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2015, South African Journal of Science
https://doi.org/10.17159/sajs.2015/a0104…
2 pages
1 file
This is a detailed review of my best-selling book Drinking with Ghosts: The Aftermath of Apartheid's Dirty War (BestRed, South Africa, 2014) by Dr Iain Edwards in the South African Journal of Science, May-June 2015. The book was long-listed for the 2015 Alan Paton Award, and long-listed for the Academy of Science of South Africa’s 2016 Humanities Book Award.
BestRed, 2014
This book is a fascinating exploration of the dark corners of South Africa's past by a veteran investigative journalist. Michael Schmidt's revelations move from South Africa's nuclear, biochemwar and death-squad programmes under apartheid to the problems of today's deeply unequal society, tracing the threads of secrecy, privilege and violence that is needed to maintain it. Comparing South Africa's troubled transition from autocracy to democracy with that of Chile, Schmidt demonstrates how apartheid's military-industrial complex continues to cast a long shadow over not just the country's domestic practices from the Mandela era, but over its regional relations.
Africa
In studies of Southern Africa, ancestors and possessing spirits have received far greater attention than ghosts. It is only in recent years that fragmentary references to ghosts have begun to appear in the ethnographic record. In this article, I seek to redress this imbalance by documenting stories and accounts of encounters with ghosts in the South African lowveld. I turn to studies of ghosts in Asia and elsewhere as an analytical starting point for interpreting their social and cosmological significance. A widespread theory in this literature is that narratives of ghosts are a means of emplacement, connecting people to places. But the theory does not capture the way in which narratives in the South African lowveld depict ghosts as essentially mobile beings. This is most evident in accounts of vanishing hitchhikers on the highways and of a ghost called sauwe, which captures people’s minds and forces them to walk in the direction of graveyards. These narratives speak of displacement...
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Past & Present, 2014
Although South African and Irish literatures are not often mentioned in the same breath, bringing them together reveals startling similarities and productive differences. This paper briefly delineates a critical lens mediated through the boundary-unsettling figure of the ghost to articulate its project — a brief comparative postcolonial study in Irish and South African literatures. I examine how Seamus Deane’s Reading in the Dark (1996) and Andre Brink’s The Rights of Desire (2000) employ ghosts in disquieting narratives that demonstrate history’s influence over those who live in its wake.
This fieldwork report explores how the contemporary, historical, socio-political and historical context of a village can be illustrated through spaces associated with death and relationships to the dead. The report is also concerned with the reflexive and emotive aspects of the ethnographer's encounter with the field space.
Are ghosts modern? It seems that modernization and spirituality do not contradict each other in most parts of the world. Animist beliefs and ghost rituals often form part of people’s everyday lives vis-à-vis a globalized economy. For them, the unpredictable forces of ‘the market’ correspond with the elusive world of spectral entities. Facing economic risk, flexibility, and precarity, people address the ghosts for protection and luck. This issue of 'Voices' will explore the interplay of economic and ritual practice, of everyday uncertainties and ghostly agency, of emerging modernities and (re-)emerging spiritualities.
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This paper centres on an existential consciousness reading of the production of “Abantu Stand” by Rhodes University Theatre. “Abantu Stand” is a product of pieces of workshop sketches on current social, economic and political conversations in South Africa. From my participation in the back stage conversations of the artists and the production crew towards the final making of the production, to the discussions with the audience after each performance, I realise that, of a truth, as the closing song of the performance re-echoes, “It is not yet uhuru” for the South Africans, particularly, the people on the peripheral of the society!” In “Abantu Stand,” in spite of her post-apartheid status, South Africa appears as a volatile contested space. Of course, in reality, in many areas, 70 to 85% of lands remain in the hands of the settlers. There are towns and settlements outside of towns – for till now, majority of the blacks live in shanties outside the main towns. Inequality, mutual suspicion, mismanagement and oppression operate at different levels of the society – from race to race, gender to gender and tribe to tribe. There is the challenge of gender/sexual categorisation and the tension of “coming out” in relation to the residual resisting traditional culture of heterosexuals. The sketches in the performance are woven around these contentious issues to give room for free conversations. The desire is to provoke a revolutionary change. However, one thing is evident: South Africa, with the relics of apartheid, is still a state in transition.
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