From 1952 to 1981, South Africa’s apartheid government ran an art school for the training of African art teachers at Indaleni, in what is today KwaZulu-Natal. The Art of Life in South Africa is the story of the students, teachers, art, and politics that circulated through a small school, housed in a remote former mission station. It is the story of a community that made its way through the travails of white supremacist South Africa and demonstrates how the art students and teachers made together became the art of their lives. Daniel Magaziner radically reframes apartheid-era South African history. Against the dominant narrative of apartheid oppression and black resistance, as well as recent scholarship that explores violence, criminality, and the hopeless entanglements of the apartheid state, this book focuses instead on a small group’s efforts to fashion more fulfilling lives for its members and their community through the ironic medium of the apartheid-era school. There is no book like this in South African historiography. Lushly illustrated and poetically written, it gives us fully formed lives that offer remarkable insights into the now clichéd experience of black life under segregation and apartheid.

From 1952 to 1981, South Africa's apartheid government ran an art school for the training of African art teachers at Indaleni, in what is today KwaZulu-Natal. The Art of Life in South Africa is the story of the students, teachers, art, and politics that circulated through a small school, housed in a remote former mission station. It is the story of a community that made its way through the travails of white supremacist South Africa and demonstrates how the art they made together became the art of their lives. The Art of Life in South Africa proposes a radical reframing of apartheid era South African history. Against the dominant narrative of apartheid oppression and black resistance, as well as recent scholarship that explores violence, criminality and the hopeless entanglements of the apartheid state, this book focuses instead on a small group's efforts to fashion more fulfilling lives for themselves and their community through the ironic medium of the apartheid-era school. There is no book like this in South African historiography. Lushly illustrated and poetically written, it gives us fully formed lives that offer remarkable insights into the now cliched experience of black life under segregation and apartheid.

“Insightful . . . should be on the bookshelf of anyone interested in contemporary art on the continent of Africa, its politics, its display, its economics.” —African Arts Art World City focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city’s resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar’s creative economy and the city’s urban vibe into an “art world city.” “In her fine-grained analysis, Joanna Grabski demonstrates the ways that the urban environment and the sites of art production, exhibition, and sale imbricate one another to constitute Dakar as an Art World City.” —Mary Jo Arnoldi, Curator, Anthropology, National Museum of Natural History, Smithsonian “A valuable addition to the anthropology of cities and of art worlds. It stretches and revises the notion of art world to include multiple scales, and illustrates how the city enables simultaneous engagement for artists with local, national, Pan-African, and global discourses and platforms.” —City & Society “A beautiful book. The photographs, most of which are by the author, are stunning.” —College Art Association Reviews

Black South African artists have typically had their work labeled "African art" or "township art," qualifiers that, when contrasted with simply "modernist art," have been used to marginalize their work both in South Africa and internationally. This is the The first book to fully explore cosmopolitan modern art by black South Africans under apartheid.

""No nation can win a battle without faith," Steve Biko wrote, and as Daniel R. Magaziner demonstrates in The Law and the Prophets, the combination of ideological and theological exploration proved a potent force. The 1970s are a decade virtually lost to South African historiography. This span of years bridged the banning and exile of the country's best-known antiapartheid leaders in the early 1960s and the furious protests that erupted after the Soweto uprisings of June 16, 1976. Scholars thus know that something happened--yet they have only recently begun to explore how and why. The Law and the Prophets is an intellectual history of the resistance movement between 1968 and 1977; it follows the formation, early trials, and ultimate dissolution of the Black Consciousness movement. It differs from previous antiapartheid historiography, however, in that it focuses more on ideas than on people and organizations. Its singular contribution is an exploration of the theological turn that South African politics took during this time. Magaziner argues that only by understanding how ideas about race, faith, and selfhood developed and were transformed in this period might we begin to understand the dramatic changes that took place."--Publisher description.

This book is the first comprehensive account of the history and current state of South African sociology. Providing a holistic picture of the subject both as it is taught in universities and as a field of research, it reveals the trajectories of a discipline in a challenging socio-political context. With the support of historical and scientometric data, it demonstrates how the changing political situation, from colonialism to apartheid to democracy, has influenced the nature, direction and foci of sociological research in the country. The author shows how, during the apartheid era, sociology was professionally fragmented and divided along language and race lines. It was, however, able to flourish with the advent of democracy in 1994 and has become a unique academic movement. This insightful work will appeal to students and scholars of the social sciences, and all those interested in the history and society of South Africa.

This book is a short collection of memories about being white and living in South Africa during Apartheid. I wrote this book for the reader to easily understand what it was like to live in this environment. It is not a history lesson, but some personal experiences that I went through living in South Africa at the time. Living through apartheid I never even realized that it even existed, because we were brought up to believe that it was normal. Life was paradise for me and hell for others! Many of us did not know or care, and even if we did try to change the system, it would have resulted in prison or death. We believed that changing apartheid would have caused the country to fall into the hands of the communists, and many white people were fearful that black rule would have destroyed South Africa and their lives. The other side of the coin is that I cant comprehend what the lives of most blacks was like, which was excruciatingly difficult, something that I didnt personally experience. Our history books never taught us anything good about blacks. I cant remember ever learning anything positive that blacks did. What I did learn was that they were lazy, uneducated, dangerous, and drank a lot. Stay away from them, and if they bother you call the police. There were serious injustices in South Africa, and many black people suffered under the Apartheid Regime.

In this pioneering study, Marion Arnold explores the connections, hitherto hidden or neglected, between women and art in South Africa. By doing so, she recovers the rich histories of South African women artists and celebrates their creativity in the visual arts. In a series of related essays teeming with fresh insights, Marion Arnold asks new questions about the ways women have portrayed themselves, depicted landscapes, painted images of plants and sculpted the body. She examines, too, portraits of women (both black and white) in service and the long history of representations (usually by men) of the female 'other'. Throughout the book, the connections Marion Arnold makes between ideas, artists and their works are always illuminating and often unexpected. Here are not only familiar names viewed afresh - such as Maggie Laubser, Irma Stern, Helen Sebidi and Jane Alexander - but lesser-known artists who are rediscovered and brought to life.

Jay Pather, Performance and Spatial Politics in South Africa offers the first full-length monograph on the award-winning choreographer, theater director, curator, and creative artist in contemporary global performance. Working within the contexts of African studies, dance, theater, and performance, Ketu H. Katrak explores the extent of Pather's productive career but also places him and his work in the South African and global arts scene, where he is considered a visionary. Pather, a South African of Indian heritage, is known as a master of space, site, and location. Katrak examines how Pather's performance practices place him in the center of global trends that are interdisciplinary, multidisciplinary, collaborative, and multimedia and that cross borders between dance, theater, visual art, and technology. Jay Pather, Performance and Spatial Politics in South Africa offers a vision of an artist who is strategically aware of the spatiality of human life, who understands the human body as the nation's collective history, and who is a symbol of hope and resilience after the trauma of violent segregation.

Native Life in South Africa (1916) is a book by Solomon T. Plaatje. Written while Plaatje was serving as General Secretary of the South African Native National Congress, the work shows the influence of American activist and socialist historian W. E. B. Du Bois, whom Plaatje met and befriended. Using historical analysis and firsthand accounts from native South Africans, Plaatje exposes the cruelty of colonialism and analyzes the significance of the 1913 Natives’ Land Act. “Awaking on Friday morning, June 20, 1913, the South African Native found himself, not actually a slave, but a pariah in the land of his birth.” Native Life in South Africa begins with the passage of the 1913 Natives’ Land Act, which made it illegal for Black South Africans to lease and purchase land outside of government designated reserves. The act, which was the first of many segregation laws passed by the Union Parliament, was devastating to millions of poor South African natives, most of whom relied on leasing land from white farmers to survive.Native Life in South Africa is a classic of South African literature reimagined for modern readers.