This book examines the active role played by Africans in the pre-colonial production of historical knowledge in South Africa, focusing on perspectives of the second king of amaZulu, King Dingane. It draws upon a wealth of oral traditions, izibongo, and the work of public intellectuals such as Magolwane kaMkhathini Jiyane and Mshongweni to present African perspectives of King Dingane as multifaceted, and in some cases, constructed according to socio-political formations and aimed at particular audiences. By bringing African perspectives to the fore, this innovative historiography centralizes indigenous African languages in the production of historical knowledge.

This volume critically examines sources of evidence and material from the archive that historically have been used to tell southern Africa’s pre-colonial story.

In Eight Zulu Kings, well-respected and widely published historian John Laband examines the reigns of the eight Zulu kings from 1816 to the present. Starting with King Shaka, the renowned founder of the Zulu kingdom, he charts the lives of the kings Dingane, Mpande, Cetshwayo, Dinuzulu, Solomon and Cyprian, to today's King Goodwill Zwelithini whose role is little more than ceremonial. In the course of this investigation Laband places the Zulu monarchy in the context of African kingship and tracks and analyses the trajectory of the Zulu kings from independent and powerful pre-colonial African rulers to largely powerless traditionalist figures in post-apartheid South Africa.

For the first time, the 92-metre frieze of the Voortrekker Monument in Pretoria, one of the largest historical narratives in marble, has been made the subject of a book. The pictorial narrative of the Boer pioneers who conquered South Africa’s interior during the 'Great Trek' (1835-52) represents a crucial period of South Africa’s past. Conceptualising the frieze both reflected on and contributed to the country’s socio-political debates in the 1930s and 1940s when it was made. The book considers the active role the Monument played in the rise of Afrikaner nationalism and the development of apartheid, as well as its place in post-apartheid heritage. The frieze is unique in that it provides rare evidence of the complex processes followed in creating a major monument. Based on unpublished documents, drawings and models, these processes are unfolded step by step, from the earliest discussions of the purpose and content of the frieze, through all the stages of its design, to its shipping to post-war Italy to be copied into marble from Monte Altissimo, up to its final installation in the Monument. The book examines how visual representation transforms historical memory in what it chooses to recount, and the forms in which it is depicted. The second volume expands on the first, by investigating each of the twenty-seven scenes of the frieze in depth, providing new insights into not only the frieze, but also South Africa’s history. François van Schalkwyk of African Minds, co-publisher with De Gruyter writes: From Memory to Marble is an open access monograph in the true sense of the word. Both volumes of the digital version of the book are available in full and free of charge from the date of publication. This approach to publishing democratises access to the latest scholarly publications across the globe. At the same time, a book such as From Memory to Marble, with its unique and exquisite photographs of the frieze as well as its wealth of reproduced archival materials, demands reception of a more traditional kind, that is, on the printed page. For this reason, the book is likewise available in print as two separate volumes. The printed and digital books should not be seen as separate incarnations; each brings its own advantages, working together to extend the reach and utility of From Memory to Marble to a range of interested readers. For more material you can browse at Stanford's database "Voortrekker Monumentality: a digital archive".

Volume II documents and analyses genocide and extermination throughout the early modern and modern eras. It tracks their global expansion as European and Asian imperialisms, and Euroamerican settler colonialism, spread across the globe before the Great War, forging new frontiers and impacting Indigenous communities in Europe, Asia, North America, Africa, and Australia. Twenty-five historians with expertise on specific regions explore examples on five continents, providing comparisons of nine cases of conventional imperialism with nineteen of settler colonialism, and offering a substantial basis for assessing the various factors leading to genocide. This volume also considers cases where genocide did not occur, permitting a global consideration of the role of imperialism and settler-Indigenous relations from the sixteenth to the early twentieth centuries. It ends with six pre-1918 cases from Australia, China, the Middle East, Africa, and Europe that can be seen as 'premonitions' of the major twentieth-century genocides in Europe and Asia.

With 342 years of colonialism and apartheid in South Africa, a book of this calibre is essential to contribute to scholarly debates on the decolonisation of the media. After the democratic dispensation in 1994, there was a narrow pursuit of transformation and media freedom while neglecting decolonisation, patriarchal tendencies and the plight of black women journalists who are often vilified while discharging their duties. It was two decades after democracy that the #RhodesMustFall movement which later evolved into #FeesMustFall movement reignited debates on decoloniality in the academia. Moreover, the book is published during the second wave of #FeesMustFall student protests and the demand for decolonised free education is inevitable as no permanent solution to student funding crisis was crafted. In the same vein, the book advocates for decolonised pedagogy in universities, including journalism curriculum. That ownership of the media is still skewed towards white and with only few black companies gradually joining the industry also brings into doubt media freedom, editorial independence, ethics and integrity among media practitioners. Therefore, the decoloniality movement seeks to confront these structural challenges head-on via dialogue to ensure the integrity of the journalism profession. Decolonising journalism in South Africa is published at a time in which journalism serves a watchdog and a critique of a democratic government and needs to follow a bottom-up social justice approach and become a voice to the voiceless. Therefore, this book seeks to revolutionise the media in a way that even the language of reporting of certain issues needs to be changed to a balanced kind of reporting characterised by principles of no fear or favour.

The essays in this collection were written in celebration of the centenaries, in 2019, of Peter Abrahams, Noni Jabavu, Sibusiso Cyril Lincoln Nyembezi and Es'kia Mphahlele, all of whom were born in 1919. All four centenarians lived rich and diverse lives across several continents. In the years following the Second World War they produced more than half a century of foundational creative writing and literary criticism, and made stellar contributions to the founding and enhancement of institutions and repertoires of African and black arts and letters in South Africa and internationally. As a result, their lifeworlds and oeuvres present sharp and multifaceted engagements with and generative insights into a wide range of issues, including precolonial existence, colonialism, empire, race, culture, identity, class, the language question, tradition, modernity, exile, Pan-Africanism, and decolonisation.