Mixed Race Studies

Racialised ethnicities and ethnicised races: reflections on the making of South Africanism

African Identities
Published online: 2012-06-21
DOI: 10.1080/14725843.2012.692550

Sabelo J. Ndlovu-Gatsheni, Professor in the Department of Development Studies
University of South Africa

This article discusses how the politics of South African identity-making continues to be spoiled by racialised and ethnicised identities cascading from colonialism and apartheid. These problematic identities continue to live on, raising sensitive issues of nativity versus settlerism as well as rights versus entitlement to resources. Identity issues cannot be understood without a clear historical analysis of politics of translating a geographical expression into a national identity that dates back to colonial encounters. The article unpacks complex nationalisms, namely Anglicisation, Afrikanerisation, and Africanisation, that operated as ID-ologies, i.e. identitarian quests for a shared identity, albeit mediated by notions of whiteness and blackness. These ID-ologies became sites of struggles mediated by vicissitudes of inclusions and exclusions. The question of who was the subject of liberation, who constitutes the ‘authentic’ subject of the nation, and who is entitled to resources such as land and mines remain contested. Whites use the constitution to claim rights and to maintain the status quo of privilege, whereas Africans try to mobilise notions of both rights and entitlements as part of the redress of past and present exclusions.

Introduction

This article traces the problematics of the idea of South Africa with a view to enlighten the current questions of belonging, citizenship, and ownership of resources rocking the country. It is a historical study that explores changing translations of a geographical expression into an identity of a people. The historical analysis slices right through the imperial and colonial encounters of the nineteenth and early twentieth centuries, right up to the present constructions of the ‘rainbow nation’. The main proposition of the article is thay South African national identity is, if not a failing national project, at least very much a contested work in progress, which is open to different interpretations and trajectories. This proposition is given credence by the fact that racialised and ethnicised identities formed under imperialism, colonialism, and apartheid continue to hang like a nightmare on the body politic of the rainbow nation, refusing to die. and continuing to throw up toxic questions around issues of belonging, citizenship, entitlement and ownership of resources like land and mines…

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Between black and white: Rethinking Coloured identity

African Identities
Volume 1, Issue 2 (2003)
pages 253-280
DOI: 10.1080/1472584032000173139

Pal Ahluwalia, Pro Vice Chancellor of Education, Arts and Social Sciences
University of South Australia

Abebe Zegeye
Goldsmiths College, University of London

Identity who we are, where we come from, what we are is difficult to maintain … we are the ‘other’, an opposite, a flaw in the geometry of resettlement, an exodus. (Said 1986: 16 17)

The photographs

Stephen Greenblatt offers two models for the exhibition of works of art resonance and wonder. Resonance, he argues, equates with the ‘power of the displayed object to reach out beyond its formal boundaries to a larger world, to evoke in the viewer the complex, dynamic cultural forces from which it has emerged and for which it may be taken by a viewer to stand’ (Greenblatt 1991: 42). Clearly a work of art that evokes such resonance creates its own context albeit that it is far removed from its original site. In contrast, by wonder, he means, ‘the power of the displayed object to stop the viewer in his or her tracks, to convey an arresting sense of uniqueness, to evoke an exalted attention’ (ibid.).

Greenblatt argues that what has increasingly happened in the practice of mounting exhibitions is the triumph of resonance over wonder. For an exhibition to have maximum impact, he argues (ibid.: 54), it is important that there should be ‘a strong initial appeal to wonder, a wonder that then leads to the desire for resonance, for it is generally easier in our culture to pass from wonder to resonance than from resonance to wonder’. It is in this context that we urge readers to make acquaintance with Chris Ledochowski’s photographs. First and foremost, they are works of art that evoke wonder. These works of art, however, are deeply resonant with the racial quagmire that has dominated and continues to dominate   South Africa’s culture, history and politics…

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