"Why bother to rob a bank, when you can own a bank?" asked Bertold Brecht. The question is reiterated in the very Brechtian "Love, Crime and Johannesburg," the story of Jimmy 'Long Legs' Mangane, a people's poet involved in the struggle, who is accused of robbing a bank. He passionately asserts his innocence, claiming to work for the "secret secret service." Lewis, his old friend and comrade from the struggle, now owns a bank. How did this happen? The man of the struggle is now a man of accounts. A man of the nineties. Part of the cellphone generation. Added to the mix is an old-style gangster, two girlfriends, a Jewish father and a very unusual Chief of Police. Described as one of the first genuine post-apartheid plays, "Love, Crime and Johannesburg" is a witty, lighthearted account of life in the City of Gold at the turn of the millennium. A must for all students of South African theatre. Winner of the 2000 Vita Award for best script of a new South African Play.

Racism after Apartheid, volume four of the Democratic Marxism series, brings together leading scholars and activists from around the world studying and challenging racism. In eleven thematically rich and conceptually informed chapters, the contributors interrogate the complex nexus of questions surrounding race and relations of oppression as they are played out in the global South and global North. Their work challenges Marxism and anti-racism to take these lived realities seriously and consistently struggle to build human solidarities.

Photography and History in Colonial Southern Africa is a rich and in-depth study of the relationship between photography and colonial history at the turn of the 20th century. Lorena Rizzo highlights the ways in which photographic images cut across conventional institutional boundaries and complicates rigid distinctions between the private and the public, the political and the aesthetic, the colonial and the vernacular, and the subject and the object.

Rizzo argues that rather than understanding photographs primarily as a means of preserving and recreating the past in the present, we can also value them for how they evoke at once the need for and the limits of historical reconstruction.

The work is rich in detail. Readers will encounter photographs that range from prison albums from late 19th century Cape Town; police photographs from German Southwest Africa (Namibia) in the early 20th century; studio portraits commissioned by African women and men who applied for identity documents, travel permits and passports in the 1920s and 1930s; South African dompas photographs from the 1950s and 1960s; to African women collections assembled in the locations of Windhoek and Usakos in central Namibia, and aerial photography in the Eastern Cape in the mid-20th century.

It is an important contribution to the area of photography and history. It will enhance further study into constructions of whiteness and blackness and the different modes in which the imperial project operated across borders.

Although Marx's writings on social transformation figured prominently in the global Left imagination for more than 150 years, by the late 20th century the relevance of Marxism was under question by both the Left (including Marxists) and the Right. Its revival in the second decade of the 21st century is finding new sources of inspiration and creativity from movements that believe that "another world is possible" through democratic, egalitarian, and ecological alternatives to capitalism built by ordinary people. The Marxism of many of these movements is not dogmatic or prescriptive, but open, searching, utopian. It revolves around four primary factors: the importance of democracy for an emancipatory project, the ecological limits of capitalism, the crisis of global capitalism, and the learning of lessons from the failures of Marxist-inspired experiments. This edited book introduces some contemporary approaches to Marxism. It shows how the 21st century has seen enormous creativity from movements that seek to overcome the weaknesses of the past by forging fundamentally new approaches to politics that draw inspiration from Marxism along with many other anticapitalist traditions such as feminism, ecology, anarchism, and indigenous traditions. Featuring leading thinkers from the Left, the book offers provocative ideas on interpreting our current world and will serve as an excellent reference book to introduce a new way of thinking about Marxism to students and scholars in the field.

"If there is a more urgent and indispensible playwright in world theatre than South Africa's Athol Fugard, I don't know who it could be."-Jack Kroll, "Newsweek"

One of the true contemporary masters of the stage, South African playwright Athol Fugard has written one of his most stunning works. "Sorrows and Rejoicings" explores the legacy of Apartheid on two women-one white, the other black-who on the surface seem to have little in common except for their love of one man, a white poet who is attached to the Karoo land of South Africa. The drama moves between past and present, reliving the poet's despondent years in exile and his eventual return to a new South Africa. With lyrical grace, Fugard once again demonstrates the human struggle to transcend the treacherous injustices of history.

South African playwright, actor and director, Athol Fugard is one of the world's leading theatre artists, of whom "The New Yorker" has said, "A rare playwright, who could be a primary candidate for either the Nobel Prize on Literature or the Nobel Peace Prize."

Also available by Athol Fugard: "

The Road to Mecca"

PB $11.95 0-930452-79-8 USA"

My Children My Africa "

PB $10.95 1-55936-014-3 o USA

Statements

PB $10.95 0-930452-61-5 USA"

Blood Knot and Other Plays"

PB $ 14.95 1-55936-020-8 USA"

Valley Song"

PB $10.95 1-55936-119-0 USA

Johannesburg was still a brash mining town, better known for the production of wealth than knowledge, and the University of the Witwatersrand a mere ten years old when, in 1932, these ten lectures were delivered under the auspices of the University Philosophical Society. They portrayed the ideas of the university's leading academics of the day, and the programme of lectures reveals a studied effort to introduce an element of bipartisan political representation between English and Afrikaner in South Africa by including Wits' first principal, Jan Hofmeyr, and politician, D.F. Malan, as discussion chairs. Yet, no black intellectuals were represented and, indeed, the politics of racial segregation bursts through the text only in a few of the contributions. For the most part, race is alluded to only in passing. As Saul Dubow explains in his new introduction to this re-issue of the lectures, Our Changing World-View was an occasion for Wits' leading faculty members to position the young university as a mature institution with a leadership role in public affairs. Above all, it was a means to project the university as a research as well as a teaching institution, led by a vigorous and ambitious cohort of liberal-minded intellectuals. That all were male and white will be immediately apparent to readers of this reissued volume. Ranging from economics, psychology, a spurious rebuttal of evolution to a substantial revisionist history and the perils of the 'machine age', this book is a sombre reflection of intellectual history and the academy's role in promulgating political and social divisions in South Africa.

The history of dress in the South African bush.

To dress is a uniquely human experience, but practices and meanings of dress vary greatly among people. In a Western cultural tradition, the practice of dressing ‘properly’ has for centuries distinguished ‘civilised’ people from ‘savages’. Through travel literature and historical ethnographic descriptions of the Bushmen of southern Africa, such perceptions and prejudices have made their mark also on the modern research tradition. Because Bushmen were widely considered to be ‘nearly naked’ the study of dress has played a limited part in academic writings on Bushman culture.

In Dress as Social Relations, Vibeke Maria Viestad challenges this myth of the nearly naked Bushman and provides an interdisciplinary study of Bushman dress, as it is represented in the archives and material culture of historical Bushman communities. Maintaining a critical perspective, Viestad provides an interpretation of the significance of dress for historical Bushman people. Dress, she argues, formed an embodied practice of social relations between humans, animals and other powerful beings of the Bushman world; moreover, this complex and meaningful practice was intimately related to subsistence strategies and social identity. The historical collections under scrutiny present a wide variety of research material representing different aspects of the bodily practice of dress. Whereas the Bleek & Lloyd archive of oral myths and narratives has become renowned for its great research potential, the artefact collections of Dorothea Bleek and Louis Fourie are much less known and have not earlier been published in a richly illustrated and comprehensive way.

Dress as Social Relations is aimed at scholars and students of archaeology, anthropology, material culture studies, dress studies, ethnographic studies, museology, culture historical studies and African studies, but will also be of interest to people of descendant communities.

Climate change affects us all, but it can be a confusing business. In this book, three scientists with several decades of experience in assessing the potential effects of climate change for the southern African region share their insights. Complex issues are dealt with in plain language, without oversimplification and with attention to accuracy. The material is up-to-date as is possible in such a fast-developing field. Climate Change: Briefings from Southern Africa takes the form of 55 'frequently-asked' questions', each with a brief and clear reply. It is illustrated with colour diagrams and photographs, and examples are tailored to the regional context. The authors' introduction provides an overview of current national and international policies aimed at regulating climate change. The content is divided into four sections, which take the reader through the science of how climate system works; the projected impacts in southern Africa during the twenty-first century; what this means for the South African economy and society; and what can be done to avoid harm. The briefings can be read alone or in sequence. The year 2015 is regarded as a watershed for global climate change action if a global average temperature rise of more than two degrees abbove the pre-Industrial level is to be avoided. This book provides compelling evidence that the impact on agriculture, fisheries, water resources, human health, plants and animals as well as sea levels will be dangerous. However, the book ends on a positive note by offering advice on how the world can avoid such bleak outcomes, while allowing a good life for all. The volume is aimed at interested non-scientists, including business people, decision-makers, ordinary citizens and students.

Since South Africa's transition to democracy, many universities have acquired new works of art that convey messages about the advantages of cultural diversity, and engage critically with histories of racial intolerance and conflict. Given concerns about the influence of British imperialism or Afrikaner nationalism on aspects of their inherited visual culture, most tertiary institutions are also seeking new ways to manage their existing art collections, and to introduce memorials, insignia or regalia, which reflect the universities' newfound values and aspirations. In Picturing Change, Brenda Schmahmann explores the implications of deploying the visual domain in the service of transformative agendas and unpacks the complexities, contradictions and slippages involved in this process. She shows that although most new commissions have been innovative, some universities have acquired works with potentially traditionalist - even backward-looking - implications. While the motives behind removing inherited imagery may be underpinned by a desire to unsettle white privilege, in some cases such actions can also serve to maintain the status quo. This book is unique in exploring the transformative ethos evident in the curation of visual culture at South African universities. It will be invaluable to readers interested in public art, the politics of curating and collecting, as well as to those involved in transforming tertiary and other public institutions into spaces that welcome diversity.

From early department stores in Cape Town to gendered histories of sartorial success in urban Togo, contestations over expense accounts at an apartheid state enterprise, elite wealth and political corruption in Angola and Zambia, the role of popular religion in the political intransigence of Jacob Zuma, funerals of big men in Cameroon, youth cultures of consumption in Niger and South Africa, queer consumption in Cape Town, middle-class food consumption in Durban and the consumption of luxury handcrafted beads, this collection of essays explores the ways in which conspicuous consumption is foregrounded in various African contexts and historical moments.

In 1899, Thorstein Veblen coined the phrase `conspicuous consumption' to describe status-seeking in the obscenely unequal world of late-nineteenth century America. Many of the aspects he described in The Theory of the Leisure Class are still evident in our world today. While Veblen's crude denunciation of material extravagance finds echoes in media exposes about the lifestyles of the rich worldwide, it is particularly recognisable in reporting on Africa. Here, images of conspicuous consumption have long circulated in local and global media as indictments of political corruption and signs of moral depravity.

The essays in Conspicuous Consumption in Africa put Veblen's concept under robust critical scrutiny, drawing on theorists like Mbembe, Guyer and Bayart by way of critique or addition. They delve into the pleasures, stresses and challenges of consuming in its religious, generational, gendered and racialised aspects, revealing conspicuous consumption as a layered set of practices, textures and relations. The authors resist the trap of easy moralisation, pointing to more complex ethical and political registers of analysis and judgement. This volume shows how central and revealing conspicuous consumption can be to fathoming the history of Africa's projects of modernity, and their global lineages and legacies.

In its grounded, up-close case studies, it is likely to feed into current public debates on the nature and future of African societies - South African society in particular.

Emerging in the late nineteenth century and gaining currency in the 1930s and 1940s, Afrikaner nationalist fervour underpinned the establishment of white Afrikaner political and cultural domination during South Africa's apartheid years. Focusing on manifestations of Afrikaner nationalism in paintings, sculptures, monuments, buildings, cartoons, photographs, illustrations and exhibitions, Troubling Images offers a critical account of the role of art and visual culture in the construction of a unified Afrikaner imaginary, which helped secure hegemonic claims to the nation-state. This insightful volume examines the implications of metaphors and styles deployed in visual culture, and considers how the design, production, collecting and commissioning of objects, images and architecture were informed by Afrikaner nationalist imperatives and ideals. While some chapters focus only on instances of adherence to Afrikaner nationalism, others consider articulations of dissent and criticism. By 'troubling' these images: looking at them, teasing out their meanings, and connecting them to a political and social project that still has a major impact on the present moment, the authors engage with the ways in which an Afrikaner nationalist inheritance is understood and negotiated in contemporary South Africa. They examine the management of its material effects in contemporary art, in archives, the commemorative landscape and the built environment. Troubling Images adds to current debates about the histories and ideological underpinnings of nationalism and is particularly relevant in the current context of globalism and diaspora, resurgent nationalisms and calls for decolonisation.

On 11 May 2008, residents of Alexandra Township turned violently on their neighbours, launching a string of attacks that, two weeks later, left 60 dead, dozens raped and over a hundred thousand displaced. Most of those killed were from beyond South Africa's borders, but at least a third were citizens who, for reasons of ethnicity or political affiliation, failed to protect their space in the country's urban core. Although not the most severe political violence in South Africa's turbulent past, the 2008 attacks reflect an important moment in the country's post-apartheid, post-authoritarian existence: a moment when the government's legitimacy and the post-apartheid order were called into question. This xenophobic violence made evident cracks in the cohesion of law and society while helping to redefine both. It is these events and subsequent consequences for the ordering of power, population and place that this book explores. Exorcising the demons within makes sense of recent anti-outsider violence by situating it within an extended history of South African statecraft that both produced the conditions for the attacks and has been reshaped by it. Drawing on an interdisciplinary team of expert scholars and on new research, this is the first academic text to fully theorise the events that made global headlines in 2008. Through its subtle, empirical and theoretically informed analysis, the book reshapes discussion of xenophobia and violence in South Africa while injecting local debates into global considerations of the meaning of citizenship and the post-colonial state.

Patrick van Rensburg (1931-2017) was an anti-apartheid activist and self-made 'alternative educationist' whose work received international recognition with the Right Livelihood Award in 1981. Born in KwaZulu-Natal into what he described as a 'very ordinary South African family that believed in the virtue of racism', Van Rensburg became a self-styled rebel who tirelessly pursued his own vision of a brighter future for emerging societies in post-colonial southern Africa.

His emotional and intellectual struggle against his upbringing and cultural roots led him to reject his life of white privilege in South Africa. Determined to prevent the emergence of a privileged black elite in post-colonial society, he devoted his life to implementing an alternative, egalitarian approach to education, focusing on quality and functional schooling for the majority. Rewarded with the internationally prestigious Right Livelihood Award for his unique contribution to education, he saw this work as a 'necessary tool of development'.

Exiled from South Africa in 1960 because of his involvement in the London boycott campaign that gave birth to the Anti-Apartheid Movement, Van Rensburg moved to Botswana (then Bechuanaland). There he founded cooperatives, provided vocational training and was among the earliest educationists to espouse the discipline of development studies. Perhaps his best-known legacy is the Swaneng Hill School, which he founded to provide an educational home for primary school 'dropouts' through a curriculum that combined theory and practice, and academic and manual labour. He involved his pupils in building their school, running it, providing their own food, and making their own equipment and furniture.

Van Rensburg was an innovative and charismatic visionary who captured the zeitgeist of the late twentieth century, and whose work and vision still have resonance for debates in educational policy today.

The idea that the period of social turbulence in the nineteenth century was a consequence of the emergence of the powerful Zulu kingdom under Shaka has been written about extensively as a central episode of southern African history. Considerable dynamic debate has focused on the idea that this period – the ‘mfecane’- left much of the interior depopulated, thereby justifying white occupation. One view is that ‘the time of troubles’ owed more to the Delagoa Bay Slave trade and the demands of the labour-hungry Cape colonists than to Shaka’s empire building. But is there sufficient evidence to support the argument? The Mfecane Aftermath investigates the very nature of historical debate and examines the uncertain foundations of much of the previous historiography.

Confronting national, linguistic and disciplinary boundaries, contributors to African Archaeology Without Frontiers argue against artificial limits and divisions created through the study of 'ages' that in reality overlap and cannot and should not be understood in isolation. Papers are drawn from the proceedings of the landmark 14th PanAfrican Archaeological Association Congress, held in Johannesburg in 2014, nearly seven decades after the conference planned for 1951 was re-located to Algiers for ideological reasons following the National Party's rise to power in South Africa. Contributions by keynote speakers Chapurukha Kusimba and Akin Ogundiran encourage African archaeologists to practise an archaeology that collaborates across many related fields of study to enrich our understanding of the past. The nine papers cover a broad geographical sweep by incorporating material on ongoing projects throughout the continent including South Africa, Botswana, Cameroon, Togo, Tanzania, Kenya and Nigeria. Thematically, the papers included in the volume address issues of identity and interaction, and the need to balance cultural heritage management and sustainable development derived from a continent racked by social inequalities and crippling poverty. Edited by three leading archaeologists, the collection covers many aspects of African archaeology, and a range of periods from the earliest hominins to the historical period. It will appeal to specialists and interested amateurs.

In this wonderfully original and intensely personal--yet deeply analytical--work, Dr. Carli Coetzee argues in favor of difference and disagreement as legitimate forms of activism to bring about social change both inside and outside the teaching environment. She begins by defining "accentedness" as the process of actively working towards the ending of apartheid by being aware of the legacies of the past, without attempting to gloss over the conflicts and violence that may exist under the surface. Having established this, she examines the concept of "accent" in a broad educational context, analyzing it, not only as an accent of speech, but also an attitude, a stance against being understood--yet a way of teaching that requires teacher and pupil to understand each other's contexts. The book draws on seminal recent South African literature to illustrate a new way of reading and to theorize this teacher-student relationship. The ideas presented about the relationships created by the use of language to convey knowledge, particularly in translation, are evocative, thought-provoking, and even challenging at times. "Accented Futures" marks a significant and important contribution to research on identity in post-apartheid South Africa, as well as to the fields of education and translation studies.

In Losing The Plot, well-known scholar and writer Leon de Kock offers a lively and wide-ranging analysis of postapartheid South African writing which, he contends, has morphed into a far more flexible and multifaceted entity than its predecessor. If postapartheid literature's founding moment was the 'transition' to democracy, writing over the ensuing years has viewed the Mandelan project with increasing doubt. Instead, authors from all quarters are seen to be reporting, in different ways and from divergent points of view, on what is perceived to be a pathological public sphere in which the plot- the mapping and making of social betterment - appears to have been lost.

The compulsion to forensically detect the actual causes of such loss of direction has resulted in the prominence of creative nonfiction. A significant adjunct in the rise of this is the new media, which sets up a 'wounded' space within which a 'cult of commiseration' compulsively and repeatedly plays out the facts of the day on people's screens; this, De Kock argues, is reproduced in much postapartheid writing.

And, although fictional forms persist in genres such as crime fiction, with their tendency to overplot, more serious fiction underplots, yielding to the imprint of real conditions to determine the narrative construction.

Elephants are in dire straits - again. They were virtually extirpated from much of Africa by European hunters in the eighteenth and nineteenth centuries, but their numbers resurged for a while in the heyday of late-colonial conservation efforts in the twentieth. Now, according to one estimate, an elephant is being killed every 15 minutes. This is at the same time that the reasons for being especially compassionate and protective towards elephants are now so well-known that they have become almost a cliche: their high intelligence, rich emotional lives including a capacity for mourning, caring matriarchal societal structures, that strangely charismatic grace. Saving elephants is one of the iconic conservation struggles of our time. As a society we must aspire to understand how and why people develop compassion - or fail to do so - and what stories we tell ourselves about animals that reveal the relationship between ourselves and animals. This book is the first study to probe the primary features, and possible effects, of some major literary genres as they pertain to elephants south of the Zambezi over three centuries: indigenous forms, early European travelogues, hunting accounts, novels, game ranger memoirs, scientists' accounts, and poems. It examines what these literatures imply about the various and diverse attitudes towards elephants, about who shows compassion towards them, in what ways and why. It is the story of a developing contestation between death and compassion, between those who kill and those who love and protect.

Craig Higginson's first three plays for adult audiences - collected here in one volume - represent one of the strongest debuts in contemporary South African theatre. Although each can be seen as a variation on the theme of the post-apartheid state of the nation play, they are also engaged with realities in Zimbabwe, the Congo and contemporary Europe. Higginson's experience of growing up in wartorn Zimbabwe and apartheid South Africa have given him a deeprooted and potent angle from which to dramatize a dialogue between Europe and Africa. As British director Jeremy Herrin has noted in his Foreword: `The pairing of delicate psychology and considered plot allow the plays to move beyond the realism of their settings into a bespoke theatrical landscape, a place where the contradictions and messiness of contemporary life hold themselves up for inspection.'

Dorothea Bleek (1873-1948) devoted her life to completing the 'bushman researches' that her father and aunt had begun in the closing decades of the nineteenth century. This research was partly a labour of familial loyalty to Wilhelm, the acclaimed linguist and language scholar of nineteenth-century Germany and later of the Cape Colony, and to Lucy Lloyd, a self-taught linguist and scholar of bushman languages and folklore; but it was also an expression of Dorothea's commitment to a particular kind of scholarship and an intellectual milieu that saw her spending her entire adult life in the study of the people she called'bushmen'. How has history treated Dorothea Bleek? Has she been recognised as a scholar in her own right, or as someone who merely followed in the footsteps of her famous father and aunt? Was she an adventurer, a woman who travelled across southern Africa driven by intellectual curiosity to learn all she could about the bushmen? Or was she conservative, a researcher who belittled the people she studied and dismissed them as lazy and improvident? These are some of the questions with which Jill Weintroub starts her thoughtful biography of Dorothea Bleek. The book examines Dorothea Bleek's life story and family legacy, her rock art research and her fieldwork in southern Africa, and, in light of these, evaluates her scholarship and contribution to the history of ideas in South Africa. The compelling and surprising narrative reveals an intellectual inheritance intertwined with the story of a woman's life, and argues that Dorothea's life work - her study of the bushmen - was also a sometimes surprising emotional quest.

Life of Bone brings into sharp relief, and interrogates, the abutting practices of the scientific and the artistic, practices which have co-existed since the beginning of our species. It's based on an exhibition, scheduled to open in May 2011 at the Origins Centre at the University of the Witwatersrand. This exhibition will display the original fossil skull of the Taung child hominid alongside artworks by Joni Brenner, Gerhard Marx and Karel Nel made specifically in response to these evolutionarily significant remains. This unique combination of paleoanthropological finds and art prompts a range of enquiries on the nature of both artistic and scientific disciplines, and encourages a dialogue between the very distant historic and the contemporary.

Civil society, NGOs, governments, and multilateral institutions all repeatedly call for improved or 'good' governance - yet they seem to speak past one another. Governance is in danger of losing all meaning precisely because it means many things to different people in varied locations. This is especially true in sub-Saharan Africa. Here, the postcolony takes many forms, reflecting the imperial project with painful accuracy. Offering a set of multidisciplinary analyses of governance in different sectors (crisis management, water, food security, universities), in different locales (including the African Union and specific regional contexts from West Africa, Zambia, to South Africa), and from different theoretical approaches (network to adversarial network governance, and beyond), this volume makes a useful addition to the growing debates on 'how to govern'. It steers away from offering a 'correct' definition of governance, or from promoting a particular position on postcoloniality. It gives no conclusion that neatly sums up all the arguments advanced. Instead, readers are invited to draw their own conclusions based on these differing approaches to and analyses of governance in the postcolony. As a robust, critical assessment of power and accountability in the sub-Saharan context, this collection brings together topical case studies that will be a valuable resource for those working in the field of African international relations, public policy, public management and administration.

Parrots’ colour and charisma, coupled with the fact that they mimic human speech, make them fascinating to many people. They are ancient birds with unique bill and foot structures that enable them to forage on fruits in the canopy of forest trees as well as on seeds in grasslands. Because they depend on fruits and seeds all year round, most species are confi ned to the tropics or sub-tropics, where the world’s biodiversity is at its greatest. There are over three hundred species of parrots, of which more than one hundred are recognised as rare, endangered, vulnerable or threatened with extinction.

Parrots are largely distributed in tropical areas of developing countries where economies are weak and uncertain, and where there is great dependence on the exploitation of natural resources, particularly hard wood evergreen forests, which are preferred parrot habitats. Unfortunately, high levels of corruption are common to these regions, with much illegal trade in animals and little or no law enforcement. Collectors of parrots in the fi rst world pay huge sums for rare parrots. However, research, education and conservation actions are greatly reducing illegal trade in African parrots.

This book provides complete coverage of all aspects of the biology of extant African, Malagasy and Mascarene parrots, and reviews our knowledge of extinct and fossil parrots from the region. Particular themes include the behavioural and ecological characteristics of parrots, their species characteristics and conservation biology. Current concepts in avian and conservation biology are also discussed.

Parrots of Africa, Madagascar and the Mascarene Islands is aimed at ornithologists, conservation biologists, avian ecologists, academics, bird watchers and parrot fans alike. It is well illustrated, with high quality original photographs, and includes distribution maps, fi gures and tables.

For more than a century, skin lighteners have been a ubiquitous feature of global popular culture-embraced by consumers even as they were fiercely opposed by medical professionals, consumer health advocates, and antiracist thinkers and activists. In Beneath the Surface, Lynn M. Thomas constructs a transnational history of skin lighteners in South Africa and beyond. Analyzing a wide range of archival, popular culture, and oral history sources, Thomas traces the changing meanings of skin colour from precolonial times to the postcolonial present. From indigenous skinbrightening practices and the rapid spread of lighteners in South African consumer culture during the 1940s and 1950s to the growth of a billiondollar global lightener industry, Thomas shows how the use of skin lighteners and experiences of skin color have been shaped by slavery, colonialism, and segregation, as well as consumer capitalism, visual media, notions of beauty, and protest politics. In teasing out lighteners' layered history, Thomas theorises skin as a site for antiracist struggle and lighteners as a technology of visibility that both challenges and entrenches racial and gender hierarchies.

Volume 2 of of Visual Century: South African Art in Context 1907-1948 is part of a four-volume publication that reappraises South African visual art of the twentieth century from a post-apartheid perspective. Lize van Robbroeck is the editor of Volume 2: 1945 - 1976. Between the end of the Second World War and the Soweto Uprisings, South Africa was increasingly isolated from the international world by its policies of racial exclusion and extreme social engineering. The threats to the state of internal revolt and external pressure, posed within the broader contexts of decolonisation and the Cold War, caused it to adopt severe measures, with significant consequences for the art of the period. This volume addresses the fertile cultural ambivalences of this period. These include the relationship between Afrikaner nationalism and the emergence of an 'official' South African art, whose central role would come to be challenged by the steady increase in the number of modern black artists and new informal art centres. Also discussed is the impact of white patronage, the responses of migrant workers to rapid change, and artists' responses to the repressive political climate of apartheid, as well as to emerging black nationalism. The allure and impact of European and American art capitals and modernist discourse, for artists at 'home' and in exile, and not least the struggles of black and white artists to define an African identity, is also explored.