This book explores the place of memory in post-apartheid South Africa by analysing state sanctioned-performances of the nation. It first explores how the Truth and Reconciliation Commission (TRC) archive was created, and what it means to contemporary South Africa. The book then explores creative responses to the TRC. It examines individual narratives that have become iconic; asking why these have been chosen to represent the experiences of the broader majority. It analyses how contemporary cultural practitioners are particularly exploring various non-realistic, highly performative forms in conjunction with verbatim narratives to reflect on diverse lived realities in South Africa. The inherited apartheid archives embody particular narratives of South Africa, especially those that defined separate cultural identities, with their relative worth and histories. The way these archives of memory were constructed and controlled is important, especially insofar as they affected the social structure of the nation, beyond apartheid legislation. The book looks at how at moments of political crisis or transition, specific narratives of history, from particular cultural perspectives, have been performed in public spaces to define national identities. It also explores how Mbeki used the South Africa-Mali project, within the context of the New Partnership for Africa's Development (NEPAD) to extend the imagined boundaries of the nation. Finally, the book explores contemporary popular performance and theatrical engagements with history and memory.

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Archive Jean-Luc Godard tends to break up any pattern or configuration he gives shape to in his films or whose shape he happens to encounter or discover as it is being formed or perceived through the lens of the camera or at the editing table. The images and sounds in Histoire(s) du cinéma (1988–98) are mostly fragments from other unities cut out from an original context and, even if recognisable, something new. Because these elements are so particular, it makes it difficult to say what precisely they represent or what they might signify beyond themselves. Their

in Film modernism

151 Photographic archives and archival entities 11 Ariella Azoulay We often hear people qualifying photographs as ‘vernacular’, ‘subversive’, ‘official’, ‘propagandistic’ or ‘political’. The use of such adjectives to classify photographs is based on the institutionalisation of one particular mode of photography. Within this framework, photography is approached as a productive practice led by individuals who act as authors. The products these authors generate are conceived as signed and sealed, and can be classified independently of the event in which they

in Image operations
Remembering and forgetting

The TRC’s reconfiguring of the past 1 The Truth and Reconciliation Commission’s reconfiguring of the past: remembering and forgetting We are charged to unearth the truth about our dark past, to lay the ghosts of that past so that they will not return to haunt us. And [so] that we will thereby contribute to the healing of a traumatised and wounded people – for all of us in South Africa are wounded people – and in this manner to promote national unity and reconciliation. (Desmond Tutu)1 Because of this very fullness, the hypothetical fullness, of this archive

in South African performance and archives of memory
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sessions throughout the country from 1996 to 1998, covering the period from 1960 to 1990. The material from the Commission was reviewed and collated into a seven-volume Final Report, the last of which entered the public domain in 2003. William Kentridge referred to the TRC as ‘exemplary civic theatre, a public 2 South African performance and archives of memory hearing of private griefs which are absorbed into the body politic as a part of the deeper understanding of how the society arrived at its present position’ (1998: ix). This public event challenged many

in South African performance and archives of memory
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screenable condition. As an archivist at the British Film Institute, I’ll try to explain what survives and why, and some of the really awkward technical, preservation and access problems. I must start with the nature of the collections relating to this period of film history, how they came to be where they are, and what was going on at that time in the international archiving world. The 1950s is a particularly

in British cinema of the 1950s
The global exposition and the museum

The archive of Chineseness The archive of Chineseness: the global exposition and the museum In 2012, the Shanghai Biennale opened at the new mega museum, the Power Station of Art, the massive seven-story, 450,000-square-foot former electrical plant that was transformed into a museum in the model of London’s Tate Modern. Museums have become important civic centers and tourist sites for international cities such as Shanghai and Beijing, contributing to the rapid development of China’s metropolitan areas, and attaining the symbolic status that they have long

in Staging art and Chineseness
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Film festivals and the revival of Classic Hollywood

-visual culture. The international festival circuit now plays a significant role in the re-circulation and re-commodification of ‘old’ and ‘classic’ movies. Taking the form of revivals, retrospectives, special gala screenings, and archive-driven events, the contemporary exhibition of such historical artefacts provides a powerful means of extending cinephilia into the second century of cinema through a process

in Memory and popular film

80 4 Bound together Yellow, or reading archives diagonally Archive: The Leather Archives & Museum It’s curious that the great thing that’s developed out of gay liberation, one of its most visible artifacts, is all those bars where guys go and piss on each other […] Kate Millett1 It was a specific death that established the Leather Archives & Museum (LA&M). Dom Orejudos, the prolific leather artist who went under the pseudonym Etienne, died in the fall of 1991 from AIDS. Reading the obituary printed in the Chicago Tribune, however, one would be forgiven for

in Bound together

state-subsidised venues also allows for different kinds of relationships with audiences, beyond the tendency for passive consumption encouraged by a proscenium arch design. This is especially evident in festivals such as Cape Town’s Infecting the City (2008–11),1 which Awelani Moyo argues ‘has   1 See interview with Bailey on ITC (2010b). 172 South African performance and archives of memory attempted to make the arts more widely available to the public whilst stimulating debate about current social issues by making use of the embodied energy and creativity of

in South African performance and archives of memory