became a<br />

trope for the nation’s history, M<strong>and</strong>ela was narrated as the embodiment of the nation<br />

itself, <strong>and</strong> his life became the measure of <strong>South</strong> <strong>Africa</strong>n <strong>biography</strong>.<br />

Biographic br<strong>and</strong>s<br />

As I have argued for the importance of focus<strong>in</strong>g on different genres <strong>and</strong> <strong>in</strong>stitutional<br />

forms of mediation <strong>in</strong> the process of biographic production <strong>in</strong> the public doma<strong>in</strong>, I have<br />

also alluded to the appearance of <strong>in</strong>tellectual property questions, which have attached<br />

themselves to biographic imag<strong>in</strong>g <strong>and</strong> representation. I have drawn attention to the<br />

<strong>in</strong>creased awareness of <strong>in</strong>tellectual property rights on the part of documentary<br />

photographers <strong>in</strong> <strong>South</strong> <strong>Africa</strong>, such as Jürgen Schadeberg, as the politics of resistance<br />

gave way to social reconstruction. Indeed, more generally, resistance <strong>biography</strong> <strong>in</strong>serted<br />

itself <strong>in</strong>to a world of commerce as the attachment of the names <strong>and</strong> faces of resistance<br />

leaders to places, facilities <strong>and</strong> public spaces has come to be thought of <strong>in</strong>creas<strong>in</strong>gly as a<br />

form of br<strong>and</strong><strong>in</strong>g. Biographic br<strong>and</strong> management has come to be seen as an important<br />

component of the management of biographic legacies. Alongside the public museum or<br />

heritage site, the first few years of the 21 st Century saw the rise of the foundation as an<br />

<strong>in</strong>stitutional medium for the ma<strong>in</strong>tenance, management, deployment <strong>and</strong> negotiation of<br />

268 Nelson M<strong>and</strong>ela, No Easy Walk To Freedom. <strong>The</strong> name of the book was a reference to a statement by<br />

Jawaharlal Nehru quoted by M<strong>and</strong>ela <strong>in</strong> 1953, while he was banned, <strong>in</strong> an article about the “upris<strong>in</strong>g<br />

of national consciousness” (p 21) <strong>in</strong> the early 1950s. M<strong>and</strong>ela wrote “<strong>The</strong>re is ‘no easy walk to freedom<br />

anywhere <strong>and</strong> many of us will have to pass through the valley of the shadow of death aga<strong>in</strong> <strong>and</strong> aga<strong>in</strong><br />

before we reach the mounta<strong>in</strong> tops of our desires’” (p 31). Nehru’s orig<strong>in</strong>al statement can be found <strong>in</strong><br />

an article entitled ‘From Lucknow to Tripoli’, <strong>in</strong> his <strong>The</strong> Unity of India: Collected Writ<strong>in</strong>gs, 1937‐1940,<br />

New York: John Day, 1942, pp 131‐2.<br />

283

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