David Coplan

The xenophobic attacks that started in Alexandra, Johannesburg in May 2008 before quickly spreading around the country caused an outcry across the world and raised many fundamental questions: Of what profound social malaise is xenophobia – and the violence that it inspires – a symptom? Have our economic and political choices created new forms of exclusion that fuel anger and distrust? What consequences does the emergence of xenophobia hold for the idea of an equal, non-racial society as symbolised by a democratic South Africa? On 28 May 2008 the Faculty of Humanities in the University of the Witwatersrand, Johannesburg convened an urgent colloquium that focused on searching for short and long-term solutions. Nearly twenty individuals – mostly Wits academics from a variety of disciplines, but also two student leaders, a journalist and a bishop – addressed the unfolding violence in ways that were conversant with the moment, yet rooted in scholarship and ongoing research. Go Home or Die Here emanates directly from the colloquium. It hopes to make sense of the nuances and trajectories of building a democratic society out of a deeply divided and conflictual past, in the conditions of global recession, heightening inequalities and future uncertainty. The authors hoped to pose questions that would lead both to research and to more informed, reflective forms of public action. With extensive photographs by award-winning photographer Alon Skuy, who covered the violence for The Times newspaper, the volume is passionate and engaged, and aims to stimulate reflection, debate and activism among concerned members of a broad public.

In 1994 Brad and Paige Holmes opened a small, live-music venue in the bohemian suburb of Melville in Johannesburg. They called it Bassline, which very soon became synonymous with cigarette smoke, great jazz and nights you wished would never end. They later moved the club to Newtown where it grew in prominence as the ultimate venue for live music, hosting amazing artists like Thandiswa Mazwai, Jimmy Dludlu, Lira, The Soil and Grammy Award-winning group Ladysmith Black Mambazo. In 2016 word spread like wildfire that everyone's favourite club was closing its doors forever; this place that held all the promises of a new South Africa, a place where people of all races could come together, share a drink, dance and fall in love was to be no more. But as Bassline starts its new journey with Live @ the Bassline, yet another great story begins with Last Night at the Bassline.

In no other society in the world have urbanisation and industrialisation been as comprehensively based on migrant labour as in South Africa. Rather than focusing on the well-documented narrative of displacement and oppression, A Long Way Home captures the humanity, agency and creative modes of self-expression of the millions of workers who helped to build and shape modern South Africa. The book spans a three-hundred-year history beginning with the exportation of slave labour from Mozambique in the eighteenth century and ending with the strikes and tensions on the platinum belt in recent years. It shows not only the age-old mobility of African migrants across the continent but also, with the growing demand for labour in the mining industry, the importation of Chinese slaves. The essays and visual materials traverse homesteads, chiefdoms and mining hostels in their portrayal of migrant workers’ and their families’ attempts to maintain contact across large distances and uphold their rural customs, traditions and rituals in new spaces and locations. Together, they provide multiple perspectives on the lived experience of migrant labourers and celebrate their extraordinary journeys. A Long Way Home was conceived during the planning of an art exhibition entitled `Ngezinyawo: Migrant Journeys’ at the Wits Art Museum. The interdisciplinary nature of the contributions and the extraordinary collection of images selected to complement and expand on the text make this a unique collection.