Under apartheid, black South Africans experienced severe material and social disadvantages occasioned by the government’s policies, and they had limited time for entertainment. Still, they closely engaged with an array of textual and visual cultures in ways that shaped their responses to this period of ethical crisis. Marshaling forms of historical evidence that include passbooks, memoirs, American “B” movies, literary and genre fiction, magazines, and photocomics, Black Cultural Life in South Africa considers the importance of popular genres and audiences in the relationship between ethical consciousness and aesthetic engagement. This study provocatively posits that states of oppression, including colonial and postcolonial rule, can elicit ethical responses to imaginative identification through encounters with popular culture, and it asks whether and how they carry over into ethical action. Its consideration of how globalized popular culture “travels” not just in material form, but also through the circuits of the imaginary, opens a new window for exploring the ethical and liberatory stakes of popular culture. Each chapter focuses on a separate genre, yet the overall interdisciplinary approach to the study of genre and argument for an expansion of ethical theory that draws on texts beyond the Western canon speak to growing concerns about studying genres and disciplines in isolation. Freed from oversimplified treatments of popular forms—common to cultural studies and ethical theory alike—this book demonstrates that people can do things with mass culture that reinvigorate ethical life. Lily Saint’s new volume will interest Africanists across the humanities and the social sciences, and scholars of Anglophone literary, globalization, and cultural studies; race; ethical theories and philosophies; film studies; book history and material cultures; and the burgeoning field of comics and graphic novels.

Under apartheid, black South Africans experienced severe material and social disadvantages occasioned by the government’s policies, and they had limited time for entertainment. Still, they closely engaged with an array of textual and visual cultures in ways that shaped their responses to this period of ethical crisis. Marshaling forms of historical evidence that include passbooks, memoirs, American “B” movies, literary and genre fiction, magazines, and photocomics, Black Cultural Life in South Africa considers the importance of popular genres and audiences in the relationship between ethical consciousness and aesthetic engagement. This study provocatively posits that states of oppression, including colonial and postcolonial rule, can elicit ethical responses to imaginative identification through encounters with popular culture, and it asks whether and how they carry over into ethical action. Its consideration of how globalized popular culture “travels” not just in material form, but also through the circuits of the imaginary, opens a new window for exploring the ethical and liberatory stakes of popular culture. Each chapter focuses on a separate genre, yet the overall interdisciplinary approach to the study of genre and argument for an expansion of ethical theory that draws on texts beyond the Western canon speak to growing concerns about studying genres and disciplines in isolation. Freed from oversimplified treatments of popular forms—common to cultural studies and ethical theory alike—this book demonstrates that people can do things with mass culture that reinvigorate ethical life. Lily Saint’s new volume will interest Africanists across the humanities and the social sciences, and scholars of Anglophone literary, globalization, and cultural studies; race; ethical theories and philosophies; film studies; book history and material cultures; and the burgeoning field of comics and graphic novels.

Sheds new light on Native Life appearing at a critical historical juncture, and reflects on how to read it in South Africa’s heightened challenges today. First published in 1916, Sol Plaatje's Native Life in South Africa was written by one of the South Africa's most talented early twentieth-century black leaders and journalists. Plaatje's pioneering book arose out of an early African National Congress campaign to protest against the discriminatory 1913 Natives Land Act. Native Life vividly narrates Plaatje's investigative journeying into South Africa's rural heartlands to report on the effects of the Act and his involvement in the deputation to the British imperial government. At the same time it tells the bigger story of the assault on black rights and opportunities in the newly consolidated Union of South Africa - and the resistance to it. Originally published in war-time London, but about South Africa and its place in the world, Native Life travelled far and wide, being distributed in the United States under the auspices of prominent African-American W E B Du Bois. South African editions were to follow only in the late apartheid period and beyond. The aim of this multi-authored volume is to shed new light on how and why Native Life came into being at a critical historical juncture, and to reflect on how it can be read in relation to South Africa's heightened challenges today. Crucial areas that come under the spotlight in this collection include land, race, history, mobility, belonging, war, the press, law, literature, language, gender, politics, and the state.

Ralph Bunche, who received the Nobel Peace Prize in 1950, traveled to South Africa for three months in 1937. His notes, which have been skillfully compiled and annotated by historian Robert R. Edgar, provide unique insights on a segregated society.

In this engaging book, Amber Reed provides a new perspective on South Africa’s democracy by exploring Black residents’ nostalgia for life during apartheid in the rural Eastern Cape. Reed looks at a surprising phenomenon encountered in the post-apartheid nation: despite the Department of Education mandating curricula meant to teach values of civic responsibility and liberal democracy, those who are actually responsible for teaching this material (and the students taking it) often resist what they see as the imposition of “white” values. These teachers and students do not see South African democracy as a type of freedom, but rather as destructive of their own “African culture”—whereas apartheid, at least ostensibly, allowed for cultural expression in the former rural homelands. In the Eastern Cape, Reed observes, resistance to democracy occurs alongside nostalgia for apartheid among the very citizens who were most disenfranchised by the late racist, authoritarian regime. Examining a rural town in the former Transkei homeland and the urban offices of the Sonke Gender Justice Network in Cape Town, Reed argues that nostalgic memories of a time when African culture was not under attack, combined with the socioeconomic failures of the post-apartheid state, set the stage for the current political ambivalence in South Africa. Beyond simply being a case study, however, Nostalgia after Apartheid shows how, in a global context in which nationalism and authoritarianism continue to rise, the threat posed to democracy in South Africa has far wider implications for thinking about enactments of democracy. Nostalgia after Apartheid offers a unique approach to understanding how the attempted post-apartheid reforms have failed rural Black South Africans, and how this failure has led to a nostalgia for the very conditions that once oppressed them. It will interest scholars of African studies, postcolonial studies, anthropology, and education, as well as general readers interested in South African history and politics.

The South Africa Reader is an extraordinarily rich guide to the history, culture, and politics of South Africa. With more than eighty absorbing selections, the Reader provides many perspectives on the country's diverse peoples, its first two decades as a democracy, and the forces that have shaped its history and continue to pose challenges to its future, particularly violence, inequality, and racial discrimination. Among the selections are folktales passed down through the centuries, statements by seventeenth-century Dutch colonists, the songs of mine workers, a widow's testimony before the Truth and Reconciliation Commission, and a photo essay featuring the acclaimed work of Santu Mofokeng. Cartoons, songs, and fiction are juxtaposed with iconic documents, such as "The Freedom Charter" adopted in 1955 by the African National Congress and its allies and Nelson Mandela's "Statement from the Dock" in 1964. Cacophonous voices—those of slaves and indentured workers, African chiefs and kings, presidents and revolutionaries—invite readers into ongoing debates about South Africa's past and present and what exactly it means to be South African.

This book discusses differences between African and American culture, to help prevent cultural miscommunications which might poison or ruin relationships between Africans and Americans. I am lucky to have lived in both Africa and America, and I feel priviledged and obliged to share my views and experiences with others.