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The Individual, Auto/biography and History in South Africa

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heritage sites <strong>and</strong> collections. I was also <strong>in</strong>vited to serve on the board of an<br />

<strong>in</strong>dependent archival NGO, the <strong>South</strong> <strong>Africa</strong>n <strong>History</strong> Archive, which had its roots <strong>in</strong><br />

an <strong>in</strong>dependent liberation archive <strong>in</strong> Zimbabwe <strong>in</strong> the 1980s. I also became a member<br />

of the Board of SAHO, which sought to develop onl<strong>in</strong>e heritage resources <strong>in</strong> the<br />

history of liberation <strong>and</strong> <strong>in</strong> political <strong>biography</strong>, <strong>in</strong>clud<strong>in</strong>g a wall of remembrance.<br />

Most significantly, <strong>in</strong> 1995, I was <strong>in</strong>vited to become a trustee of the District Six<br />

Museum, which developed as an <strong>in</strong>dependent site of public scholarship, a hybrid<br />

space of research, representation <strong>and</strong> pedagogy, through which relations of knowledge<br />

<strong>and</strong> varied k<strong>in</strong>ds of <strong>in</strong>tellectual <strong>and</strong> cultural practice were brokered <strong>and</strong> mediated<br />

between different sites, <strong>in</strong>stitutions <strong>and</strong> sociological doma<strong>in</strong>s. As an <strong>in</strong>stance of such<br />

knowledge transactions, <strong>in</strong> 1999 <strong>and</strong> 2000, I participated <strong>in</strong> a team of curators, artists<br />

<strong>and</strong> researchers that created the new permanent exhibition, Digg<strong>in</strong>g Deeper, a much<br />

more reflexive exhibition that sought more challeng<strong>in</strong>g ways of represent<strong>in</strong>g District<br />

Six’s pasts.<br />

In addition, as a historian at UWC <strong>in</strong> the 1990s, I found myself drawn <strong>in</strong>to various<br />

projects <strong>and</strong> activities of the Mayibuye Centre, <strong>in</strong>to some of the discussions <strong>and</strong><br />

strategies <strong>in</strong> the mid‐1990s that led to the formulation of the proposal to turn Robben<br />

Isl<strong>and</strong> <strong>in</strong>to a national museum, <strong>and</strong> <strong>in</strong>to the policy discussions that led to the grant<strong>in</strong>g<br />

of the collections of the Mayibuye Centre to the Robben Isl<strong>and</strong> Museum on long loan.<br />

In the later 1990s <strong>and</strong> early 2000s, I was also drawn <strong>in</strong>to some of the formal operations<br />

of the Robben Isl<strong>and</strong> Museum, as a member of the Work<strong>in</strong>g Committee compris<strong>in</strong>g<br />

RIM <strong>and</strong> UWC staff that managed operational aspects <strong>and</strong> project work of the<br />

renamed UWC RIM Mayibuye Archive. I also acted as occasional advisor to its<br />

Heritage <strong>and</strong> Education Departments, <strong>and</strong> worked with RIM staff <strong>in</strong> an educational<br />

partnership that UWC had developed with them <strong>and</strong> UCT on a programme <strong>in</strong><br />

Museum <strong>and</strong> Heritage Studies.<br />

503

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