Safari Nation opens new lines of inquiry into the study of national parks in Africa and the rest of the world.

The Kruger National Park is South Africa’s most iconic nature reserve, renowned for its rich flora and fauna. According to Dlamini, there is another side to the park, a social history neglected by scholars and popular writers alike in which blacks (meaning Africans, coloureds and Indians) occupy centre stage. Safari Nation details the ways in which black people devoted energies to conservation and to the park over the course of the twentieth century – an engagement that transcends the stock (black) figure of the labourer and the poacher.

By exploring the complex and dynamic ways in which blacks of varying class, racial, religious and social backgrounds related to the Kruger National Park, and with the help of previously unseen archival photographs, Dlamini’s narrative also sheds new light on how and why Africa’s national parks – often derided by scholars as colonial impositions – survived the end of white rule on the continent. Relying on oral histories, photographs and archival research, Safari Nation engages both with African historiography and with ongoing debates about the ‘land question’, democracy and citizenship in South Africa.

An award-winning historian and journalist tells the very human story of apartheid's afterlife, tracing the fates of South African insurgents, collaborators, and the security police through the tale of the clandestine photo album used to target apartheid's enemies. From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid's enemies.

The political rogue's gallery was known as the "terrorist album," copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination. All of the albums were ordered destroyed when apartheid's violent collapse began. But three copies survived the memory purge.

With full access to one of these surviving albums, award-winning South African historian and journalist, Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters.

Their inclusion is a stark reminder that apartheid's guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic. With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today?s South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa's newest export: "security consultants" serving as mercenaries for Western nations and multinational corporations.

The Terrorist Album is a brilliant evocation of apartheid's tragic caprice, ultimate failure, and grim legacy.

An award-winning historian and journalist tells the very human story of apartheid's afterlife, tracing the fates of South African insurgents, collaborators, and the security police through the tale of the clandestine photo album used to target apartheid's enemies. From the 1960s until the early 1990s, the South African security police and counterinsurgency units collected over 7,000 photographs of apartheid's enemies. The political rogue's gallery was known as the "terrorist album," copies of which were distributed covertly to police stations throughout the country. Many who appeared in the album were targeted for surveillance. Sometimes the security police tried to turn them; sometimes the goal was elimination. All of the albums were ordered destroyed when apartheid's violent collapse began. But three copies survived the memory purge. With full access to one of these surviving albums, award-winning South African historian and journalist Jacob Dlamini investigates the story behind these images: their origins, how they were used, and the lives they changed. Extensive interviews with former targets and their family members testify to the brutal and often careless work of the police. Although the police certainly hunted down resisters, the terrorist album also contains mug shots of bystanders and even regime supporters. Their inclusion is a stark reminder that apartheid's guardians were not the efficient, if morally compromised, law enforcers of legend but rather blundering agents of racial panic. With particular attentiveness to the afterlife of apartheid, Dlamini uncovers the stories of former insurgents disenchanted with today's South Africa, former collaborators seeking forgiveness, and former security police reinventing themselves as South Africa's newest export: "security consultants" serving as mercenaries for Western nations and multinational corporations. The Terrorist Album is a brilliant evocation of apartheid's tragic caprice, ultimate failure, and grim legacy.

In no other society in the world have urbanisation and industrialization been as comprehensively based on migrant labour as in South Africa. Rather than focusing on the well-documented narrative of displacement and oppression, A Long Way Home captures the humanity, agency and creative modes of self-expression of the millions of workers who helped to build and shape modern South Africa. The book spans a three-hundred-year history beginning with the exportation of slave labour from Mozambique in the eighteenth century and ending with the strikes and tensions on the platinum belt in recent years. It shows not only the age-old mobility of African migrants across the continent but also, with the growing demand for labour in the mining industry, the importation of Chinese indentured migrant workers. Contributions include 18 essays and over 90 artworks and photographs that traverse homesteads, chiefdoms and mining hostels, taking readers into the materiality of migrant life and its customs and traditions, including the rituals practiced by migrants in an effort to preserve connections to "home" and create a sense of "belonging". The essays and visual materials provide multiple perspectives on the lived experience of migrant labourers and celebrate their extraordinary journeys. A Long Way Home was conceived during the planning of an art exhibition entitled 'Ngezinyawo: Migrant Journeys' at Wits Art Museum. The interdisciplinary nature of the contributions and the extraordinary collection of images selected to complement and expand on the text make this a unique collection.