• The Korean Journal of Archival Studies
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• no.74
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• pp.45-78
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• 2022

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government's indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa's past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa's official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people's memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

• The Journal of Art Theory & Practice
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• no.10
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• pp.63-84
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• 2010

This essay examines how the figure of Liberty has been refashioned in the streets of post-apartheid South Africa, addressing three public art works installed in Johannesburg over the past decade: Reshada Crouse's oil painting Passive Resistance, Marlene Dumas' tapestry The Benefit of the Doubt and William Kentridge's and Gerhard Marx's sculpture Firewalker. Even as these monumental works all reprise Delacroix's Liberty on the Barricades-an icon of the city street and its revolutionary barricades-so too this trio of Liberties have become mere phantoms of their vaunted archetype. Haunted specters, they quarrel with the mythologized chimera of Liberty, taking issue with the fraught tradition of pinning regime change onto the body of the female nude. Drawing instead on South African histories of women's resistance, in which female nudity has been repeatedly marshaled as a form of dissent, the Liberties circling Johannesburg hybridize their European template with local traditions of female political opposition to colonial and postcolonial male authority.

• Journal of the Korean association of regional geographers
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• v.23 no.2
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• pp.311-324
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• 2017

This study has the purpose of geopolitical analysis on the role, function and problem of (trans) frontier park in Southern Africa. Frontier parks in Southern Africa had been used as a buffer zone between colonial empires and British colonial administration during the colonial period and as an interdiction zone of communism and black liberation movement during the apartheid regime, the cold war and the civil war. The ecological transfrontier peace parks in Southern Africa which is integrating the adjacent Frontier parks is utilized as a means of a conflict resolution and peace building after the end of cold war, civil war and apartheid regime, The ecological transfrontier peace parks in Southern Africa is very highly regarded as an effective means for a conflict resolution and peace building. But it is also being criticized for a reproduction of South Africa's politico-economic domination and of a socio-spatial division between racial groups.

• Analyses & Alternatives
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• v.2 no.2
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• pp.93-110
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• 2018

Due to its speciality, Johannesburg has drawn wide attention from the international academia, which the existing urban theory cannot easily explain. This paper focuses on the spatial pattern of Johannesburg, and finds that it is highly fragmented: first North-South Division due to apartheid and gold mining, secondly, the continuous sprawl due to population densification, and thirdly formation of city-region due to the fill-in spatial policy. The fragmented spatial pattern undermines the social integration and weakens the potential economic sustainability, which make the balanced multi-core spatial pattern inevitable under the influence of the international planning thought. The Johannesburg's spatial transformation comes not only from social integration, but also from the development vison of world-class status of an African city. In reality, since the collapse of apartheid, the municipal government has released series of strategic planning in different executive phase. These different plannings unanimously focus on the world class status although since 2008, the social inclusiveness is more emphasized. Thus, Johannesburg implements some spatial policies, as promoting the corridor of freedom, identifying the key nodes in the city then developing with high density, implementing the in-filling policy, managing the urban growth boundary, effectively preserving the natural system. However, the industrial structure in Johannesburg is already quite high-ended which cannot produce many jobs and also require much investment in advanced infrastructure. Thus, the strategic goals of world-class status of an African city and social inclusiveness which really need widely shared public services to some extent are in tension. After evaluation, we can see that spatial transformation is quite limited. Obviously spatial transformation largely depends on the social-economy. The population is still in flow. In this sense Johannesburg must energetically support the employment-based industry, effectively control the spatial sprawl and carry out institutional innovation which further incentive investment, gradually build an integrated regional governance. In general, how Johannesburg combines globalization and its own condition is still worth thinking in both theory and practice.

• English & American cultural studies
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• v.18 no.3
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• pp.1-29
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• 2018

Nadine Gordimer's The Pickup, published in 2001, well shows how the social issues have been changed in a way to reflect the South African society which is more complicated in the post-apartheid era. Examining the two different geographical territories between Johannesburg, South Africa and an unnamed nation in Middle East, putting aside the domestic racism between white and black, she extends her issue of racial other to global one with new rising issue of immigration in South African society. It seems that Gordimer's such issue is well represented by two main characters: Julie Summers who comes from a wealthy family and falls in love with Abdu, an illegal immigrant who was born from a poor country in Middle East and is now working at a garage in a downtown of Johannesburg with hiding his real name Ibrahim ibn Musa. Having an official relationship with Ibrahim and joining the regular meeting at the El-Ay (L.A.) Cafe where all participants can enjoy the freedom of expression/speech except for Abdu, she begins to have interest in his silence and his presence, orientalized as the Arab Prince for her imagination. Arriving at Abdu 's nation later, she also keeps projecting the 'less civilized' images to his nation where there are only desert, uneducated people, and dirty houses and streets. In doing so, Gordimer leads reader to a never-ending issue of Orientalism in the Western literature. Moreover, the writer attempts to create a female-centered community at the male-centered Islam community by marginalizing the presence of Abdu who finally leaves to America alone. As Julie is successfully acculturated to the unknown Abdu's community, she begins to place herself at the center of the community and plays a role as a mediator/communicator who can change/civilize it with her western knowledge of language and culture. By replacing the male-centered with the female-centered through Julie, Gordimer seems to be creating an idealized community with the notion of matriarchy. However, Gordimer places Abdu as an unstable subject who has to endlessly move back and forth for his undetermined national and cultural identity while Julie achieves the determined identity in both nations.