See also https://www.magnumphotos.com/arts-culture/society-arts-culture/ernest-cole-rediscovered-archive-apartheid-black-history/
Ernest Cole (1940-1990) was born as Ernest Levi Tsoloane Kole, in Eersterust, Pretoria. He joined the DRUM group of journalists, and thereafter started working as a freelance photographer. In 1966 he eventually decided to leave South Africa, as his work and movements became increasingly restricted by Apartheid laws. He managed to take with him a body of work which he had collected, including his negatives, which he used for the book "House of Bondage", published in New York in 1967, and one year later in London. He continued living and working in the USA, where he received a grant from the Ford Foundation to support a photographic project mainly on Afro-American issues and race relations in the USA. He also travel and lived in Sweden. He died from cancer in a hospital in New York in 1990.
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The collection contains the photographic work of the South African photographer Ernest Cole, some of which culminated in the iconic book "House of Bondage", published in 1967. Also included are his notes, correspondence and research material, as well as his photographic work which he continued in the USA.
Deposited by the Ernest Cole Family Trust in 2019.
The processing and sorting of the negative and contact sheets, which are not subject to the images in the Portfolio folder, and their description and uploading remains a work-in-progress.
All Rights to the photographic work of Ernest Cole are held by the Ernest Cole Family Trust and permission to publish must be obtained from the Ernest Cole Family Trust.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967
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The collection was deposited by the Ernest Cole Family Trust.
The newspaper article attached to the letter to The Editor, New York Times, dated 12 December 1967, is available in full under item number A2.1 in this section.
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Including copies and original letters from Struan Robertson; various persons acknowledging receipt of "House of Bondage"; typed copy of a letter by Ernest Cole to The New York Times, pointing out corrections to the article "A South African talks about U.S., 12 December 1967, with newspaper article attached containing red underlining by Ernest Cole; references by various entities, photo studies and journalists, including Magnum, Life, Random House and The Ford Foundation; typed copy of a letter by Ernest Cole to The Ford Foundation re. his application for a grant, 17 September 1968; typed and signed letter by Ernest Cole on his letterhead, written to Camera Mainichi magazine in Japan, 25 October 1968; permission given by Ernest Cole to the UN Public Information Section, to use photographs from "House of Bondage"; correspondence with John Hillelson, Magnum agent for Ernest Cole in the UK.
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Articles about Ernest Cole after he settled in the US and book reviews of "House of Bondage", after it was published in 1967.
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Ernest Cole collected background information for each of the chapters in the book and placed them in folders, which he labelled "66" and according to subject matter. Included are newspaper clips, some with his own photographs, brochures, typed notes. He also typed up the captions and placing of images in the book. However, the final book chapters were laid out in a slightly different order.
Each 'main' file seemed to contain the research material and an inserted file with the contact sheets. The original order and files were retained and correspond with the numbering of the negative and contact sheets - please refer to section B - South African Photographic work, for contact sheets and negatives. However, some of the material, particularly newspaper clips don't seem to always correspond with the scope of the folder, i.e. the original order might have been upset over the years.
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Listing of subject matter, from 66-1 to 66-19, which also relate to the contact sheets and the files with research material.
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Included amongst others: 'Africa South in Exile' April-June 1961; blank and completed forms of labour contracts with Conditions of Employment; "The gold of migrant labour
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Typescript article about race relations in the Pretoria suburb of Riverside, following a DRUM article "Black and White live side by side", written by Casey Motsisi and pictures by Ernest Cole, including the original DRUM article, May 1962; captions for images, originally entitled 'Integration'. 'Main' file seems to be missing.
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Typescript article about Pass Law arrests
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Notes, newspaper clips about removals in Vryheid; brochure "Bantu Residential Areas in Pretoria", issued by the Department of Non-European Affairs Pretoria City Council, 1965; brochure "Activities of the Non-European Affairs Department" Johannesburg, 1964.
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Newspaper article about train commuting, Rand Daily Mail, 1963; typescript about train overcrowding; photo captions.
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File is labelled "Boys meat". Including notes; photo captions; Lionel Forman anniversary booklet, with introduction by Ray Alexander, undated, incomplete; newspaper clips
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File is labelled "Below the breadline". Notes and newspaper clips, including "Poverty - like daily grind - remains, by Jill Chisholm and photographs by Ernest Cole, Mamelodi, undated
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File is labelled "Education for Bantu". Notes, typescripts and photo captions.
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Newspaper clips relating to crime.
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Newspaper clips; captions for images; typescript written and signed by Can Themba about shebeens and liquor law in South Africa, undated.
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Folder empty.
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Newspaper clips with photographs by Ernest Cole about the Pretoria Non-European Hospital.
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Notes, typescripts, captions for images.
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Folder empty.
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File is labelled "Ancestral worship". Newspaper clip "Young woman prospers as witchdoctor" with photographs by Ernest Cole, written by Joseph Lelyveld for The New York Times, 14 November 1965
Some pages in the publications are missing.
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Typescripts; newspaper clips, one of these mentioning the last coffee cart being forcibly removed by the police.
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Article about gambling Fah-Fee, with photographs by Ernest Cole.
Published in the magazine 'Zonk', April 1963
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Including notes; newspaper clips "Life is so dull for the middle classes", 1963, and "Haven of new African middle class" with photographs of modern houses in Dube/Soweto, and of Johanna Mabuza in their double-storey home in Dube; "Coming of Age conference" of the National Council of African Women, 1937-1958, with congratulatory message by Rev. ZR Mahabane, and by Madie Hall Xuma; "This is apartheid" published by Christian Action, with forewords by Albert Lutuli and Alan Paton; typescript of the Presidential Address at the Conference of the National Council of African Women, December 1965
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Newspaper clips; notes; typescript. Also included a manuscript entitled "The Banished", page 1-37, no author, possibly 1965, with red footnotes referring to Hansards, Rand Daily Mail and Race Relations News.
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ZCC, empty file
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Ernest Cole left the DRUM magazine in 1960, and freelanced for South African newspapers and the Associated Press, which was a first in those days. He was always thinking of making a book. While he was doing smaller projects, or assignments, he considered how they fitted into a wider body of work (Magnum Photos). Therefore these early newspaper clips and publications which he collected around the effects which Apartheid had particularly on black South Africans, led to his book 'House of Bondage', with a number of them also containing his photographs. Again, the original order of the way in which these clippings were received, has been widely retained, i.e. they were not part of the folders in section A3.2.
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Mainly around the subject of 'Bantu Education', some of them from the newspaper 'Spark' and 'Rand Daily Mail', including his photographs; also included a full page article by Anthony Lukas from the New York Times about the daily life of Jimmy Nkosi, published in the Sunday Chronicle, 31 January 1965, possibly with photographs by Ernest Cole.
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Contained in an envelope, addressed to Enuga Reddy, at the United Nations, By Hand from Andrew Maguire. The clips cover all spheres of life including music (Dollar Brand, the King Kong band), removals (Vryheid), labour, beer brewing, race relations within the Catholic and Anglican Church.
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Newspaper clips including education, banishment, Group Areas Act; also included a brochure "man of the people
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General about Apartheid probably collected after his departure from South Africa; clips about the Jews in South Africa; article from Anti-Apartheid News, containing his photographs, March 1967.
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Newspaper clips, magazines, some with notes spanning a wide spectrum of topics. As noted by his agency Magnum Photos: "impressions are of a guy who’s enjoying being in a new city, discovering new people with new attitudes, even if his notes betray sarcasm toward some of the experience. He was clearly interested in aspects of New York life that were taboo in apartheid-era South Africa. There are plenty of pictures of racially mixed couples, anti-government protests and of the burgeoning pleasure industry."
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Some with notes by Ernest Cole, mainly on Afro-American issues and race relations in the USA.
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Some with notes by Ernest Cole, mainly on Afro-American issues and race relations in the USA. Including: Life magazine, Look magazine, Ebony, The New York Times magazine
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Mainly relating to Harlem
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Including aspects of Women's liberation and pleasure industry
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Including interviews conducted by Ernst Cole of Gideon Nxumalo, and a ship servant, no transcripts; a Vinyl containing 'Horace Faith, Black pearl / help Me Help Myself, Hotshot' / Sonet Records, licensed by Trojan, 1970.
Stored in photographic box in Media room. (Also included memory stick with images from House of Bondage)
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The images of Ernest Cole were published in various South African newspapers and magazines such as DRUM, as well as for the Associated Press, for which he worked as a freelance photographer.
Included here are the negative and contact sheets, as well as some photographic prints of Ernest Cole's body of work before leaving South Africa in 1966.
All negative and contact sheets have been digitised. They are stored in the Media Room.
Permission to publish any of these images must be obtained from the Ernest Cole Family Trust.
Of these images 102 were scanned by Magnum Photos, and have been made available to Historical Papers in Jpg format and 8- and 16-Bit Tif format. The remaining 82 images were scanned at the Wits Digitisation Centre to Magnum Photos' specifications.
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These images were published in the book "House of Bondage". Each of the 184 photographs originate from one of the folders in B2.1-24, from which they were extracted. The images which were selected for the book are marked on the original contact sheets and the negative sheets.
The photographs displayed here have been uploaded in the order in which they appear in each chapter of the book. The description of each of the images in the book has been used verbatim.
The physical negative and contact sheets are stored in the Media Room.
The photographs which were selected for "House of Bondage" also form part of the so called 'Portfolio folder', see section B1A.
See also B2 in this section for the no.66 negative sheets.
Permission to publish any of these images must be obtained from the Ernest Cole Family Trust.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967
See also website of the Photography Legacy Project: https://www.plparchive.com/ernest-cole-main-page/ec-books/
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The images in this chapter relate to the experiences of migrant workers, who were recruited from Southern Africa to work in the gold mines on the Witwatersrand, Transvaal.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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Pensive tribesmen, newly recruited to mine labor, await processing and assignment.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 25
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Fingerprinting is necessary step in issuance of all-important pass legalizing workman's presence in white area for duration of his job.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 26
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At assignment desk clerk's rubber stamp dictates mine where man will work.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 27
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Waits are tedious; processing may take two days, time for which men are not paid.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 27
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During group medical examination, the nude men are herded through a string of doctors' offices.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 28/29
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After processing, they wait at railroad station for transportation to mine. Identity tag on wrist shows shipment of labor to which man is assigned.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 30
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After processing, they wait at railroad station for transportation to mine.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 31
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After processing, they wait at railroad station for transportation to mine.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 31
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Section of Rand Leases mine compound, outside Johannesburg, where African miners live while on contract. No families or women are allowed. this is a typical compound, with buildings laid out in a square and only one gate.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 32/33
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Barracks-like buildings are divided into starkly simple rooms with bunk space for twenty men. There are no closets or cupboards, so clothes and boots hang all over.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 33
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Kitchen helper dumps food on men's plates with shovel Diet is nyula, a vegetable mixture, and maize-meal porridge served twice a day.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 34
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Cardboard punched with holes and hung from the ceiling serves one man as holder for his spoons.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 34
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Miner sleeps on concrete slab, must supply own bedding.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 34/35
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House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
pages 36/37
Not digitized yet.
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Some, like man with penny whistle, pass time with musical instruments.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 37
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Man stares at snapshot of his wife on tribal reserve, whom he will not see for duration of his contract.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 37
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They leave with more than they brought with them: bicycles, foot lockers filled with junk clothing, blankets, other things bought at concession stores.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 38
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Johannesburg, Golden city, built by African labor and wealth of gold extracted from the earth.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 38/39
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As old group leaves, new one arrives, driven to mines by failing crops. Man with cane is signing on again despite wooden leg, result of mine accident.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 39
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The images in this chapter demonstrate the implications of the infamous "Pass laws", which were used for the administration and influx control for Africans into urban areas.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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Handcuffed blacks were arrested for being in white area illegally
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 43
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Young boy is stopped for his pass as white plainclothesman looks on. Checks go on in the townships, too.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 44/45
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A student who said he was going to fetch his textbook is pulled in. To prove he was still in school he showed his fountain pen and ink-stained fingers. But that was not enough; in long pants he looked older than sixteen.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 45
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Every African must show his pass before being allowed to go about his business.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 46/47
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Police check passes for employer's signature, proof that taxes are paid, and legality of presence in white area.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 47
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Sometimes check broadens into search of a man's person and belongings.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 47
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White policeman oversees check of one man's documents, while another, who said he forgot his pass, stands by handcuffed.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 47
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Every morning, police trucks from all over the city and surrounding townships converge on Bantu Commissioner's court building and dump their loads of pass offenders to await trial.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 48
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Relatives of the arrested come to door of jail. Some bring money for fines, others bring food.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 48
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Men who have finished their sentences depart under guard for their home towns.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 49
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People line up at Bantu Administration building t apply for passes. Line starts forming at 5:30a.m., and latecomers may not get in. Without passes they are liable to arrest.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 48/49
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These boys were caught trespassing in a white area.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 50
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These images document the removals of "black spots", which were areas occupied by Africans, into which whites wished to expand.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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Child's home, in area declared a "black spot", has been destroyed.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 55
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African township is bulldozed out of existence to make way for white expansion. Government trucks will move residents and their few possessions to matchbox houses in new locations, usually in remote areas, perhaps not even named n map. Even t live there, families must qualify. People at right did not, and thus have not only had their homes razed, but have nowhere to go.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 56
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African township is bulldozed out of existence to make way for white expansion. Government trucks will move residents and their few possessions to matchbox houses in new locations, usually in remote areas, perhaps not even named n map. Even t live there, families must qualify. People at right did not, and thus have not only had their homes razed, but have nowhere to go.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 57
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African township is bulldozed out of existence to make way for white expansion. Government trucks will move residents and their few possessions to matchbox houses in new locations, usually in remote areas, perhaps not even named n map. Even t live there, families must qualify. People at right did not, and thus have not only had their homes razed, but have nowhere to go.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 56/57
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Community of two thousand people, uprooted before new township was ready for them, was moved into tent city, instead.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 58
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Child sleeps outside rather than under stifling canvas.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 58
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Typical location has acres of identical four-room houses on nameless streets. Many are hours by train from city jobs.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 58/59
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Sign warns that permits are needed to enter location.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 59
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The images in this chapter relate the nightmare of train commuters in Johannesburg.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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Africans throng Johannesburg station platform during late afternoon rush hour.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 62/63
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With no room inside train, some ride between cars.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 64
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Which black train to take is matter of guesswork. They have n destination signs and no announcement of arrivals is made. Head car may be numbered to show its route, but number is often wrong. I|n confusion, passengers sometimes jump across track, and some are killed by express trains.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 65
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Whistle has sounded, train is moving, but people are still trying to get on.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 65
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Train accelerates with its load of clinging passengers. They ride like this through rain and cold, some for the entire journey.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 66/67
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Inside, hands cling to a suitcase
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 68/69
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All stand packed together on the floors and seats.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 68
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A woman carries a baby on her back.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 69
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At end of ride comes a big squeeze as passengers must show their tickets before passing through narrow exit gates. As they wait, more trains pull in and unload. For many the delay lasts twenty-five minutes.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 69
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The images tell the story of domestic workers in white households.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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Servants' quarters atop a luxury apartment house in northern Johannesburg.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 74/75
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She lives on edge of opulence, while her own world is bare.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 74
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It is against the law for black servants t live under the same roof as their employers. In private home, servant would have separate little room in backyard. Newspapers are her carpet, fruit crates her chairs and table.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 75
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Dogs are well tended by black servant, and well fed.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 76
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Servants are given boysmeat, cheapest cuts available. Everything connected with eating is segregated: There are spoons, enamel plates and mugs, even cooking pots specified for use by servants only.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 76
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Servants are not forbidden to love. Woman holding child said, "I love this child, though she'll grow up to treat me just like her mother does. Now she is innocent."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 77
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Entertaining friends is done outside garden walls, since employers do not want strange "boys" and "girls" on their premises.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 77
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Living in her "kaya" out back, servant must be on call six days out of seven and seven nights out of seven.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 78
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She lives a lonely life apart from her family. In white suburbs there are no recreation centers open t black servants.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 79
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On duty, servant dresses in unpretentious cap and apron. She must never g bareheaded during work hours.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 80
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On off hours, however, she may dress as fashionably as she can afford. Girl in striped suit lost two jobs because she was too chic.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 80
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After working in modern kitchen, servant returns to her own, with no hope of making it any better.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 81
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After working all week in modern kitchen, servant returns t her own, with no hope of making it any better.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 80/81
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The images in this chapter demonstrate how Apartheid was effected in everyday life particularly through signage. There are no further descriptions for each of the images, as they are self-explanatory.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 83
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"Notice. Delivery boys and African servants entrance in lane"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 83
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"Uitgang deur Duikweg. Exit through Subway. Nie-Blankes. Non-Whites. Blankes. Whites"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 83
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"Whites waiting room. Blanke wagkamer."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 83
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"Non-Europeans & Goods"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 83
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"Pretoria Voorstedelike stasie vir Nie-Blankes. Suburban station for Non-Whites."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 84
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"Net Nie-Blankes. Non-Europeans only. Net Blankes. Europeans only."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 84
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Signage for the public entrance reading "Slegs Blankes Dames. Whites only Ladies."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 84
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Two telephone booths with the signage: "Non-Europeans. Nie-Blankes" and "Blankes. Europeans"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 84
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Advertisement sign reading "Europeans only. Dive In Dry cleaners"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 84
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"Spoorweg Geneesheer. Railway Medical Officer. Whites only. Net Blankes"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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"2nd class Stop. 2e klas Halte"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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"Slegs vir Nie-Blankes. Non-Europeans only."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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Uniformed white woman leaving a ladies rest room with signage reading "Europeans only. Slegs Blankes. Ladies rest room. Dames ruskamer"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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"Huurmotor staanplek vir blankes. Taxi rank for Whites", showing taxis queuing with signs "Taxi White Persons"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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Signage at cashier demarcation "Non-Europeans teller. nie Blanke kassier"
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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"All Non-Europeans and tradesmen's boys with bicycles, please use Smal St. entrance."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 85
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The chapter contains images documenting Africans' lives, many of which are marked by hunger, desperation and poverty .
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
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Gracie Matjila, hungry and without proper clothes for school, tearfully tends her little sister.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 89
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After breakfast of tea laced with sugar, Jane Mogale scrapes pot for crusts of last night's porridge, which may be her only food till evening.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 90
Published
Women hawking fruit are usually too old or too ill to work as domestics, and their profits from this are very small. denied vendors' licenses, they often have to pick up their wares and run to escape arrest.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 90
Published
With older children in school and mothers at work, baby baby-minders are a common sight on African township streets.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 91
Published
Only thing of any value the Mogales have is stove bought on time.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 92
Published
Low-paid Africans buy high-priced goods on time in white-owned stores like this one.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 93
Published
Moses Mogale does homework by candlelight. Township houses are not equipped with electricity.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 94
Published
There is one bed in the Mogale house. Daniel and Martha and their two youngest sleep in it; others sleep on floor.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 94
Published
Infant suffers from advanced malnutrition. Like one in every four African children, he died before his first birthday. His father has worked nineteen years for railways.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 95
Published
The images in this chapter are documenting the poor environment and standard of schools under Apartheid's Bantu Education.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
Earnest boy squats on haunches and strains to follow lesson in heat of packed classroom.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 99
Published
Teacher is struggling with one of her two daily sessions of one hundred students each.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 100/101
Published
Children learning to write hardly have elbow room to mark their slates.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 101
Published
Children must share tribal-language reader because of shortage of supplies. Principal of this school ordered sixty readers from Government, received two.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 101
Published
Students kneel on floor to write. government is casual about furnishing schools for blacks.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 102/103
Published
Brand new school, with no desks. It opened with seven hundred students and only three teachers assigned by Government. Without supervision, pupils have gone to recess leaving books scattered and trampled.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 104/105
Published
Because of the shortage of school building, African children attend classes in any available structure- a tin shack or a church. For new school to be built, township residents must first raise half the cost.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 105
Published
Because of the shortage of school building, African children attend classes in any available structure- a tin shack or a church. For new school to be built, township residents must first raise half the cost.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 105
Published
Mothers seeking to enroll children for first time wait in line to get essential documentary proof from superintendent's office that child is bona fide township resident.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 106
Published
Small scholars have come early to school, must wait in yard until 11 a.m. session.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 106
Published
By time afternoon session begins, fatigue has caught up with teacher and pupils alike. She has just finished with one overcrowded class, her children have waited three hours. Girl at board is untrained extra teacher waiting to enter nurse's course.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 107
Published
Child gives in to weariness.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 107
Published
Teacher toward end of her day in school.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 108
Published
The images in this chapter are documenting the effects of segregated and poor health care for Africans.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
Young woman in pain waits her turn in emergency room of Baragwanath Hospital.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 112
Published
The sick come early and wait in line to be seen by doctor. Waiting and referrals can go on for a week.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 114/115
Published
Patient wearied of waiting stretches out in passageway.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 115
Published
Line of stretcher cases from X-ray room moves slowly through hospital. some do not live to end of line.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 115
Published
Only most urgent cases are admitted; still, wards operate at 50% beyond capacity. patients lie on stretchers, chairs, and felt mats on floor between and under beds.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 116
Published
During day, floor patients are moved outside.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 116
Published
Only most urgent cases are admitted; still, wards operate at 50% beyond capacity. patients lie on stretchers, chairs, and felt mats on floor between and under beds.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 117
Published
Only most urgent cases are admitted; still, wards operate at 50% beyond capacity. patients lie on stretchers, chairs, and felt mats on floor between and under beds.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 118/119
Published
In children's ward, patients share a corner of floor with blankets scattered over them. New cases have their names written on adhesive tape stuck to their foreheads.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 120
Published
Child has been judged not "serious" enough to be given a bed.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 120/121
Published
Infant patients must often share a bed with two others, and spread of infectious diseases is a common problem.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 121
Published
The images document the resulting effects of poverty, showing street children such as the boy 'Papa', and crime in the streets of Johannesburg.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
African children who have left home to fend for themselves in city streets.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 125
Published
Township mother fights losing battle to keep son, age nine, from running off t live life of the streets. She tries to assert authority with threats: "What's your future going to be like without an education?" But it is too late...
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 126/127
Published
...the boy - called Papa - is out of control. Jumping fences is something he must do well if he means to live by his wits.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 127
Published
Papa with slingshot, usually first weapon of township boy.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 128/129
Published
Line between laughing and crying, between playing and fighting, is very narrow for boy schooled in the streets. He doesn't care that he wears rags.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 129
Published
When these pictures were taken, Papa's mother had just learned that he had been playing hooky for three months.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 129
Published
Street boys angling for a way to eat, which they do only when they have money.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 130
Published
Their hangout at fringe of white city's lights.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 130
Published
"Penny, baas, please, baas, I hungry..." This plaint is part of nightly scene in the golden City, as black boys beg from whites. They may be thrown a coin, or, as here, they may get slapped in the face.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 131
Published
"We sleep anywhere", a boy told me, "in drainpipes, parks, junk yards, anywhere". At dawn I found them lying in a park, shivering.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 132/133
Published
Tough talk and marijuana. These are tsotsis, youths who have turned to crime rather than work as white men's garden-boys or messengers - the usual jobs available to young blacks.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 134/135
Published
A white pocket being picked. Whites are angered if touched by anyone black, but a black hand under the chin is enraging.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 135
Published
This man, distracted by his fury, does not realize his back pocket is being rifled. He is allowed to go his way - till next time.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 135
Published
On a Saturday afternoon in heart of Johannesburg five tsotsis mug white man. While others watch warily, and pretend to be passersby, fifth man surprises victim from rear with forearm blow across throat.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 136
Published
As white man sags to street, second tsotsi helps empty his pickets. Attack was over in seconds. Gang got away with victim's weekly pay envelope. Woman in background is scurrying out of harm's way.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 137
Published
White man assaults tsotsi who tried to snatch white woman's purse. This time black youth escaped.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 138
Published
But others may get caught as police try to solve tsotsi problem with roundups and arrests. This only toughens the youths, who take pride in being able to stand up to interrogation, beatings, and jail conditions.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 139
Published
Tsotsis are celebrating in a municipal drinking lounge - with more to spend than honest black earns in day's work.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 139
Published
The images in this chapter cover the devastating impact of drinking in shebeens and the consumption of Government-produced Bantu beer, on African communities.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
In a shebeen, oil can containing potent liquor is passed from man to man; jokingly they call it "crude oil".
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 142/143
Published
Expressive face of woman denizen of the shebeens. Some men and women stay in shebeens all day, drinking themselves witless.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 143
Published
Atmosphere of the shebeens is free, in contrast to that of regimented Government beer halls. When spirits run high, someone usually provides music, and a woman may break into a dance or staccato of swearwords. It used to be a social disgrace for an African woman to be found drinking with men. Shebeens have changed this.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 144
Published
Atmosphere of the shebeens is free, in contrast to that of regimented Government beer halls. When spirits run high, someone usually provides music, and a woman may break into a dance or staccato of swearwords. It used to be a social disgrace for an African woman to be found drinking with men. Shebeens have changed this.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 145
Published
Atmosphere of the shebeens is free, in contrast to that of regimented Government beer halls. When spirits run high, someone usually provides music, and a woman may break into a dance or staccato of swearwords. It used to be a social disgrace for an African woman to be found drinking with men. Shebeens have changed this.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 145
Published
Man in shebeen tries age-old persuasion of drink and talk on his attractive companion.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 146
Published
Man in shebeen tries age-old persuasion of drink and talk on his attractive companion.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 146/147
Published
Man in shebeen tries age-old persuasion of drink and talk on his attractive companion. Part of a series of 3 photographs, see items B1.11.6 & B1.11.7
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 147
Published
Usual way to hide liquor from police is in four-gallon cans buried in ground.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 146
Published
After a few drinks, young mother begins to sag.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 147
Published
Municipalities legally monopolize production and sale of this brew; profits are high. In Government beer halls (where women are not allowed), it is dispensed automatically from huge vats.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 148
Published
Municipalities legally monopolize production and sale of this brew; profits are high. In Government beer halls (where women are not allowed), it is dispensed automatically from huge vats.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 148/149
Published
In city bottle stores, it is sold in closed cartons. Africans may not drink in city bars, but may buy beer to drink on sidewalk.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 148
Published
Friday afternoon outside the bottle store, after most of crowd have left.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 148/149
Published
The images in this chapter cover the ambiguous relationship between Christianity and its missionaries, and African ancestral belief systems in the African communities.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
Zionist preacher delivers sermon. Deafening volume is sign of inspiration by Holy Spirit.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 155
Published
Drummer intones hymn and congregation takes it up with gusto, swaying bodies as they sing. Son they are carried away with emotion and begin dancing in rhythm with the drum.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 156
Published
Drummer intones hymn and congregation takes it up with gusto, swaying bodies as they sing. Soon they are carried away with emotion and begin dancing in rhythm with the drum.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 156
Published
Man goes into a trance. He has received the Spirit and begins to "speak in tongues".
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 157
Published
At healing service, sick are called forward as others move in procession around prophet. He shuts his eyes, begins to pray; then he seizes one of the sick, shakes her and slaps her chest, calling on demon to depart.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 158
Published
During baptism by immersion, preacher tells woman she will drown if she has not confessed all her sins. See also item B1.12.7
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 159
Published
During baptism by immersion. See also item B1.12.6
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 159
Published
Another woman is led from baptismal rite. Part of a series of 3 photographs, see items B1.12.6 & B1.12.7
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 159
Published
This Zionist pastor - head of a tiny splinter church - is preaching to his entire flock in outdoor chapel.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 160
Published
Zionist pilgrims crowd street to cheer Bishop Lekganyane (in naval uniform) as he leads procession through Moria, the Mecca of his church.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 160/161
Published
They inspect one result of their support: the bishop's newly-acquired mobile home.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 161
Published
A woman sips soda and eats dry bread after her trek to Moria. She is one of 50,000 who come to three-day festival.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 161
Published
Children trot after Catholic missionary on his rounds in Mamelodi.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 162
Not digitized yet.
Published
Bishp in mitre makes his yearly visit to Mamelodi parish.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 162
Published
Tribal convert, mystified by matter of bureaucratic procedure, comes to "Father" for an explanation.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 163
Published
priest gives Communion to sock woman. He is among few whites who experience first-hand the living conditions of Africans in townships.Catholic Church's role largely remains the traditional one of preparing souls for eternity.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 164
Published
Initiation ceremony of girl diviner. She drinks blood f sacrificial goat as part of purification rite t prepare her for possession by ancestral spirit.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 165
Published
Diviner studies bones to see what spirit desires for the initiate.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 166/167
Published
Possession ceremony of initiate (girl wearing strands of beads may involve days or months of ritual dancing and singing to beat of sacred drum until irresistible force of spirit enters girl.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 167
Published
Possession ceremony of initiate (girl wearing strands of beads may involve days or months of ritual dancing and singing to beat of sacred drum until irresistible force of spirit enters girl.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 167
Published
The chapter's image describe the lives and structure of a relatively privileged African middle class, but also their political awareness and activities in opposing Apartheid laws.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
Delegates meet at Mamelodi for conference of National Council of African Women.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 171
Published
Old traditions at modern wedding. Women greet couple with symbols of wife's duties to husband and family.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 172
Published
Rented car is status symbol at middle-class marriage. Expensive wedding can leave couple broke for a year.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 172
Published
Edith Mkhele leads group discussion at African extension of white YWCA. She was first African woman to get degree at white South African college.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 173
Published
Miss Non-White South Africa contest. At microphone is Pete Rezant, director of many social events for Africans. He teaches contestants how to walk, talk, conduct themselves in Western society.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 173
Published
Dr. Mkomo, at NCAW conference: "We are not a servant race. We too have a soul that yearns for freedom and self-determination - not development that is prescribed and proscribed".
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 174
Published
Delegates are women who have dedicated lives to advancement of their people.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 174
Published
Lillian Ngoyi, member of since-banned African National Conference, at meeting of white liberals. Middle class sees itself as bridge between races.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 175
Published
Albert Luthuli, president of ANC, en route to Oslo with wife to receive Nobel Peace Prize for 1960. Then - as now - he was officially in banishment.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 175
Published
The images cover one of Apartheid's cruelest punishments - the banishment of people to the remotest and poorest areas, where they were left to their own demise.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Published
Frenchdale banishment camp: twelve huts with nothing around them but miles of barren velds.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 180/181
Published
The six Africans living in Frenchdale are completely cut off from the world. Seen through the doorway of one man's hut is his never-changing view of neighboring huts and sunbaked veldt.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 182/183
Published
Treaty Mopeli's face and hat are battered by years of banishment. She still worries about a grandchild made homeless the night she was taken by police.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 184
Published
Chicks that died from night cold roast on Treaty's stove.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 185
Published
Treaty Mopeli's husband Paulus, once a Basotho chief, was banished in 1950.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 185
Published
Water from a borehole three-quarters of a mile away is fetched in early morning and evening, when sun has lost its sting. Frenchdale is in semidesert area, very hot during day, very cold at night.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 186/187
Published
Leonford Ganyile was hopeful for future and studied for his matriculation by the light of a paraffin lamp. He later escaped across Botswana border.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 187
Published
At the end of a day there is nothing to do but sleep.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 187
Published
Theophilus Tshangela lies alone in his sickness and reads his prayer book. His mattress is jute bag filled with grass.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 188/189
Published
Little news filters in from outside, and conversation on the same old topics sometimes flares with irritation.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 188
Published
Piet Mokoena spends hours meditating, reading and rereading old letters and the Bible.
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Page 189
Published
Piet falls asleep with Bible on his face. Africans say: "When the Europeans came, they had the bible and we had the land. Now we have the Bible, and they have our land."
House of bondage, Ernest Cole (photographs) and Thomas Flaherty (text), New York : Random House, 1967.
Pages 190/191
Published
These negative and contact sheets were numbered 66/1-24 by Ernest Cole. The categories do not necessarily correspond with the names given in his folders under section A3.2. Therefore only the numbering will be provided in the listing below.
All contact sheets and 1191 individual negatives were digitised. The physical negative and contact sheets are stored in the Media Room.
The 66-numbered series also contains all negative and contact sheets, which were previously set aside as a Portfolio folder. However, the digitised contact sheets from the Portfolio folder are clearly marked for future reference.
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
Published
This section remains work in progress, as most of these contact sheets still have to be matched to the respective negative sheets.
Published
Including portraits of Ernest Cole himself; images from the Rivonia trial depicting Winnie Mandela and family members; other including Matanzima arriving at a train station for a meeting.
Published
Published
24 of these have been scanned. This section remains work in progress, as these contact sheets still have to be matched to the negative sheets in section B3.4.
Published
A number of these negative sheets will not have contact sheets once the sorting process has been completed.
Published
Published
Published
Exhibition prints made by the Hasselblad Foundation, including duplicates.
Resin coated, 12x16 inch.
Stored in Media Room.
Published
The photographs in this section were created by Ernest Cole during his life in the USA.
Stored in Media Room.
Published
Life in the USA, including amongst others: photos of the boxer Muhammad Ali, the singer Aretha Franklin, and the South African Jazz artist Hugh Masekela who was also in exile in the USA.
Stored in Media Room.
Published
Published
Published
Published
Published
Depicting life of Afro-Americans in the rural South, but also urban settings.
Prints on silver bromide, 11x14 inch. Interleaved, in photographic box.
Stored in Media Room.
Published
The images were taken by Penny Weaver, a former reporter for the newspaper "the Delta Democrat-Times", during a visit by Ernest Cole to her house in Alabama, accompanied by a another visitor. She describes Ernest Cole's visit in her letter, which accompanies the 10 negatives and a selection of 5 photographs.
These collection items were sent by Penny Weaver to the Ernest Cole Family Trust (Attn.: Leslie Maletsane), with an accompanying explanatory letter, dated 30 March 2021, all of which were added to the collection in August 2021.
The file containing these items, including the letter, are stored together with the photographic material in this collection, in the box containing items B1.
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Letter written by Penny Weaver to the Ernest Cole family member Leslie Maletsane, explaining the history of these images, and the circumstances of Ernest Cole's visit in April 1971.
The letter is stored in the same file, together with the photographic images and negatives.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.
Published
Photographer: Penny Weaver. Permission to publish must be obtained from the Ernest Cole Family Trust.