Fotografisk billedværk.

How did South Africans become black? How did the idea of blackness influence conceptions of disadvantaged groups in England such as women and the poor, and vice versa? Bringing the Empire Home tracks colonial images of blackness from South Africa to England and back again to answer questions such as these. Before the mid-1800s, black Africans were considered savage to the extent that their plight mirrored England's internal Others—women, the poor, and the Irish. By the 1900s, England's minority groups were being defined in relation to stereotypes of black South Africans. These stereotypes, in turn, were used to justify both new capitalist class and gender hierarchies in England and the subhuman treatment of blacks in South Africa. Bearing this in mind, Zine Magubane considers how marginalized groups in both countries responded to these racialized representations. Revealing the often overlooked links among ideologies of race, class, and gender, Bringing the Empire Home demonstrates how much black Africans taught the English about what it meant to be white, poor, or female.

Ten major ethnic groups are featured - including the San, Zulu, Ndebele, Basotho, and Venda - as well as several smaller sub-groups. This book describes the individual personality and history of each, their education, laws, languages, medicine and magic, and their religion. Over 200 photographs capture the vibrant color of ceremonial and everyday dress and ornamentation, musical instruments, dances and rites of passage, art, homes, and work. The remarkable metal neck rings and the geometrically beaded wire hoops worn by Ndebele and Ntwana women, the sacrificial ceremonies of the Zulu, the long pipes smoked by the Xhosa, and the traditional hunter-gatherer weapons of the San, deep in the Kalahari Desert - the details of today's way of life are recorded here in evocative pictures, while former traditions, now lost, fill the text with the intriguing, vital history of each group.

How did the Union of South Africa come to be dominated by a white minority? That is the obvious but haunting question addressed in this remarkable historical survey which documents and analyses the chain of events that led up to the passing in 1909 of the South African Act' by the British Parliament.'

The term African Renaissance, first used by liberation leaders in the early 1960's, has been revived by South Africa's new president, Thabo Mbeki, as a rallying call for the re-birth of pride and prosperity on the continent. With the flowering of democracy in South Africa, there is an awakening sense of pride in being African, in all it's dimensions. African Renaissance, from the camera of renowned photographer Peter Magubane, celebrates something of what it means to be African. His insightful eye explores not only fast-disappearing traditional cultures, but also the developing customs of modern Africa, an amalgam of the ancient and the contemporary. The guide is arranged by theme, covering subjects such as dress and adornment, rites of passage and homesteads. The section on dress and adornment examines beadwork, headgear and traditional dress, while the section on rites of passage takes a look at various initiation ceremonies, and at traditional and modern weddings.

Shows what it was like to grow up under apartheid.

A photographic look at the women of South Africa, from the inception of apartheid to the present, chronicles historical and quotidian events--including the 1956 march on Pretoria and a mother's grief over her son's needless death. Simultaneous.

World-renowned photographer, Dr Peter Magubane paints a contemporary warts and all history of the Ndbele people of South Africa. Their customs, crafts, architecture, ceremonies and day-to-day lives are captured by Magubane's keen eye and celebrated in his images. Magubane's images are accompanied by a short but concise text on the Ndbele people by Sandra Klopper. AmaNdebele will appeal to all those who are interested in Ndbele art and culture and in how traditional tribes adapt and thrive in a changing society.