Class In Soweto
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Uniting a Divided City
For many, Johannesburg resembles the imagined spectre of the urban future. Global anxieties about catastrophic urban explosion, social fracture, environmental degradation, escalating crime and violence, and rampant consumerism alongside grinding poverty, are projected onto this city as a microcosm of things to come. Decision-makers in cities worldwide have attempted to balance harsh fiscal and administrative realities with growing demands for political, economic and social justice. This book investigates pragmatic approaches to urban economic development, service delivery, spatial restructuring, environmental sustainability and institutional reform in Johannesburg. It explores the conditions and processes that are determining the city's transformation into a cosmopolitan metropole and magnet for the continent.
Things Change
Since the early nineteenth century, the things which Black South Africans have had in their homes have changed completely. They have adopted things like tables, chairs, knives, forks, spoons, plates, cups and saucers, iron pots, beds, blankets, European clothing, and later electronic apparatus. Thus they claimed modernity, respectability and political inclusion. This book is the first systematic analysis of this development. It argues that the desire to possess such goods formed a major part of the drive behind the anti-apartheid struggle, and that the demand to consume has significantly influenced both the economy and the politics of the country.
Theatre and Cultural Struggle under Apartheid
Author: Robert Mshengu Kavanagh
language: en
Publisher: Bloomsbury Publishing
Release Date: 2017-06-15
In this book, South African performer and activist Robert Mshengu Kavanagh reveals the complex and conflicting interplay of class, nation and race in South African theatre under Apartheid. Evoking an era when theatre itself became a political battleground, Kavanagh displays how the struggle against Apartheid was played out on the stage as well as on the streets. Kavanagh's account spans three very different areas of South African theatre, with the author considering the merits and limitations of the multi-racial theatre projects created by white liberals; the popular commercial musicals staged for black audiences by emergent black entrepreneurs; and the efforts of the Black Consciousness Movement to forge a distinctly African form of revolutionary theatre in the 1970s. The result is a highly readable, pioneering study of the theatre at a time of unprecedented upheaval, diversity and innovation, with Kavanagh's cogent analysis demonstrating the subtle ways in which culture and the arts can become an effective means of challenging oppression.