{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://av.kznarchives.gov.za/iiif/kk94747t1w/manifest","type":"Manifest","label":{"en":["Gille de Vlieg"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/237/original/kwazulu-natal-archives-logo-white-on-transparent_F.png?1676044208","metadata":[{"label":{"en":["Reference code"]},"value":{"en":["P-KZ-DSAC_11/2/3/2"]}},{"label":{"en":["Alternative identifier"]},"value":{"en":["KZN_ARCH_OHU_RECORDING_2021_A0000000_2021_11_11"]}},{"label":{"en":["#_Quality Control"]},"value":{"en":["1_Metadata"]}},{"label":{"en":["Headline"]},"value":{"en":["An Interview with Black Sash activist and photographer Gille de Vlieg in Howick."]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eGille de Vlieg (born 26 July 1940) is a photographer and anti-apartheid activist. She was born in England and moved to South Africa with her mother when she was 3 years old. During apartheid, she was a member of both the Black Sash and one of the few women members of the Afrapix photography collective. Her images have been published in newspapers, magazines and books nationally and internationally. Unlike many of her counterparts, de Vlieg received little public acclaim for her work up until recently. About her work, she says, \"I wanted to make a contribution to an alternative view of South Africa, a view not seen on the South African TV screen then.\" Her images cover the following topics: land removals, rural lifestyle, township lifestyle, gender lifestyle, United Democratic Front (UDF), anti-harassment campaign, police violence, protests against death penalty, funerals, Black Sash, protests against incorporation into Bophuthatswana; Release Mandela Campaign, End Conscription Campaign (ECC), conscientious objectors, African National Congress (ANC) Welcome Home Rally, Day of the Vow (Geloftedag), street children, and homeless people.\u003c/p\u003e"]}},{"label":{"en":["Summary"]},"value":{"en":["\u003cp\u003e\u003cem\u003eIn this interview, Gille de Vlieg, also known as Gogo Gille, discusses her journey into activism and photography in South Africa. She was part of the Afri Pix Photographic Collective. Here's a summary of the key points from the interview:\u003c/em\u003e\u003c/p\u003e\r\n\r\nGille de Vlieg introduces herself as an activist who transitioned into photography.\r\nShe describes her upbringing, which was influenced by a British colonial background, and her education in the 1950s, a challenging time for women's rights.\r\nGille de Vlieg shares how her activism started during the 1976 Soweto uprising, when she and her husband helped workers affected by the protests by offering them shelter.\r\nShe gradually became more aware of the injustices in South Africa and started questioning her role in society and her understanding of feminism.\r\nGille de Vlieg decided to join the Black Sash organization, a women's group known for its activism against apartheid.\r\nShe became increasingly involved in the Black Sash, including working at the Black Sash Advice Office and serving on the Johannesburg Regional Council.\r\nHer work with the Removals Committee within the Black Sash led her to different townships and rural areas, where she documented the impact of apartheid policies on communities.\r\nGille de Vlieg discusses her motivation for activism, which includes challenging the apartheid system and seeking justice, even as a white woman.\r\nShe emphasizes the importance of walking alongside others in the struggle for justice, as opposed to imposing help from an outsider perspective.\r\nGille de Vlieg shares a story about her involvement in a vigil and a hunger strike, which aimed to raise awareness about the effects of the Land Act and forced removals.\r\nShe talks about her growing involvement in Tembisa, a township near Johannesburg, and her connection with activists there.\r\nGille de Vlieg recalls her entry into photography, which was encouraged by fellow activist Paul Weinberg, and how she joined Afri Pix.\r\nShe describes how her role as a photographer was influenced by her background as a recorder and the need to document events for the public.\r\nThe discussion highlights the ethics of white photographers documenting black communities and how Gille de Vlieg's unique position as an activist allowed her to provide valuable documentation while being respectful of the people she photographed.\r\nThe interview ends with a discussion of the role of field workers and organizations in supporting communities affected by apartheid policies.\r\n\r\n\u003cp\u003eGille de Vlieg's journey from a traditional upbringing to a passionate activist and photographer showcases her commitment to social justice and her dedication to telling the stories of those affected by apartheid policies in South Africa.\u003c/p\u003e"]}},{"label":{"en":["Date"]},"value":{"en":["2021-11-11"]}},{"label":{"en":["Extended Locations"]},"value":{"en":["Howick - uMngeni Local Municipality - KwaZulu-Natal - South Africa"]}},{"label":{"en":["Duration "]},"value":{"en":["01:53:41"]}},{"label":{"en":["Contributors"]},"value":{"en":["Gille de Vlieg (Interviewee)","Muziwandile Hadebe (Interviewer)","Reinhardt Hartzenberg (Field Technician)"]}},{"label":{"en":["Interviewee Information"]},"value":{"en":["1954-01-22 (Date of Birth)","Pretoria (Location of Birth)","- (Ethnicity)","Female (Gender)","- (Occupation)"]}},{"label":{"en":["Provider"]},"value":{"en":["KwaZulu-Natal Department Sport Arts and Culture - KwaZulu-Natal Archives and Records Service - Oral History Unit"]}},{"label":{"en":["Repository"]},"value":{"en":["Audio-Visual Repository"]}},{"label":{"en":["Language"]},"value":{"en":["English (Primary)"]}},{"label":{"en":["Preferred Citation"]},"value":{"en":["\u003cp\u003e\u003cstrong\u003e(Reference code) \u003c/strong\u003eKwaZulu-Natal Department Sport, Arts and Culture - KwaZulu-Natal Archives and Records Service; Oral History Unit\u003c/p\u003e\r\n\u003cp\u003e \u003c/p\u003e"]}},{"label":{"en":["Source URL"]},"value":{"en":["https://www.kznarchives.gov.za/collections/2203/collection_resources/76681"]}},{"label":{"en":["Access Restrictions"]},"value":{"en":["This material is open for public access and research"]}},{"label":{"en":["Embargo Date"]},"value":{"en":["N/A"]}},{"label":{"en":["Format"]},"value":{"en":["MPEG-4 (Base Media / Version 2) - extension: .mp4 - ISO/IEC 14496-14 -Video Compression Standard: HEVC (H265) - Frames: 25fps - 16:9 - 8-bit - Compression Mode: Lossy - 854x480 pixels (Public Access - Format)","AVCHD - extension: .MPT - Frame rate: 25fps - 16:9 - Compression Mode: Lossy - 1920 x 1080 pixels (Original Media - Format)","ProRes422 - extension: .MOV - Frame rate: 25fps - 16:9 - 8-bit - Compression Mode: Lossy - 1920 x 1080 pixels (Video Archive Version - Format)"]}},{"label":{"en":["Primary Media Type"]},"value":{"en":["Video"]}},{"label":{"en":["Medium"]},"value":{"en":["Born digital (digitally generated content)"]}},{"label":{"en":["Themes"]},"value":{"en":["Democracy","Anti-Apartheid Movement","Politics"]}},{"label":{"en":["Subject"]},"value":{"en":["Freedom Struggle memories","Apartheid Resistance","Struggle veterans"]}},{"label":{"en":["Genre"]},"value":{"en":["Oral Histories"]}},{"label":{"en":["Relation identifier"]},"value":{"en":["This interview forms part of a group of interviews that was conducted from 2010-2021 on the history and members of the Black Sash in KwaZulu-Natal. Use the  keyword “Black Sash” to search for additional interview in this series. (is part of)"]}},{"label":{"en":["Conditions governing access"]},"value":{"en":["\u003cp\u003eCollection is open for research.\u003c/p\u003e\r\n\u003cp\u003e \u003c/p\u003e"]}},{"label":{"en":["Condition governing reproduction"]},"value":{"en":["COPIES FOR PRIVATE STUDY: Subject to copyright, conditions imposed by owners and protecting the documents, digital copies can be made. PUBLICATION: A reader wishing to publish material in the collection should contact the Provincial archivist in writing. (Email: kznarchives@kzndsac.gov.za ) The reader is responsible for obtaining permission to publish from the copyright owner."]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003e© KwaZulu-Natal Archives and records Service - All rights to the interviews, including but not restricted to legal title, copyrights and literary property rights, have been transferred to the KwaZulu-Natal Department of Sport, Arts and Culture - KwaZulu-Natal Archives and Records Service. The status of the content is mentioned in the Release status section, and it is intended solely for research and non-commercial purposes. Interviews may only be reproduced with written permission from the KwaZulu-Natal Archives and Records Service and with the correct citation according to the Preferred Citation field. For commercial use, arrangements with cost needs to be made with the Provincial Archivist in writing. – kznarchives@kzndsac.gov.za\u003c/p\u003e"]}},{"label":{"en":["Duration"]},"value":{"en":["01:53:41"]}},{"label":{"en":["License"]},"value":{"en":["\u003cp\u003ehttp://rightsstatements.org/vocab/InC/1.0/\u003c/p\u003e"]}},{"label":{"en":["Copyright Owners"]},"value":{"en":["KwaZulu-Natal Department Sport Arts and Culture - KwaZulu-Natal Archives and Records Service; Oral History Unit (Primary)"]}},{"label":{"en":["Redact of Content"]},"value":{"en":["No"]}},{"label":{"en":["Disclaimer"]},"value":{"en":["\u003cp\u003eThe memories, comments, and viewpoints shared by the narrators, interviewers, and interviewees in the content on the KZNAV-Channel and related documents do not represent the viewpoints of, or speak for the KwaZulu-Natal Department Sport, Arts and Culture - KwaZulu-Natal Archives and Records Service or KwaZulu-Natal Government. The KZNAV-channel merely serves as an online repository for the memories, comments, stories, accounts, and experiences of the interviewees. The KwaZulu-Natal Archives and Records Service cannot guarantee or assure the validity, accuracy, or completeness of the information in the interviews hosted here and expressly disclaims any liability therefore. The KwaZulu-Natal Archives and Records Service retains the right to refuse to host or make publicly available any donated interview due to our discretion. Furthermore, the KwaZulu-Natal Archives and Records Service is pleased to provide open public access to content and oral history interviews for educational and non-commercial purposes, but the KwaZulu-Natal Archives and Records Service retains the copyright to each interview, transcripts, and any other materials hosted on our KZNAV-Channel unless expressly indicated in the \"Copyright Owner\" field. In certain instances, some interviews may be unavailable to the public due to the content being locked or not having reached the predetermined public release date as legally determined by the Provincial Archivist. The KwaZulu-Natal Archives and Records Service strives to always offer correct and up-to-date information on the KZNAV-Channel. Although this information has been compiled with the greatest possible care, the KwaZulu-Natal Archives and Records Service does not guarantee the completeness, accuracy or topicality of the information. Content, Interviews, transcripts, and other materials published here may not be reproduced in full or published without our express consent. The KwaZulu-Natal Archives and Records Service can be contacted at kznarchives@kzndsac.gov.za for more information.\u003c/p\u003e"]}},{"label":{"en":["Generation Method "]},"value":{"en":["Born Digital – Human Generated Content"]}},{"label":{"en":["Finding aid"]},"value":{"en":["Text Transcript of original interview available at the Pietermaritzburg Archives Repository, South Africa"]}},{"label":{"en":["Keyword"]},"value":{"en":["Gille de Vlieg, Black Sash activist, photographer, apartheid"]}},{"label":{"en":["#_GPS coordinates"]},"value":{"en":["\u003cp\u003e29°28'46.9\"S 30°13'44.7\"E\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eGille de Vlieg (born 26 July 1940) is a photographer and anti-apartheid activist. She was born in England and moved to South Africa with her mother when she was 3 years old. During apartheid, she was a member of both the Black Sash and one of the few women members of the Afrapix photography collective. Her images have been published in newspapers, magazines and books nationally and internationally. Unlike many of her counterparts, de Vlieg received little public acclaim for her work up until recently. About her work, she says, \"I wanted to make a contribution to an alternative view of South Africa, a view not seen on the South African TV screen then.\" Her images cover the following topics: land removals, rural lifestyle, township lifestyle, gender lifestyle, United Democratic Front (UDF), anti-harassment campaign, police violence, protests against death penalty, funerals, Black Sash, protests against incorporation into Bophuthatswana; Release Mandela Campaign, End Conscription Campaign (ECC), conscientious objectors, African National Congress (ANC) Welcome Home Rally, Day of the Vow (Geloftedag), street children, and homeless people.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003e\u0026copy; KwaZulu-Natal Archives and records Service - All rights to the interviews, including but not restricted to legal title, copyrights and literary property rights, have been transferred to the KwaZulu-Natal Department of Sport, Arts and Culture - KwaZulu-Natal Archives and Records Service. The status of the content is mentioned in the Release status section, and it is intended solely for research and non-commercial purposes. Interviews may only be reproduced with written permission from the KwaZulu-Natal Archives and Records Service and with the correct citation according to the Preferred Citation field. For commercial use, arrangements with cost needs to be made with the Provincial Archivist in writing. \u0026ndash; kznarchives@kzndsac.gov.za\u003c/p\u003e"]}},"provider":[{"id":"https://av.kznarchives.gov.za/aboutus","type":"Agent","label":{"en":["KZN Archives and Records Service "]},"homepage":[{"id":"https://av.kznarchives.gov.za/","type":"Text","label":{"en":["KZN Archives and Records Service "]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/237/original/kwazulu-natal-archives-logo-white-on-transparent_F.png?1676044208","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/164/212/small/IMG_3107.jpg?1661267143","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212","type":"Canvas","label":{"en":["Media File 1 of 1 - Gille_de_Vlieg_1080p_new_.mp4"]},"duration":6821.144,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/164/212/small/IMG_3107.jpg?1661267143","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/content/1","type":"AnnotationPage","items":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-kzndsac.s3.wasabisys.com/collection_resource_files/resource_files/000/164/212/original/Gille_de_Vlieg_1080p_new_.mp4?1659533089","type":"Video","format":"video/mp4","duration":6821.144,"width":640,"height":360},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212","metadata":[]}]}],"annotations":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768","type":"AnnotationPage","label":{"en":["Gille de Vlieg [Transcript]"]},"items":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Muziwandile Hadebe: We are from the Department of Arts and Culture Oral History Unit. It is Muziwandile Hadebe, Reinhardt Hartzenberg. We are in Howick on November 11, 2021. Mum, please just introduce yourself.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1.0,25.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg: Siyabonga, I am Gille de Vlieg, otherwise known as Gogo Gille, now that I’m very old and I have been an activist in the past. And by being an activist, this led me into photography, uhm which led me to being a member of the Afri Pix Photographic Collective. And I think that's really why we are here today, because it's my photographs that continue to continue. Fortunately.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=25.0,63.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Muziwandile Hadebe: hahaha. Now, What led you to. Activism.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=63.0,73.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  It's uhmmm,  I thought about this often because it is a question that comes up from time to time. And I was brought up in a very traditional way. When I say traditional being in South Africa, I mean a traditional way that had a British background. My mother continued to talk of England as home, even though she lived in South Africa longer than she ever lived in England. So one could say it was a colonial way of being brought up. I went to a private school called St Mary's in Kloof. I was a teenager in the 1950s, which was an appalling time for women, because that's when all governments around the world basically are trying to get women back into the home, into the kitchen again after having them having come out and worked in factories, etc., during the time of the Second World War. And there was always a rebel in me as a small child when I lived in England. I ran away from home three times before I was three and a half. So I think something in me was saying that whatever life I'm living, I'm not satisfied. There has to be something else anyway. I married. I married twice and I had had three children, two of whom are still living. And then in the 1970s, of course, there was the 1976 uprising in Soweto and other townships.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=73.0,179.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg: And the people who used to work for my husband were affected by that just because they couldn't come to work. And we started having them staying at our house overnight so that they were safe from being molested on their way home or coming to work. And I started understanding that things weren't right in South Africa, that I was only seeing a small part of what South Africa was really about. But I couldn't do anything at the time because I was helping my husband establish his business. My children were still going to school, and I felt that this was my duty. Was to carry on with both of those things. But there was this niggle inside of me all the time, and I find myself crying sometimes about the situation, and partly because I felt so hopeless that I wasn't doing anything. And my husband wasn't a political person. So it didn't really affect him, you know? But when it came time for my daughter to leave home, I felt very strongly that I needed to do something that was important to me rather than to other members of my family. And my understanding of feminism had been growing all the time as well. And I had been reading a lot of books on feminism and really starting to ask the question over and over again, Is this all there is? Is this my life? And then.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=179.0,288.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  With my daughter leaving home, I started to feel I can do something now. And I thought, well, of course, there is a there is a beginning to this, actually. It happened overnight. And that was I was reading Andre Prince Rumors of Rain. I think it was that one or a dry season, I'm not quite sure. But either of those two. And I've gotten handed the bookcase and I realized he was talking about the security police and the behavior of the security police. And I realized that he was talking about it as it was a story, a novel, but he was really telling the truth. Not the truth as it was written as a novel, but the truth that lay underneath that story of the novel. And it upset me enormously. And I realized to myself, I said to my husband, You go to bed. I've got to sit. I've got to make a decision. So he went off to sleep and I sat in the lounge for quite a long time and I just thought and thought, you know, it's no good you being upset because that's not going to change anything. You've got to do something. And that's the night that I decided I need to join an organization. And when I thought about what organization did I want to join, I thought I need I want it to be a women's organization.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=288.0,380.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And then I remembered all the times I had seen the black sash standing on the side of the road with placards as we drove to work. And I remember thinking how brave those women were and how much I agreed with them, and often would reach back with our husbands and was driving and shoots, you know, on the haunches. Share my appreciation of what they were saying. And I thought, that's the organisation I'm going to join. And to my surprise, I found the number in the phone book because I wasn't sure if they were above ground or underground. Anyway, they were very much above the ground, really. And so I phoned up their offices in what was the old Hotspur house in Johannesburg, the one that got blown up by Fluke later on. And they said there was a very nice woman who answered the phone. Her name was Margaret Nash. And she said, I will send you a form. You have to fill in the form and apply to be a member. So a few days later, I think it was we still had post at that time and the post arrived with this form and I filled it in and I sent it off. Maybe I faxed it. I'm sure we had faxes in as well. And because this was 1982.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=380.0,469.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And then to my delight, I was. Invited to be a member. And very quickly, I was then invited to. I got to know a couple of people. We used to have welcome gatherings for new members and I got chatting to various people there and I also started working in the Black Sash Advice Office in Johannesburg. At that time was very close to the station, FOX station. And so it was easy for people to come to the offices when they needed help. And soon I was on the Johannesburg Regional Council, and very soon after that there was actually a regional council. Deputy Chairperson because I think they wanted they thought I was younger than there. I later discovered that she wasn't that much younger. But anyway, so that's how I got involved with all the black sash things. And at that time there was a subcommittee of the Regional Council in Johannesburg. That was dealing with. Land masses in rural areas. And we were called. The Removals Committee, which was actually a bad name, but because the last thing we wanted to do was have people removed. But that then took me, first of all, to this place called Reform Town, which is now called Solon Kingsville, which is near Petra. And my first assignment was that I had to go out there on my own to go and see what was happening in a different time.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=469.0,582.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And I've never been different. It is about three and a half hours from Johannesburg driving because the government has said they were going to see investors and. They're going to take people to. But one angle and then another place, the zoo, because Prefontaine had people who spoke Zulu, Sisulu and Swati. So the Zulu speaking people that were going to be taking the baboon angle and the Swatch people were going to be taken to. Khan Ghani, which was the homeland so called homeland for Swazi people. And I have photographs, not of an angle, but I have got photographs of the area where they were going to go to and it's just hills with toilets. Yeah. Anyway, that was my first experience. And then I went back and I didn't find anybody. But I remember trying to get some information whether I like to see that I just take some photographs of people getting on buses. And they were and they were these official buses that used to come because they used to have a circle with a cross in the centre. And you knew those were the buses that would remove people. So I've got some some pictures, but I don't actually remember actually seeing this person. But I must because the first is so then later on, Helen Suzman agreed she was the Progressive Party person, was the only member of Parliament at the time from the Progressive Party and a very brave woman.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=582.0,689.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  She agreed to come out to the black sash to different time. Did you see what was happening there? You hear from the people and hear about the resistance. And she was she was very good with the black sash because we could often ask her to ask questions in parliament because the big our big weapon. Was that we could create try and create publicity about what was happening. We could prevent the apartheid system from hiding everything under the rug and pretending it wasn't happening. So we would speak to diplomats and we would speak to the press. And and there was the Daily Mail still going at that time. So they were often the newspaper that and staff used to carry these stories. Then people couldn't say they didn't know what was happening. And that was also one of the driving things for me, because I was brought up with stories of the Second World War by my parents because our house in Plymouth area in England had been bombed. And so my mother always had all these stories. And, you know, after the the US and those other camps were opened up, people apparently said we didn't. And I thought, I'm not going to allow taking photographs. Yeah. Then I also just need to say that.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=689.0,784.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  You know, you can ask the question, why did a white person want to become part of a transformation of South Africa? And the other thing that was driving me was this idea of feminism and what that means. But that mean to me, I mean, I think it can mean a whole lot of different things to different people. But I felt that for my own integrity. I need to say you are not doing this in my name. Thank you. And I'm talking not to the Nationalist Party. And also I'm also someone who's looking for justice as a woman. Even though I'm a white woman, I still feel I haven't been served with justice in my life. Because they have been in presumptions made about the way I should live. And I didn't. I wasn't given a choice. This. And so I found myself very much in support of other people saying these things, no matter that the situation was much harder than my my situation. But I felt. If there was some sort of parallel path that we were walking and this is wonderful quote, I wish I can sing to you. And it says, if you've come to help me, you are wasting your time. But if you come to walk beside me, then you're welcome. And I found that quite early. You smiling while smiling.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=784.0,892.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Muziwandile Hadebe: It's a beautiful coat.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=892.0,893.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  Yeah, it's an Aboriginal woman. I can give you her name. I've got it. Yeah. And it's very true, because, you know, you do have to question yourself as to are you doing certain things, you know? And if you're coming in as a lot of charities come, you know, we're coming in to give you this, but it's really to make us feel better. And that to me, what didn't feel honest. And the other thing I was learning very quickly. Then another thing that happened coming back from different and I think it might have been the time when we had been there with Helen Suzman. We were driving back in the car by four of us, and the person who was the chairperson of the Johannesburg Access region at that time was a woman called Joel Wentzel and Stubbly. And she she was saying she feels different and is going to be moved any minute because the numbers were on the door. They seem to know exactly how many people they wanted to go to different places. And she said, we've got to do something. So she set us this task. She said, We're having a regional council meeting. That was the next day or the day after. She said, You come with idiots. So that night I went to bed and I was very disturbed. But I said to myself, I need to sleep. I'm tired. And I said to my brain, You think of something where I'm sleeping, you've got to think of something.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=893.0,992.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  So when I woke up in the morning, I thought. I've got an idea, but I'm not sure if this is going to work. So I went to the Regional Council and the message in new and different time yesterday I spoke to this woman and she told me how they came to be different and how they managed to buy the land back in 19 before before the Land Act 1915. So it was 1912. They actually managed to gather that. And she said that their families survived on bread and water and mostly so that they could save money to pay for the land because Reason ten was divided up into landowners. And then they also had tenants later. And I thought to myself, Now that is something I have a photograph of this woman, so and I do have her name, but I'm not remembering it right now. Anyway, when I got to the Regional Council, we had this discussion and I said, Listen, I've got an idea. It's, you know, perhaps we could hold a vigil and create some publicity around the vigil. And I said as part of that vigil, I'm prepared to spin the the the days of the vigil, which is fire of the weekdays in the chapel at Hothouse. And I will survive. And, you know, I'll just have bread and water as a publicity thing. So we actually did we drew up that vigil and had it in the house, and I did that and it was lovely. And I slept in the chapel and different people used to come and sleep with me at night.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=992.0,1103.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  It was very nice, actually, just they just felt that that's what they wanted to do. And then during the daytime, we had a speaker talking about what was happening in South Africa, talking about the 1913 land, about the effect that it was still having on people's lives now and what the apartheid government was trying to do in creating the voluntary stance. And we got a lot of publicity. It was very good. It worked very well. And then as you walked into that house, there was a lovely foyer. And we had managed to get some photographs of the destruction of Sophiatown in Johannesburg from another photographer. And then one night I heard some noises out there in the foyer. And I went out to have a look to see who was there. And I found three young guys looking at photographs. And I said to them, Do you know what you're looking at? And they said, No. I mean, there were some captions, but they they said no. So I tried to explain a little bit about the destruction of the town and the people being removed and their becoming clients, etc., etc.. And and I said, by the way, we're having this exhibition is up because we're having this whole week to talk about the Land Act and about people being moved off land or people being moved away from places that they live in to other places without consultation.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1103.0,1205.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And so I asked them who they were and they gave me their names and they said they were from Tembisa, that the United Democratic Front had offices upstairs in the house, that they were closest guys and they had gone to a meeting at UTF and then saw these photographs on the way out. So I gave them a program of the vigil and I said, Look, there are different people talking. Maybe some of you can manage to come and listen if you want to. Then off we went and I went to sleep. And then the next day, around about midday. One of these guys came back and his name was Greg to Laurie. And I said, We can't listen to the speaker. And he's got very big eyes, Greg. And he looks me straight in the eye. And he said, No, I've come to talk to you. And why does he need to talk to me? Anyway, he was fine. He became after some months and a whole lot of other things that happened, he became my interest in teaching me citizenship, which was very interesting to me because also around that time I was having to go out to a prison as some right now. Is is that MCALEENAN Yeah, yeah. Yeah. Because I had looked after a young boy and he, unfortunately, in his late teens, had done something. He was up for attempted murder and he'd been put into some debate and his family weren't visiting. So I used to go and visit him and going on the way to sort of what you would see in in the distance.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1205.0,1319.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And I thought to myself, I never drive from China and that's about some other rural places, but I don't know anything about any townships around Johannesburg. So then suddenly this young man comes into my. And so the first time I went into Tim Visser was he used to come and visit and we would go to a beer park and eat something because it was one of the few places that black and white people could sit together without too much staring or questioning. Yeah. And then he'd go off. And so eventually in 1984, he wanted some leaflets to go into Tembisa, and so he asked if I would help with that. And it was the first time I went into Ginny's and she met up with some other comrades who were driving around. And when I say driving actually on bicycles and they didn't have money for cars. And so slowly I got drawn in more and more into Tembisa as well. And it eventually got to a situation where if something was happening like a funeral was happening or if there was a report back meeting or something like that, people would find me. Mainly Greg's father, also. He got to know me well, and he would phone and say, Look, there's this. We want you to come and take photographs. So I realized I was now accepted by the comrades, particularly the younger ones.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1319.0,1417.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And so I had to worry about the police, because at that time, as a white person, you were supposed to have a permit to be in the black township. So anyway, that led to a lot of different stories. Many, many, many stories. But I continued having black sashes the basis. Then how I became a photographer. Why is that? I went out the one time with Poul Weinberg and again we were going to go to different end, but we also went to quite negative a gamma one gamma which was the home of the Gamma family. And they, as I say, from that photograph that I showed you earlier, they were also being moved off the land. They were sort of adjacent to different but quite a different type of place. As you can see, they're very rural, whereas drifting and had become more of having fields some in some places, but it was more of almost becoming a little bit of a place where people could come and settle, particularly people who were being chased of white forms at that time as well. So it was more densely populated in where we were sitting. Paul and I was sitting in a field and Emma. And he he was we were just chatting, I think, you know, we'd gone very early in the morning. I we left at 3:00 in the morning. And they're not just taking a risk because the sun was not coming up and it wasn't quite so nice to take photographs.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1417.0,1524.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  And he said to me, Why don't you and I had a camera and I just being like. You know, taking my pictures, not really thinking about it. But once you do record, as I say, they tend to me says, why don't you join Afro picks? And I said, I know you want to, Secretary, but I'm not coming as a secretary. I want to come as a photographer. And he said, no, sorry. And that's how I joined everything. Um. And it's interesting because even then I would always make sure that he had the best advantage, but for a photograph and I would stand somewhere else and just check on the side. And there's a lovely photograph, actually, if you can get his photograph and my photograph next to each others. But this was not mahopac. He had a close up photograph of this guy who was a farmer, but I had stood back and in my photograph you've got the family lined up on the porch outside the house and a piece of the John Deere tractor and then poles on the side here taking the photograph of the farm. And I realized why my shop was like that. I remembered I was making sure that he got the shot because he was the photographer and I was just recording. And actually now and I look at it, I think my photograph is more than his autograph. So it's interesting how things happen. Yeah. Terrence Howard got into being an activist photographer.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1524.0,1629.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Muziwandile Hadebe: On its own. Let's talk about it. What about photography now? Because we would visit rallies and go to funerals. Yeah.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1629.0,1644.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/transcript/39768/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Gille de Vlieg:  It's as I say, I was I was fortunate. You know, people often say as a as I mean, there's a lot of discussion now about white people taking photographs of black people and how I was I was on a zoom recently with some two female photographers, one from Tunisia and another one from Egypt, and then a guy from from Nairobi as well. And this guy from Nairobi was asking some very pertinent questions, I thought, because she was saying, you know, at the time of the bombing in Nairobi, photographers had come in there and he was referring to white photographers. Even some Kenyan photographers just took photographs and these got published in the newspapers. And that was the way that sometimes that people realized the family members were dead. Hmm. And, you know, so now I'm looking back at how I took images. And especially with some of that. But, you know, I was I was coming from a position. Which perhaps no other photographer was able to come from. Because as a member of the black sash, I was going out into these rural areas and now we have an organization that had raised funds for and it was called TRAC, which is the Transvaal Rural Action Committee, and they had employed field workers to go to these because we were dealing with communities throughout the whole Transvaal, which was a big area. So going from north west, far north, which in zero eight, which is right on the border through to Peter, which is also right on the border, and then even north of Polokwane, where Polokwane is now. So it was big areas that were covered. And we realised as volunteers we couldn't do it, you know, we didn't have the understanding, we didn't have the expertise. So we started employing field workers for Trek and the first field worker was a woman called Inka Claassens, who is probably the land expert in South Africa, in my opinion. She's about to retire from her job now and take time and. They've asked me for something.","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1644.0,6821.144"}]},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/annotation_set/864","type":"AnnotationPage","label":{"en":["Afrapix Collective [Transcript]"]},"items":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/annotation_set/864/annotation/22","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eAfrapix was a photographers' collective and agency founded in South Africa in 1982 which encouraged its members to use photography as activism. Afrapix played a seminal role in the development of socially informed documentary photography in South Africa, producing some of the most compelling images of apartheid in the 1980s. The group challenged the role of the photographer as a witness to events, by establishing underground political organisations that formed part of the resistance arts movement. They believed in using their skills as photographers to bring about change within the country and became leading proponents of what became known as struggle photography. The collective dissolved in 1991, but many of its members continued to work as documentary photographers including Santu Mofokeng, Omar Badsha, Lesley Lawson, Paul Weinberg, Biddy Partridge, Mxolise Mayo, Gille de Vlieg and Guy Tillim.\u003c/p\u003e","format":"text/plain"},"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=25.0,63.0"}]},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842","type":"AnnotationPage","label":{"en":["Gille de Vlieg 09-08-2022 9:16 [Index]"]},"items":[{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/23","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Welcome introduction","format":"text/plain","label":{"en":["Title"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=0.0,26.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/24","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Welcoming introduction. ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=0.0,26.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/25","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"We are from the Department of Arts and Culture Oral History Unit.","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=0.0,26.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/26","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Howick","format":"text/plain","label":{"en":["Keywords"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=0.0,26.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/27","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Brief introduction","format":"text/plain","label":{"en":["Title"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=26.0,64.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/28","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Brief introduction information about Gille de Vlieg ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=26.0,64.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/29","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Siyabonga, I am Gille de Vlieg, otherwise known as Gogo Gille, now that I’m very old and I have been an activist in the past. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=26.0,64.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/30","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Afrixpix","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"activist","format":"text/plain","label":{"en":["Keywords"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=26.0,64.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/31","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"What led you to Activism","format":"text/plain","label":{"en":["Title"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=64.0,1629.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":" I thought about this often because it is a question that comes up from time to time. And I was brought up in a very traditional way. ","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=64.0,1629.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"British background","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"1950's","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Second World War","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"1976 uprising in Soweto","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"feminism","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Andre Prince Rumors of Rain","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Black Sash","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Johannesburg Regional Council,","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Solon Kingsville","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Helen Suzman","format":"text/plain","label":{"en":["Keywords"]}},{"type":"TextualBody","value":"Progressive Party","format":"text/plain","label":{"en":["Keywords"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=64.0,1629.0"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/34","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Introduction into photography ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1629.0,6821.144"},{"id":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212/index/51842/annotation/35","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"It's as I say, I was I was fortunate. You know, people often say as a as I mean, there's a lot of discussion now about white people taking photographs of black people and how I was I was on a zoom recently with some two female photographers, one from Tunisia and another one from Egypt, and then a guy from from Nairobi as well. And this guy from Nairobi was asking some very pertinent questions,","format":"text/plain","label":{"en":["Partial Transcript"]}}],"target":"https://av.kznarchives.gov.za/collections/2203/collection_resources/76681/file/164212#t=1629.0,6821.144"}]}]}]}