Africa

South Africa

Prof.

Rhodes University, Grahamstown, South Africa

g.baines@ru.ac.za

Department of History
Rhodes University
P.O. Box 94
Grahamstown
6140
South Africa

phone: (27)-46-6038330
fax: (27)-46-6225049

South Africa

South Africa's "Border War"; South African urban history and culture, especially music and film.

Representation, memory and myth in the modern world.
Cold War Studies
The apocalyptic imagination
Post-conflict societies and transitional justice

A History of New Brighton, Port Elizabeth, South Africa 1903-1953: The Detroit of the Union (Lewiston, NY: Edwin Mellen Press, 2002),

South Africa’s ‘Border War’: Contested Narratives and Conflicting Memories (London: Bloomsbury, 2014)

(with Peter Vale). Beyond the Border War: New Perspectives on Southern Africa’s Late Cold War Conflicts (Unisa Press, 2008).

'Representing the Apartheid City: South African Cinema in the 1950s and Jamie Uys's The Urgent Queue' in M. Shiel & T. Fitzmaurice (eds.), Cinema and the City: Film and Urban Societies in a Global Context (Blackwell, 2001), pp. 185-194.

‘Racist Hate Speech in South Africa’s Fragile Democracy: The Case of Ngema’s AmaNdiya’ in M. Drewett & M. Cloonan (eds,), Popular Music Censorship in Africa (Ashgate, 2006), pp. 53-70.

‘The Politics of Public History in Post-Apartheid South Africa’ in Hans Eric Stolten (ed.), History making and present day politics: the meaning of collective memory in South Africa (Nordica Africa Institute, 2007), pp. 167-182.

‘Popular Music and Negotiating Whiteness in Apartheid South Africa’ in G. Olwage (ed), Composing Apartheid: Music For and Against Apartheid (Witwatersrand University Press, 2008), pp. 99-113.

‘Introduction: Challenging the Boundaries, Breaking the Silences’ in Gary Baines & Peter Vale (eds.), Beyond the Border War: New Perspectives on Southern Africa’s Late Cold War Conflicts (Unisa Press, 2008), pp. 1-21.

‘Competing Narratives of South Africa’s Liberation Struggle: Remembering and Forgetting June 16, 1976’ in Ali Hlongwane (ed.), Footprints of the “Class of 76”: Commemoration, Memory, Mapping and Heritage (Hector Pieterson Memorial Museum, 2008), pp. 107-128.

‘Apocalypticism in American Folk Music’ in Kylo-Patrick Hart & Annette Holba (eds.), Media and the Apocalypse (Peter Lang, 2009), pp. 17-33.

‘Songs of fate, hope and oblivion: Bob Dylan’s dystopianism and apocalypticism’ in John Walliss & Kenneth Newport (eds.), The End All Around Us: Apocalyptic Texts and Popular Culture (Equinox, 2009), pp. 1-21.

‘Confessing Complicity and Embracing Victimhood: Negotiating the Meaning of the Border War in Post-Apartheid South Africa’ in Bob Brecher (ed.), The New Order of War (Rodopi, 2010), pp. 181-200.

‘A Battle for Perceptions: Revisiting the Cassinga Controversy in Southern Africa’ in Philip Dwyer & Lyndall Ryan (eds.), Theatres of Violence: The Massacre, Mass Killing and Atrocity throughout History (Berghahn, 2012), pp. 226-241.

‘ The Freedom Park Fracas and the Divisive Legacy of South Africa’s Border War/Liberation Struggle’ in H. Sapire & C. Saunders (eds.), Southern African Liberation Struggles: New local, regional and global perspectives (UCT Press, 2013), pp. 188-209.

(with Sasha Gear) ‘Military Veterans as Victims’ in Robert Peacock (ed.), Victimology in South Africa (Van Schaik Publishers, 2013), pp. 263-273.

representation ; memory ; myth ; war ;