Ali Khangela Hlongwane is a Researcher at the History Workshop, University of the Witwatersrand. He holds a PhD in Heritage Studies and has published chapters in the multi-volume The Road to Democracy in South Africa.
In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various w... more In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various ways. The commemorations have taken the form of expression of grief, loss and the will to continue pursuing the liberation project in South Africa. These processes of commemoration have over the years been characterised by tradition, change and continuity. Underpinning the characteristics of tradition, change and continuity is a feature of memory as a site of struggle for liberation and ideological contestation amongst those engaging in the struggle for liberation. This struggle on the one hand took the form of political mobilisation against apartheid colonialism and on the other hand took the form of competition for ideological hegemony among the former liberation movements. All this was within the context of the pre-1994 political order that was bent on demonising the meaning, significance and legacy of the 1976 uprisings and in some instances even attempted to erase its memory from the...
... 18 Ndlovu, The Soweto Uprisings; Brink et al., Recollected 25 Years Later; Hlonwane et al., S... more ... 18 Ndlovu, The Soweto Uprisings; Brink et al., Recollected 25 Years Later; Hlonwane et al., Soweto 76; Mashabela, A People On the ... that African/black people have not for instance appeared before the Truth and Reconciliation Commission (TRC) and been pardoned for their ...
This particular occasion on 16 April was seen as a day re-dedicating the people to the long wars ... more This particular occasion on 16 April was seen as a day re-dedicating the people to the long wars of resistance, first begun when the colonists initially set foot on the shores of Azania on 6 April 1652. Such a merging of political and cultural activity is not new in our society, in fact it is becoming the norm. Certainly, since the early Seventies artists and political activists have developed an awareness of the need for 'cultural activity and socio-political struggle (to) interact with each other'.1 This stems from the realisation that artistic activity is one of 'the most potent forces rallying and uniting struggling peoples'.2 At the present time this realisation shows itself in the continuous efforts to organise the arts theatre, music, dance, oratory and fine arts at a mass-based level: arts education programmes have sprung up in different parts of the country; political organisations have their sports and culture secretariats which are now far more active than in the past and trade unions are now initiating cultural units. All this has taken place against the background of a 'permanent' state of emergency: bannings, harassment of the press, and the evergrowing military presence in the townships as well as growing commercialisation and appropriation of the arts by the government controlled television. This report reflects briefly on the works presented at the cultural day hosted by the Mafube Arts Commune. It sees the event as a representative occasion of artistic activity which is mass-based. It also focuses on the interplay of 'popular', 'serious', traditional and new modes of expression in evidence in the works presented. It also touches on the ideological influences at play, the audience responses, and sets out for consideration the role of African languages in reaching the masses. Certainly the occasion showed the working of many expressive modes there were slogans, in particular, 'Izwe lethu!' (Our land!), the singing of liberation songs, the recital of poetry, drama, all with a lot of mime, movement and drumming.
Page 1. Journal of African Cultural Studies, t\ ROUtiedqe Volume 19, Number 1, June 2007, pp. 7-3... more Page 1. Journal of African Cultural Studies, t\ ROUtiedqe Volume 19, Number 1, June 2007, pp. 7-36 l\ wr^m croup The mapping of the June 16 1976 Soweto student uprisings routes: past recollections and present reconstructions)* ALI KHANGELA HLONGWANE ...
... I was taken around the area by a local resident, Vusi Mbuli, where we spoke to different peop... more ... I was taken around the area by a local resident, Vusi Mbuli, where we spoke to different people about the theatre workshop project. ... The play 'Siza' with Alastair Dube, Soentjie Thapedi and Sipho Buthelezi in the cast was also performed on this occasion. Page 2. ...
Migrant labour has been an integral part of the political economy of South Africa since the late ... more Migrant labour has been an integral part of the political economy of South Africa since the late nineteenth century. The migrants were drawn from various parts of the country subsequent to the processes of systematic dispossession and the imposition of various racist legislation which prioritised the use of cheap labour. These workers were also drawn from various parts of southern Africa. However, their experiences in the broader South African memory and heritage landscape have been dwarfed by the master narrative of the national liberation struggle. This emerges clearly when a cursory look is taken of the transformation of the South African memory and heritage complex since 1994. The transformation processes have taken many complex forms in ‘post-apartheid’ South Africa—including the ongoing renaming of streets and symbolic built infrastructure like buildings and dams; the building of new museums/interpretation centres particularly in historically African townships like Red Locatio...
In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various w... more In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various ways. The commemorations have taken the form of expression of grief, loss and the will to continue pursuing the liberation project in South Africa. These processes of commemoration have over the years been characterised by tradition, change and continuity. Underpinning the characteristics of tradition, change and continuity is a feature of memory as a site of struggle for liberation and ideological contestation amongst those engaging in the struggle for liberation. This struggle on the one hand took the form of political mobilisation against apartheid colonialism and on the other hand took the form of competition for ideological hegemony among the former liberation movements. All this was within the context of the pre-1994 political order that was bent on demonising the meaning, significance and legacy of the 1976 uprisings and in some instances even attempted to erase its memory from the...
In this chapter, we look at how the 16 June 1976 uprising, which form part of Chapter 4, are reme... more In this chapter, we look at how the 16 June 1976 uprising, which form part of Chapter 4, are remembered through the biographies of selected student participants. We look at how autobiography in many respects affirms the views in scholarly literature that memory is a social process that is always subject to contestation, change and revision. Memory also becomes part of unresolved debates as reflected in the autobiographies and eyewitness accounts written by participants. These are unpacked in this chapter which includes publication by Sifiso Mxolisi Ndlovu entitled The Soweto Uprisings: Counter-memories of June 1976; Sibongile Mkhabela’s Remembering 16 June 1976: Open Earth and Black Roses; and Majakathatha Mokoena’s Triumphant Casualties: A battlefield Diary of ‘The Class of 76’.
The concluding chapter looks at works that still cry for attention in the South African memory la... more The concluding chapter looks at works that still cry for attention in the South African memory landscape, with particular focus on African townships. The concluding remarks trace briefly the militant struggles of the 1980s and their place in public history. Among these sites is the Vuyani Mabaxa Memorial in Diepkloof, the Thokoza Memorial, to name but two.
In this chapter, we investigate the 16 June 1976 Interpretation Centre in Central Western Jabavu,... more In this chapter, we investigate the 16 June 1976 Interpretation Centre in Central Western Jabavu, Soweto, which complements and develops the narrative mapping of the 16 June 1976 Soweto uprising, that changed the course of South African history and accelerated development towards the then unfolding national liberation struggle which was extended to the international arena through social movements such as the worldwide anti-apartheid movement. An integral and important part of the 16 June 1976 Interpretation Centre is the enriching South African art collection by selected, commissioned, established and emerging artists, several of whom had experienced the Soweto uprising first-hand and recreated their interpretation artistically of their experience. Located outdoors in an open-air museum environment are a variety of dramatic artworks in different media recreating the dramatic Soweto uprising, including two expressive depictions of Teboho ‘Tsietsi’ MacDonald Mashinini, the leading stu...
In this chapter, we reflect critically on the framing of the memory and significance of the 1960 ... more In this chapter, we reflect critically on the framing of the memory and significance of the 1960 Positive Action Campaign against the pass laws that led to the shooting of protestors by the police in Sharpeville and Langa. The chapter examines the way in which this historic event and subsequent developments are remembered and re-represented in the writings of the intellectuals of the Pan Africanist Congress (PAC). The writings of PAC members considered for this chapter are largely published and unpublished speeches, delivered over the years to commemorate 21 March 1960 or the passing on of the organisation’s founding president Robert Mangaliso Sobukwe. The PAC polemics are published in the organisation’s official publications like The Africanist and Azania News; biographies, autobiographies and memoirs of PAC activists; and press releases. The chapter also examines the way in which the PAC creates its master narrative of the memories of the campaign that led to the killings at Sharp...
This chapter is essentially about the statement of significance of the Hector Pieterson Memorial ... more This chapter is essentially about the statement of significance of the Hector Pieterson Memorial and Museum in the light of the prescripts of the National Heritage Resources Act of 1999. This important statement is expanded in the publications of the institution since its establishment and opening in 2002. The Soweto uprising began as a peaceful Soweto students’ protest march, against Afrikaans being taught in schools, interrupted by police using live ammunition, dogs, tear gas and shooting unarmed and peaceful young protestors. Since 1994 this fateful day has been commemorated annually as Youth Day and has been memorialised in a series of linked monuments represented by the Hector Pieterson Memorial and Museum, the 16 June 1976 Interpretation Centre in Central Western Jabavu and the 16 June 1976 Memorial Acre. These are related commemorative liberation heritage sites connected to the struggle by students and the youth to end apartheid through grass-roots mobilisation. The chapter s...
This paper maps some of the notable influences on the evolution of Pan Africanism in South Africa... more This paper maps some of the notable influences on the evolution of Pan Africanism in South Africa with reference to the Pan Africanist Congress of Azania (PAC). It does so by exploring the history of the ideas of the PAC founded on the 6th of April in 1959. The interrelated questions explored are: Is there a tradition of Africanist thought intrinsically linked to the birth of the PAC as a liberation movement in South Africa? What are the lineages of the PAC’s intellectual traditions? Given the PAC’s short history as a legal political formation before it was banned in 1960, is there a tradition of ideas to reflect upon? What are the roots of these ideas, firstly, as manifest in there framing by liberation movements of the wars of resistance against colonial conquestas intrinsically linked to new 20th century struggles for national liberation? Secondly, how did these ideas manifest in the anti-colonial struggle’s further development or transmutation into early freedom struggles as art...
In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various w... more In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various ways. The commemorations have taken the form of expression of grief, loss and the will to continue pursuing the liberation project in South Africa. These processes of commemoration have over the years been characterised by tradition, change and continuity. Underpinning the characteristics of tradition, change and continuity is a feature of memory as a site of struggle for liberation and ideological contestation amongst those engaging in the struggle for liberation. This struggle on the one hand took the form of political mobilisation against apartheid colonialism and on the other hand took the form of competition for ideological hegemony among the former liberation movements. All this was within the context of the pre-1994 political order that was bent on demonising the meaning, significance and legacy of the 1976 uprisings and in some instances even attempted to erase its memory from the...
... 18 Ndlovu, The Soweto Uprisings; Brink et al., Recollected 25 Years Later; Hlonwane et al., S... more ... 18 Ndlovu, The Soweto Uprisings; Brink et al., Recollected 25 Years Later; Hlonwane et al., Soweto 76; Mashabela, A People On the ... that African/black people have not for instance appeared before the Truth and Reconciliation Commission (TRC) and been pardoned for their ...
This particular occasion on 16 April was seen as a day re-dedicating the people to the long wars ... more This particular occasion on 16 April was seen as a day re-dedicating the people to the long wars of resistance, first begun when the colonists initially set foot on the shores of Azania on 6 April 1652. Such a merging of political and cultural activity is not new in our society, in fact it is becoming the norm. Certainly, since the early Seventies artists and political activists have developed an awareness of the need for 'cultural activity and socio-political struggle (to) interact with each other'.1 This stems from the realisation that artistic activity is one of 'the most potent forces rallying and uniting struggling peoples'.2 At the present time this realisation shows itself in the continuous efforts to organise the arts theatre, music, dance, oratory and fine arts at a mass-based level: arts education programmes have sprung up in different parts of the country; political organisations have their sports and culture secretariats which are now far more active than in the past and trade unions are now initiating cultural units. All this has taken place against the background of a 'permanent' state of emergency: bannings, harassment of the press, and the evergrowing military presence in the townships as well as growing commercialisation and appropriation of the arts by the government controlled television. This report reflects briefly on the works presented at the cultural day hosted by the Mafube Arts Commune. It sees the event as a representative occasion of artistic activity which is mass-based. It also focuses on the interplay of 'popular', 'serious', traditional and new modes of expression in evidence in the works presented. It also touches on the ideological influences at play, the audience responses, and sets out for consideration the role of African languages in reaching the masses. Certainly the occasion showed the working of many expressive modes there were slogans, in particular, 'Izwe lethu!' (Our land!), the singing of liberation songs, the recital of poetry, drama, all with a lot of mime, movement and drumming.
Page 1. Journal of African Cultural Studies, t\ ROUtiedqe Volume 19, Number 1, June 2007, pp. 7-3... more Page 1. Journal of African Cultural Studies, t\ ROUtiedqe Volume 19, Number 1, June 2007, pp. 7-36 l\ wr^m croup The mapping of the June 16 1976 Soweto student uprisings routes: past recollections and present reconstructions)* ALI KHANGELA HLONGWANE ...
... I was taken around the area by a local resident, Vusi Mbuli, where we spoke to different peop... more ... I was taken around the area by a local resident, Vusi Mbuli, where we spoke to different people about the theatre workshop project. ... The play 'Siza' with Alastair Dube, Soentjie Thapedi and Sipho Buthelezi in the cast was also performed on this occasion. Page 2. ...
Migrant labour has been an integral part of the political economy of South Africa since the late ... more Migrant labour has been an integral part of the political economy of South Africa since the late nineteenth century. The migrants were drawn from various parts of the country subsequent to the processes of systematic dispossession and the imposition of various racist legislation which prioritised the use of cheap labour. These workers were also drawn from various parts of southern Africa. However, their experiences in the broader South African memory and heritage landscape have been dwarfed by the master narrative of the national liberation struggle. This emerges clearly when a cursory look is taken of the transformation of the South African memory and heritage complex since 1994. The transformation processes have taken many complex forms in ‘post-apartheid’ South Africa—including the ongoing renaming of streets and symbolic built infrastructure like buildings and dams; the building of new museums/interpretation centres particularly in historically African townships like Red Locatio...
In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various w... more In the last thirty years, the June 16, 1976 student uprisings have been commemorated in various ways. The commemorations have taken the form of expression of grief, loss and the will to continue pursuing the liberation project in South Africa. These processes of commemoration have over the years been characterised by tradition, change and continuity. Underpinning the characteristics of tradition, change and continuity is a feature of memory as a site of struggle for liberation and ideological contestation amongst those engaging in the struggle for liberation. This struggle on the one hand took the form of political mobilisation against apartheid colonialism and on the other hand took the form of competition for ideological hegemony among the former liberation movements. All this was within the context of the pre-1994 political order that was bent on demonising the meaning, significance and legacy of the 1976 uprisings and in some instances even attempted to erase its memory from the...
In this chapter, we look at how the 16 June 1976 uprising, which form part of Chapter 4, are reme... more In this chapter, we look at how the 16 June 1976 uprising, which form part of Chapter 4, are remembered through the biographies of selected student participants. We look at how autobiography in many respects affirms the views in scholarly literature that memory is a social process that is always subject to contestation, change and revision. Memory also becomes part of unresolved debates as reflected in the autobiographies and eyewitness accounts written by participants. These are unpacked in this chapter which includes publication by Sifiso Mxolisi Ndlovu entitled The Soweto Uprisings: Counter-memories of June 1976; Sibongile Mkhabela’s Remembering 16 June 1976: Open Earth and Black Roses; and Majakathatha Mokoena’s Triumphant Casualties: A battlefield Diary of ‘The Class of 76’.
The concluding chapter looks at works that still cry for attention in the South African memory la... more The concluding chapter looks at works that still cry for attention in the South African memory landscape, with particular focus on African townships. The concluding remarks trace briefly the militant struggles of the 1980s and their place in public history. Among these sites is the Vuyani Mabaxa Memorial in Diepkloof, the Thokoza Memorial, to name but two.
In this chapter, we investigate the 16 June 1976 Interpretation Centre in Central Western Jabavu,... more In this chapter, we investigate the 16 June 1976 Interpretation Centre in Central Western Jabavu, Soweto, which complements and develops the narrative mapping of the 16 June 1976 Soweto uprising, that changed the course of South African history and accelerated development towards the then unfolding national liberation struggle which was extended to the international arena through social movements such as the worldwide anti-apartheid movement. An integral and important part of the 16 June 1976 Interpretation Centre is the enriching South African art collection by selected, commissioned, established and emerging artists, several of whom had experienced the Soweto uprising first-hand and recreated their interpretation artistically of their experience. Located outdoors in an open-air museum environment are a variety of dramatic artworks in different media recreating the dramatic Soweto uprising, including two expressive depictions of Teboho ‘Tsietsi’ MacDonald Mashinini, the leading stu...
In this chapter, we reflect critically on the framing of the memory and significance of the 1960 ... more In this chapter, we reflect critically on the framing of the memory and significance of the 1960 Positive Action Campaign against the pass laws that led to the shooting of protestors by the police in Sharpeville and Langa. The chapter examines the way in which this historic event and subsequent developments are remembered and re-represented in the writings of the intellectuals of the Pan Africanist Congress (PAC). The writings of PAC members considered for this chapter are largely published and unpublished speeches, delivered over the years to commemorate 21 March 1960 or the passing on of the organisation’s founding president Robert Mangaliso Sobukwe. The PAC polemics are published in the organisation’s official publications like The Africanist and Azania News; biographies, autobiographies and memoirs of PAC activists; and press releases. The chapter also examines the way in which the PAC creates its master narrative of the memories of the campaign that led to the killings at Sharp...
This chapter is essentially about the statement of significance of the Hector Pieterson Memorial ... more This chapter is essentially about the statement of significance of the Hector Pieterson Memorial and Museum in the light of the prescripts of the National Heritage Resources Act of 1999. This important statement is expanded in the publications of the institution since its establishment and opening in 2002. The Soweto uprising began as a peaceful Soweto students’ protest march, against Afrikaans being taught in schools, interrupted by police using live ammunition, dogs, tear gas and shooting unarmed and peaceful young protestors. Since 1994 this fateful day has been commemorated annually as Youth Day and has been memorialised in a series of linked monuments represented by the Hector Pieterson Memorial and Museum, the 16 June 1976 Interpretation Centre in Central Western Jabavu and the 16 June 1976 Memorial Acre. These are related commemorative liberation heritage sites connected to the struggle by students and the youth to end apartheid through grass-roots mobilisation. The chapter s...
This paper maps some of the notable influences on the evolution of Pan Africanism in South Africa... more This paper maps some of the notable influences on the evolution of Pan Africanism in South Africa with reference to the Pan Africanist Congress of Azania (PAC). It does so by exploring the history of the ideas of the PAC founded on the 6th of April in 1959. The interrelated questions explored are: Is there a tradition of Africanist thought intrinsically linked to the birth of the PAC as a liberation movement in South Africa? What are the lineages of the PAC’s intellectual traditions? Given the PAC’s short history as a legal political formation before it was banned in 1960, is there a tradition of ideas to reflect upon? What are the roots of these ideas, firstly, as manifest in there framing by liberation movements of the wars of resistance against colonial conquestas intrinsically linked to new 20th century struggles for national liberation? Secondly, how did these ideas manifest in the anti-colonial struggle’s further development or transmutation into early freedom struggles as art...
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