British television and the Anti-Apartheid Campaign 1950-1990
Tal Zalmonovich, OUP, £64

GIVEN the apartheid regime’s strict censorship laws and banning of television until 1976, Tal Zalmonovich’s book Broadcasting Apartheid focuses on how the issue was covered here in Britain.

She opens with a description of the BBC’s televising of the Free Mandela at 70 concert that took place on July 11 1988 at Wembley stadium and argues that it “is remembered as the greatest achievement of the British Anti-Apartheid Campaign.”

This event is by no means the sole focus of the book but informs the reader of the author’s destination in her reading of this history. Zalmonovich explains how the Apartheid regime tried to curtail critical coverage of its policies and how it battled to exert control in Britain over the representation of its governance.

She develops her argument through seven distinct chapters beginning with the ITV reporter Brian Widlake’s interview with Mandela who was then working underground. Zalmonovich’s interpretation of the location, Mandela’s clothes and the content and tone of his words, in contrast to Widlake’s, illustrates how the viewer’s perception was shaped.

The second chapter examines how Trevor Huddleston used his position as a Christian leader to challenge the apartheid regime by encouraging famous people, including artists in the entertainment industry, to join the campaign. Zalmonovich analyses the TV debate between Huddleston and Enoch Powell that took place at a time of heightened racial tension in Britain linking apartheid to the racist legacy of Britain’s imperial past.

Television followed print journalism then progressed alongside it and, as Zalmonovich argues, overtook it in terms of global reach. Nevertheless, print journalism continued to play an important part in the Anti-Apartheid Struggle.

She examines Play For Today, various sitcoms, comedy shows and the work of progressive writers, actors and directors, including the South Africans Lionel Ngakane and John Kani, in their exploration of apartheid. Interestingly, the first heart transplant which took place in South Africa, informed the material of the “Blood Donor” episode of the long running sitcom Til Death Us Do Part.

What may have been produced as simple sitcoms were not necessarily read that way. In fact, they can tell us much about the state of the nation politically and culturally as well as the modes of cultural production at the time. Zalmonovich draws on critical thinkers including Raymond Williams to help underpin her arguments.

Television was only allowed in South Africa in 1976 owing to the government’s paranoia that their control might be challenged by outside interference. This was also the year of the Soweto Uprising which reporters from all over the world, working in print, photojournalism, TV and radio covered, much to the annoyance and concern of the regime. It desperately tried to stem the growing wave of resistance not only inside the country through use of its racist laws but also by preventing further dissent by controlling information exchange.

Initially, only white South Africans were allowed television. It was later available to other racial groups, but as Zalmonivich writes, it remained unaffordable to most of the population. She dedicates a chapter to the Royal Wedding of Prince Charles to Lady Diana which took place in 1988.

In a detailed account, she covers the action taken by trade unionists working in TV, primarily Equity and the Musicians’ Union, and how their longstanding resolutions against apartheid came into great effect through direct action during this much hyped televisual spectacle.
   
Finally, the book comes full circle to the 1988 Mandela Concert. Zalmonovich explains how the various working parts that were involved in its planning made it happen.

Whilst it’s true that it was a huge success and resulted in doubling the AAM’s membership, it’s important to remember the long campaign prior to that moment and to recognise the significance of print and photojournalism as well as TV news coverage in educating people about apartheid. South African publications like New Age and Drum magazine as well as newspapers here, including the Morning Star, consistently covered South African politics.

Decades of campaigning against apartheid through the AAM’s call for boycotts, protests, trade union activism, the contribution of exiled South Africans and, of course, the people back in South Africa is what brought about political change.

Broadcasting Apartheid is a very well researched book; written in an engaging style and offers an interesting perspective of the political and cultural period it covers.