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The Individual, Auto/biography and History in South Africa

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production of I.B. Tabata made a m<strong>in</strong>imal direct impression on organised resistance<br />

aga<strong>in</strong>st apartheid <strong>in</strong>side <strong>South</strong> <strong>Africa</strong> dur<strong>in</strong>g the 1970s <strong>and</strong> 1980s. 109<br />

Nevertheless, Taylor’s biographical texts on Tabata were also absorbed <strong>in</strong>to the<br />

collections of various libraries <strong>and</strong> archives <strong>in</strong> the United States, <strong>and</strong> formed the basis of<br />

the profile of Tabata’s political life published <strong>in</strong> Karis <strong>and</strong> Carter. In the archive, Taylor’s<br />

biographical work acquired the status of primary sources, where they were utilised by<br />

historians as largely unmediated documents on the facts of Tabata’s political life. <strong>The</strong><br />

idea of Tabata as hav<strong>in</strong>g a political <strong>biography</strong> was, <strong>in</strong> the ma<strong>in</strong>, the product of the<br />

political labours <strong>and</strong> personal devotion of Dora Taylor. This idea was the outcome of a<br />

decades‐long relationship <strong>in</strong> a borderl<strong>and</strong> space of desire between the private <strong>and</strong> the<br />

public, <strong>and</strong> the personal <strong>and</strong> the political. For much of its existence, this multifaceted<br />

relationship was marked by <strong>in</strong>tensity <strong>and</strong> mutuality, as each utilised the other as a<br />

resource for their political <strong>and</strong> cultural production. <strong>The</strong> reciprocity of their relationship<br />

was such that at critical po<strong>in</strong>ts, it has been difficult to disentangle <strong>in</strong>dividual authorship<br />

of ideas <strong>and</strong> writ<strong>in</strong>g from their comm<strong>in</strong>gl<strong>in</strong>g, <strong>in</strong> spite of public claims to <strong>in</strong>dividual<br />

authorship.<br />

From the early 1960s, as collectivity <strong>and</strong> anonymity had given way to <strong>in</strong>dividuation <strong>and</strong><br />

<strong>biography</strong>, Dora Taylor’s political ‘com<strong>in</strong>g out’ <strong>and</strong> acquisition of formal status <strong>in</strong> the<br />

movement represented an acknowledgement of her political work <strong>and</strong> commitment.<br />

Tabata <strong>and</strong> Taylor experienced the excitement of public political engagement dur<strong>in</strong>g<br />

excursions to Algiers <strong>and</strong> Rome <strong>in</strong> 1962 <strong>and</strong> Cairo <strong>in</strong> 1964, as Taylor took her place <strong>in</strong><br />

her own name at Tabata’s side. <strong>The</strong>y rek<strong>in</strong>dled the thrill of travell<strong>in</strong>g together for<br />

political work <strong>in</strong> 1965, when Taylor once aga<strong>in</strong> took her place at Tabata’s side dur<strong>in</strong>g<br />

109 Under the <strong>in</strong>fluence of APDUSA activists such as Bobby Wilcox <strong>and</strong> Frank Anthony, who had been<br />

released from Robben Isl<strong>and</strong>, an APDUSA structure that was loyal to Tabata <strong>and</strong> the external<br />

leadership was reconstituted <strong>in</strong> Cape Town <strong>in</strong> the early 1980s.<br />

433

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