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Aged 75 at the time, he was slim with a powerful, dignified presence.
For me, Madiba, as he was affectionately known, had been part of my consciousness for almost as long as I could remember. At school, I had done projects on apartheid and for so many years I had marched and protested and campaigned. In , when news broke that Mandela would be released, I went I straight to Trafalgar Square in London to celebrate, and the following day I stayed glued to the TV screen for the first glimpse of him. Today, his face is one of the most recognisable in the world but back then, it had been 24 years since the last photograph of Mandela had been published.
I did not see him again for almost a year. It was nine days before the election and, although the ANC knew the Western Cape was not a winnable—in the end it lost to the National Party by almost 40 percent—it was decided Mandela should come to Cape Town for some final meetings and a rally. I was responsible for arranging the media, first at a photo-call with schoolchildren in Green Point Stadium, then at a political meeting at Grassy Park and finally at a stadium event in Athlone.
Arriving at Greenpoint Stadium on that sunny morning, I was there to meet him and his team.
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But a day that had started brightly ended in tragedy when a stampede in Athlone Stadium resulted in the deaths of three people and more than a dozen injuries. As news of the calamity filtered out, one of my seniors was concerned about how it might play out in the media. His only thoughts were with those killed and their families. He immediately changed his evening plans in order to visit the injured in hospital.
He had no need for spin doctors to instruct him as to what would appear to be the right thing to do. He knew it instinctively. After polls had closed on election day Mandela was in reflective mood. So much to do. Their dreams have become reality. Freedom is their reward.
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Through his integrity, courage and strength he showed by example what a single individual can achieve, and in so doing he instilled the belief that injustice, whether large or small, can be defeated. Book Review Needing No Weatherman Poems from four decades by an author who was uprooted in the struggle against apartheid. By David Kirby.
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Have search feedback? Let us know what you think. Today, a good number of South African Universities have incorporated writing from Francophone Africa into their literary curricula. South Africa is now in a post-Apartheid era rooted in a deontology of exploration and change which, from all indications, will reinforce the renewed interest in Francophone African literatures in that country. This step is important because the extent to which a given space can be influenced by cultural productions from other places is ultimately determined by the flexibility or otherwise of the constructed boundaries of such a space.
Where the boundaries of a space are defined and determined through the fundamentally flawed dynamics of totalitarian ideologies like apartheid, the subjects located in such carceral spaces find themselves in no position to intervene meaningfully in global cultural processes. And history teaches us that the sustained infliction of cultural myopia on its subjects is crucial to the survival of the totalitarian state. This paranoia made the notions of space and boundary crucial to the narrative: a certain national space was constructed as being the ideal, the envy of all other nations and consequently needed to be protected from real and imagined enemies at all costs.
Apartheid thus made it extremely difficult for the South African reading public to familiarise itself with the works of Francophone African writers even when such works were available in English translation. And the consequences of this cultural incarceration are still being felt in the postapartheid dispensation.
Our two-month sojourn in the country revealed an appallingly low level of awareness of contemporary writing from Francophone Africa. It is common knowledge that the struggle of the oppressed Blacks in South Africa became the collective struggle of all African people. Pius Ngandu Nkashama puts it succintly when he claims that:.
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Hence, the historical figure of emperor Chaka as a symbol of anti-colonial resistance in South Africa has energised a good number of Francophone African creative texts. The French translation of the novel appeared way back in Apart from Chaka, the lives of contemporary resistance figures like the late Steve Biko and Nelson Mandela have equally informed the texts of numerous Francophone African writers in varying degrees 4.
The consequences of those uprisings bear no repeating here. Hence, the early Francophone texts to which South Africans were introduced are those of Indian Ocean writers. The poetry of Senghor and the negritude debate were the only notable inclusions from West Africa. An initiative of Drum Publications led to the publication of an anthology of African writing in Johannesburg in This anthology did not only play a pioneer role in acquainting the local literary audience in South Africa with Francophone African poetry, it also necessitated subsequent efforts in that direction.
But a much more important definitinal mediation in the discourse of negritude was published in a issue of the journal The Classic. This is evidenced in attempts to introduce Francophone texts--or add more texts in cases where Francophone texts are already being taught--into the curriculum in Departments of Modern Languages, French and African Literature.
However, one must point out beforehand that efforts at teaching Francophone African texts in South African Universities, especially in French Sections of Modern Languages Departments or independent French Departments as the case may be , are severely hampered by the fact that most of the students admitted to study French hardly had any contact with the language at the secondary school level.
This has obvious consequences for methodology. For instance, the French Section of the University of Natal in Durban recently decided to stop teaching literature in the first and second years of its undergraduate programme so as to be able to concentrate on language. One of the lecturers justified this approach by claiming that the students need to master a language before attempting to grasp its literature. Besides, there has never been any significant interest in Francophone African literature in this university as opposed to the situation in the neighbouring campus in Pietermaritzburg.
What are the modalities guiding the selection of texts and how accessible are those texts in a predominantly Anglophone setting like South Africa? As might be expected, Francophone African writing occupies a largely peripheral position in the curriculum of most South African Universities. Indeed, in cases where some texts are taught at all, they are usually included as ancillary texts in a much broader literature programme dominated by texts from the metropolitan literature of France.
This, one might add, is in sharp contrast with the situation in Nigerian Universities where independent courses exist in both French and Francophone African literatures.
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This strategy is supposed to familiarise the students with the oral epistemology from which modern African literature evolved. Mudimbe and also the works of his compatriots 7. We thus have a situation in which the origin of students determines the texts that are included in the Departmental curriculum. And since such texts are obviously inexhaustible, there can be no possible space left for writers who write originally in French even if their texts are available in English translation. Mckenzie wondered whether a French Department would go out of its way to incorporate into its curriculum works of Anglophone African writers that have been translated into French.
Nevertheless, Mckenzie does not foreclose the possibility of opening up the journal he edits to articles on Francophone African texts especially if such articles have a comparative bent. This is largely due to the efforts of Anna-Hilge Gagiano, a lecturer in the Department, who is keenly interested in the literatures of Francophone West Africa. The spectrum is broadened to include the works of Yambo Ouologuem and Ferdinand Oyono at the masters level.
The situation here is thus similar to what obtains in Nigerian Universities where English Departments include translations of Francophone African literary texts in their curricula. The immediate implication of this is that the teaching of Francophone African texts in this context is done in English even if the teacher comes from the French Section.