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Book review: Selling Apartheid – South Africa’s Global Propaganda War


Peter Vale, University of Johannesburg

In the face of mounting of international disapprobation, how did white rule in South Africa sustain itself?

Ron Nixon tries to answer this question in Selling Apartheid – South Africa’s Global Propaganda War. He is a Washington correspondent of the New York Times and an associate of the department of Media and Journalism Studies at Wits University. Unfortunately, his book disappoints.

As the title suggests, Nixon believes that apartheid South Africa “sold” – rather than “told” – its story to the world. His narrative draws from three sources: published work, several interviews, and a peek into (mainly) American archives. His technique is the case study.

So he uses the exemplar case of apartheid’s “unorthodox diplomacy” – the well-documented Muldergate scandal of the 1970s. Its infamy was heightened by the fierce interdepartmental rivalry it generated. It also ended the careers of the then-prime minister, John Vorster, and Connie Mulder, the influential information minister. Mulder was considered to be next in line for the top job.

The conspiracy aimed to buy newspapers in the US with taxpayers’ money. Through these, apartheid’s cause would be promoted in an America in which the issue of human rights was increasingly drawn towards the foreign policy debate. South Africa aimed to tap into a counter-narrative that eventually led to the Reagan presidency, the rise of free market economics, and the “second” Cold War.

As Nixon points out several times, the events that culminated in Muldergate were spearheaded by a 30-something former journalist and sometime government information officer. His name was Eschel Rhoodie, a controversial character in any book.

Dubious characters peddling apartheid

The Paper Curtain, a polemic Eschel Rhoodie wrote, seemingly was the text that enabled South Africa’s traditional diplomacy, modelled on formal state-to-state practice, to change into a policy of buying influence in high places in Washington and other Western capitals.

When the Muldergate ruse was exposed, Rhoodie fled and purported sightings of him came to overshadow the scandal itself. Intrepid South African pressmen finally tracked him down in Ecuador. The occasion was marked by a photograph of him feeding a llama, on the front page of the then-Rand Daily Mail.

Nixon has used the seminal account of Muldergate, written by journalists Mervyn Rees and Chris Day, as the basis for his version of the story. So, on the Muldergate case, there’s very little new in the book.

In presenting another case, Nixon turns to another contentious character – Max Yergan, a Black American activist who arrived in South Africa in 1922 to pursue a career in the Young Men’s Christian Association (YMCA).

Posted to Alice, in the Eastern Cape, Yergan became close to many who would play a role in South Africa’s liberation – John Tengo Jabavu, John Langalilele Dube, Alfred Xuma, ZK Matthews and Govan Mbeki.

Ostensibly monitored by the state’s security apparatus, Yergan gradually lost his faith in Christianity (and in the work of the YMCA) as a force for liberation. During a visit the Soviet Union in 1934, he embraced Marxism. Unsurprisingly, his South African friends found him a “changed” man when he returned to this country.

Three years later, and back in the US, he set up (and served) on various bodies that were the precursor to the worldwide anti-apartheid movement. In these spaces, Yergan rubbed shoulders with legends of Black American culture and politics: actor Paul Robeson, Nobel Laureate Ralph J.Bunche, and pan-African intellectual W.E.B du Bois.

But Yergan’s political star was to crash, as the Cold War took hold, in a brutal argument with Robeson. This conflict drove Yergan back towards South Africa in the form of a newly found anti-communism. This was the official Cold War position of the government in Pretoria that he had once so strongly opposed.

In the 1940s Yergan made several visits to South Africa that were cleared by the FBI and sanctioned by the white government. During the course of these, Yergan and his fierce anti-communist views were spurned by the African National Congress, South Africa’s liberation movement, and by the South African Communist Party.

Eschel Rhoodie.
The Star

If efforts by white power to directly buy influence in the world – as in the Rhoodie instance – is one case in Nixon’s book, another – represented by the Yergan example – was the failure of Black Americans to understand that they too could be tricked by the persuasive power of the white purse.

Where books fails and succeeds

But – and this is a failure of the book intellectually – the comparative value of these two cases, and others of similar ilk in the book, is of limited value. They are not thought through.

Nixon is strongest, empirically, when he is working the Washington patch: his access to individuals and to archival sources has brought several fresh issues to the fore. That said, he is weak on American policy towards apartheid South Africa and how this issue was linked to decolonisation in the subcontinent.

So, the important role of Henry Kissinger, Secretary of State under Richard Nixon, in the making of America’s African policy is poorly considered. When he was US national security advisor, Kissinger was responsible for what was famously called the “Tar Baby” option – America’s policy tilt to governments in Africa’s “white South” and intentionally away from the majority-ruled countries.

This move, more than any other factor, opened the way for Vorster’s government to “sell” its wares to the US and – as Nixon also claims – to its European Cold War allies. Unfortunately, as the focus moves towards these places, the empirical evidence weakens, and speculation drives the story.

Let’s be clear: there is no doubt that successive apartheid governments spent millions (and much energy) cosying up to political parties (and the great-and-good that support them) in the UK, and in Europe. But the deep evidence for this, as presented in these pages, is a thin, thin reed.

There is an important and interesting book to be written on the apartheid’s efforts to peddle its story through unorthodox diplomacy, but this is not it.

The Conversation

Peter Vale, Director, Johannesburg Institute for Advanced Study, University of Johannesburg

This article was originally published on The Conversation. Read the original article.

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Does ‘translating’ Shakespeare into modern English diminish its greatness?


Sheila T Cavanagh, Emory University

An uproar ensued after it was reported that the Oregon Shakespeare Festival (OSF) – southern Oregon’s 80-year-old annual theatrical extravaganza – would be commissioning playwrights to “translate” all of Shakespeare’s plays into modern English.

The project drew jeers from Shakespearean professors, arts practitioners and others who believe passionately in the power of Shakespeare’s original texts, who abhor any attempt to “dumb down” their language.

OSF Director of Literary Development and Dramaturgy Lue Douthit and OSF Artistic Director Bill Rauch maintain that OSF is undertaking a bold, not sacrilegious, experiment. Nevertheless, howls of outrage have followed what Douhit ruefully has deemed a “career-ending” announcement for those involved.

As an educator and lover of Shakespearean drama, I remain committed to the value of presenting Shakespeare’s plays in their original language. I require my students to read Shakespeare’s plays in their original form, and through my work on the World Shakespeare Project, I’ve witnessed undergraduates in places such as Uganda, rural India and Buenos Aires enthusiastically respond to the challenge.

Yet the outrage over the OSF’s new modernization project is misguided. The organization – which is known for experimentation – is simply participating in larger, centuries-long tradition of molding, melding and adapting Shakespeare’s original texts.

Shakespeare for dummies?

Among those criticizing the new project is Columbia University Professor James Shapiro, a prominent Shakespearean scholar who maintains that “by changing the language in this modernizing way…it just doesn’t pack the punch and the excitement and the intoxicating quality of [the original] language.”

Earlier this month, before an audience at Shakespeare’s Globe, he added, “It’s a really bad idea.”

Notably, however, Shapiro (along with many others) responded quite differently to the translation of a different classic text. On Nobel Laureate Seamus Heaney’s oft-praised 1999 rewriting of Beowulf, Shapiro wrote in The New York Times:

Examples like this add up to a translation that manages to accomplish what before now had seemed impossible: a faithful rendering that is simultaneously an original and gripping poem in its own right.

In this instance, at least, Heaney’s talent apparently overcame Shapiro’s objections to the concept.

The playwrights the company has commissioned to “modernize” the language of Shakespeare’s works may or may not achieve the majesty attributed to Seamus Heaney’s Beowulf. But for whatever reason, changing the language of Shakespeare remains an anathema, while the setting, costuming and theoretical conceptualization of his plays are fair game for innovation.

The hottest theater ticket in Britain at the moment, for example, is Benedict Cumberbatch’s Hamlet, which caused similar outrage for opening with the famous “To Be or Not to Be” soliloquy, rather than the traditional “Who’s there?.” By the end of previews, the speech was moved back to (one of) the places it traditionally resides. Cumberbatch’s audiences have been comparatively silent, however, about the production’s addition of modern props, like a phonograph player.

London’s Young Vic Theatre, meanwhile, is currently presenting a strong version of Shakespeare’s Measure for Measure, with a set filled with dozens of naked, anatomically correct, inflatable dolls. Like the phonograph player on the set of Hamlet, it’s unlikely that theatergoers will object to the dolls, nor will they protest the video screens employed during the performance.

But when it comes to changing the language – well, the main objection, it appears, stems from concerns that it will encourage series such as Shakespeare for Dummies or No Fear Shakespeare, which presents original Shakespearean text adjacent to what its editors call “the kind of English people actually speak today.”

Such projects are understandable, if worrisome. Shakespeare does have a reputation for being too dense for ordinary people to easily comprehend.

At the same time, there are many remarkable projects that bring Shakespeare’s plays to even the most unconventional audiences. There’s Curt Tofteland’s Shakespeare Behind Bars, which offers prisoners the opportunities to present full-length Shakespeare plays, while former Royal Shakespeare Company artist Kelly Hunter’s project Shakespeare’s Heartbeat uses Shakespearean drama as the basis for games designed for children with autism.

Play on!

It’s worth noting the OSF is not planning to replace Shakespeare’s original texts during its current presentation of the complete Shakespearean canon, which will take place over the next decade.

While the company hopes that the newly commissioned versions of Shakespeare will be performed in Oregon and elsewhere, they also retain their commitment to presenting the conventional texts, albeit with regular tweaks and cuts.

As Shapiro and many others admit, Shakespearean drama has been altered, rewritten and reimagined repeatedly since the plays were first presented during the reigns of Elizabeth Tudor and James Stuart.

‘Is life even worth living? That’s what I keeping wondering…’
Dylan Martinez/Reuters

During the English Restoration, King Lear was given a happy ending. More recently, the 2001 film Scotland, Pa. offered a modern retelling of Macbeth, set at a fast food restaurant. Henry IV found itself placed among male prostitutes in Oregon in Gus Van Sant’s 1991 film My Own Private Idaho. Even Justin Kurzel’s acclaimed new film Macbeth opens with a twist: the funeral of Macbeth’s toddler.

The best adaptations – West Side Story, the musical Kiss Me, Kate and the Japanese film Throne of Blood – thrive. The bad, silly and unfortunate – Romeo and Juliet: Sealed with a Kiss and Animal Planet’s Romeo and Juliet: A Monkey’s Tale – fall by the wayside.

As poet Andrew Marvell might say, there is “world enough and time” for any number of Shakespearean adaptations and iterations.

While Shakespeare’s original language is remarkably rich and compelling, like Cleopatra, “age will not wither it.” Neither will OSF’s revisionary experimentation.

The Conversation

Sheila T Cavanagh, Professor of English, Emory University

This article was originally published on The Conversation. Read the original article.

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Writing Fiction That’s Alive