Michael Qodby Professorof Historyof Art,University of Capetown
michael qodby Professorof Historyof Art,University of CapeTown iii\,i n an interview in the ./rdeoInnges in StrugJe(i990), Paul Africa was generalf' more analltical than confrontaiional I I W"irrb.rg described 11 February 1990, the day on which - said a few yearslater, the old distinctions between the bad 'confusion Nelson Manda was releasedfrom prison, as simultaneously grrysand the good guys'had been repiacedby a the best and the worst day of his life. lt tas the best day, of of forces'; photographers - and others - were suddenly 'deprived course, becausethe releaseof Mandela and other political of the central focus of their work'. prisoners, and the unbanning of the ANC and other politicai organisations,were rhe very aims to which he had A measureof the crisis affecti.ngdocumentary photographers dedicated his professionallife as i.photographer for many at that time is that severalpractitioners who had identifred years. And it was the worst day because,having fought as complctelywith the Strrggle simply left the country: notable a'Struggie photographer with a relatively small band of examples are Gideon Mendel and Wendy Schrvegmann. 'Lesley like-minded colleagues,he was stampededby a contingent Others, like Larvson, gave up photography in of intemational photographers and effectively prevented fayour of less confrontationai lvork. Each case, of course, from taking any pictures until the next day in Cape Town. is individual, and doubtless financial and other factors Moreover,as Weinberg has explained in subsequentarticles, applied, but the phenomenon invites comparison to the once the media circus surrounding Manclelasrelease had experienceof certain MK cadreswho, having fought in the left town, it soon became apparent that the international Struggle, left the country or abandoned political activi.ty, pressretained little interest in South African stories.But the ar the moment of liberation.
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