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The Counter-memory and a Historical Discourse of Reproduced Records in the Apartheid Period : Focusing on 『Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life』

  • The Korean Journal of Archival Studies
  • 2022, (74), pp.45-78
  • DOI : 10.20923/kjas.2022.74.045
  • Publisher : Korean Society Of Archival Studies
  • Research Area : Interdisciplinary Studies > Library and Information Science
  • Received : September 22, 2022
  • Accepted : October 21, 2022
  • Published : October 31, 2022

Lee, Hyerin 1

1명지대학교(서울캠퍼스) 한국이미지언어연구소

Accredited

ABSTRACT

South Africa implemented apartheid from 1948 to 1994. The main content of this policy was to classify races such as whites, Indians, mixed-race people, and blacks, and to limit all social activities, including residence, personal property ownership, and economic activities, depending on the class. All races except white people were discriminated against and suppressed for having different skin colors. South African citizens resisted the government’s indiscriminate violence, and public opinion criticizing them expanded beyond the local community to various parts of the world. One of the things that made this possible was photographs detailing the scene of the violence. Foreign journalists who captured popular oppression as well as photographers from South Africa were immersed in recording the lives of those who were marginalized and suffered on an individual level. If they had not been willing to inform the reality and did not actually record it as a photo, many people would not have known the horrors of the situation caused by racial discrimination. Therefore, this paper focuses on Rise and Fall of Apartheid: Photography and the Bureau of Everyday Life, which captures various aspects of apartheid and displays related records, and examines the aspects of racism committed in South Africa described in the photo. The exhibition covers the period from 1948 when apartheid began until 1995, when Nelson Mandela was elected president and the Truth and Reconciliation Commission was launched to correct the wrong view of history. Many of the photos on display were taken by Peter Magubane, Ian Berry, David Goldblatt, and Santu Mofoken, a collection of museums, art galleries and media, including various archives. The photographs on display are primarily the work of photographers. It is both a photographic work and a media that proves South Africa’s past since the 1960s, but it has been mainly dealt with in the field of photography and art history rather than from a historical or archival point of view. However, the photos have characteristics as records, and the contextual information contained in them is characterized by being able to look back on history from various perspectives. Therefore, it is very important to expand in the previously studied area to examine the time from various perspectives and interpret it anew. The photographs presented in the exhibition prove and describe events and people that are not included in South Africa’s official records. This is significant in that it incorporates socially marginalized people and events into historical gaps through ordinary people’s memories and personal records, and is reproduced in various media to strengthen and spread the context of record production.

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