The Hidden History of South Africa's Book and Reading Cultures shows how the common practice of reading can illuminate the social and political history of a culture. This ground-breaking study reveals resistance strategies in the reading and writing practices of South Africans; strategies that have been hidden until now for political reasons relating to the country's liberation struggles. By looking to records from a slave lodge, women's associations, army education units, universities, courts, libraries, prison departments, and political groups, Archie Dick exposes the key works of fiction and non-fiction, magazines, and newspapers that were read and discussed by political activists and prisoners. Uncovering the book and library schemes that elites used to regulate reading, Dick exposes incidences of intellectual fraud, book theft, censorship, and book burning. Through this innovative methodology, Dick aptly shows how South African readers used reading and books to resist unjust regimes and build community across South Africa's class and racial barriers.

'Africa's Hidden Histories' takes a private and personal look into the world of everyday Africans, as they put pen to paper. As it explores the innovative, intense, and sociable interest in reading and writing, the text opens new avenues for understanding a rich and hidden history of Africa's creative expression.

Conventional historical and political analyses of South Africa have frequently neglected the vital role of sport in general, and rugby in particular. This book fills the gap through a critical interpretation of rugby's role in the development of white society, its role in shaping significant social divisions, and its centrality to the apartheid era "power elite".

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.

Drawing on two decades of interviews and ethnographic fieldwork (1998–2018), this book presents a unique and multi-faceted history of youth development in South Africa through the lens of a South African non-governmental organization (NGO) prominent in youth development from the mid-1980s until 2008. The book weaves history, ethnography, and discourse analysis to contextualize the Joint Enrichment Project (JEP) in the politics and history of South African education. It examines JEP’s role leading up to and during South Africa’s transition to democracy, its work and influence in post-apartheid South Africa, and the continued relevance of its legacy to contemporary initiatives seeking to address youth development and social justice. While JEP repeatedly repositioned itself as an organization, from fighting the effects of apartheid on young people to becoming a potential partner with the new African National Congress (ANC)-led government, its most significant role may have been to reposition people. After tracing JEP’s twenty-year history, the book focuses on the participants in a 1998 Youth Work Scheme, exploring their learning experiences and the program’s immediate impact on their lives. It then revisits these participants twenty years later in 2018, analyzing their life trajectories after JEP and comparing them with the life trajectories of former JEP staff over the same period—shedding light on broader patterns of socio-economic reproduction and change in the country. The book concludes with a discussion of a perennial paradox facing youth development institutions. This book will be of great interest to academics, researchers and post-graduate students in the fields of education, international development, anthropology, and African studies.

Print Culture in Southern Africa is concerned with the institutions and processes informing textual production, circulation and consumption in the region, over a broad historical period from the late 18th century to the present day. The book is organised around three closely related themes. Firstly, it presents original research into the formation of reading publics and the impact of reading cultures, by uncovering obscure but important reading communities and circuits of book distribution and reception. A second theme is the relationship between print and politics, with a particular focus on the networks of power: how control over the production and circulation of printed books has shaped literary and cultural development. The third theme is transnational print culture, and how the control exercised by publishers in Europe and America has shaped literature and society in southern Africa. Drawing together interdisciplinary research and diverse methodologies, the collection encompasses a range of perspectives, including literary studies, anthropology, publishing studies, the history of the book and art history, and many of the chapters are based on previously unexamined archives and collections. The volume contributes to current debates and opens up new and exciting ways of furthering the study of postcolonial literature and African book history. The chapters included in this book were originally published in the Journal of Southern African Studies.

From classic films like Carmen Jones to contemporary works like The Diary of Sally Hemings and U-Carmen eKhayelitsa, American and South African artists and composers have used opera to reclaim black people's place in history. Naomi André draws on the experiences of performers and audiences to explore this music's resonance with today's listeners. Interacting with creators and performers, as well as with the works themselves, André reveals how black opera unearths suppressed truths. These truths provoke complex, if uncomfortable, reconsideration of racial, gender, sexual, and other oppressive ideologies. Opera, in turn, operates as a cultural and political force that employs an immense, transformative power to represent or even liberate. Viewing opera as a fertile site for critical inquiry, political activism, and social change, Black Opera lays the foundation for innovative new approaches to applied scholarship.