By Philip Bonner, Noor Nieftagodien
Alexandra: A background, is a social and political heritage of 1 of South Africa’s oldest townships. It starts with the founding of Alexandra as a freehold township in 1912, and strains its development as a middle of black working-class lifestyles within the middle of Johannesburg, to the post-apartheid period. Declared as a place for "natives and coloureds," Alexandra grew to become domestic to a various inhabitants the place home-owners, tenants, squatters, hostel-dwellers, staff and migrants drawn from each nook of the rustic converged to make a lifestyles within the urban. The tales of normal individuals are on the center of the township’s heritage. in response to ratings of existence heritage interviews, the ebook portrays in brilliant element the day-by-day struggles and tribulation of Alexandrans. a spotlight aspect is the wealthy heritage of political resistance, during which civic routine and political organisations—such because the ANC, Communist celebration and socialist corporations just like the circulate for Democracy of Content—organized bus boycotts, antiremoval and antipass campaigns, and mobilized for housing and a greater existence for citizens. however the publication isn't just approximately politics. It tells the tales of way of life, of the making of city cultures and of the notorious Spoilers and Msomi gangs. Over weekends Alexandra comes alive as football suits, church providers and shebeens vie for the eye of citizens. Alexandra: A History highlights the social complexities of the township, which every now and then reason stress among assorted segments of the inhabitants, comparable to among the "bona fides" and amagoduka, stand-owners and tenants or hostel-dwellers and township citizens. in particular else the neighborhood spirit of the folk of Alexandra, expressed in a fiercely dependable love for where, has many times triumphed and endured.
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Extra info for Alexandra: A History
Again, as with ideas of transience, the Documentation and Disappearance 23 articulation of the need for documentation is most prominent amongst those with strong personal and social investments in live performance. As critic Matt Wolff comments ‘Theatre people understandably resent that great performances are forgotten by future generations’ (in Lawson, 2004). Here transience is no longer a position of strength, of unique power or of political and ideological resistance, but instead becomes something to be feared and combated.
It is to have a compulsive, repetitive, and nostalgic desire for the archive, an irrepressible desire to return to the origin, a homesickness, a nostalgia for the return to the most archaic place of absolute commencement. (Derrida, 1995: 91) In many ways this description of passions, hopes and desires matches those produced within discourses of performance documentation and disappearance, where there is similarly evidence of a burning passion to return to origins in documentation that is continually fighting slippage into disappearance.
Indeed, it is also inherently impossible to say exactly what is missing and where the gaps might be, with such archival fallibility and emptiness inevitable. Given the prominence and importance of these challenges to ideas of historical truth and stability it is, therefore, wise not to present ideas of archival completeness and authority as a rhetorical straw figure to be Archives 33 emblematically and too easily overturned. This said, a number of writers have very plausibly suggested that there exists a gap between contemporary theory and continuing archival and historical practice.
Alexandra: A History by Philip Bonner, Noor Nieftagodien