I was quite touched by the recent movie, The Help. For sure it’s the type of tearjerker designed to do just that, and it wasn’t the best scripted film either, but it had some wonderfully poignant moments. I think it has particular resonance with South Africans. For us the moral message of the film is more than just an appropriate sentiment – it’s a slice of our own past.
Much has been made of the cultural similarities between the highly segregated American Deep South and apartheid South Africa. Many generations of white children developed close relationships with their family’s black domestic workers who served as their childminders, and in many cases, their friends and confidantes. As my mom only worked part time when I was growing up, I didn’t have a maid to look after me like many of my schoolfriends did. So I can’t draw on personal experience here, but can only imagine how difficult it must have been for these women, many of whom had left their children in the care of a relative back home.
In the movie Skeeter asks the maid Aibeleen, “What does it feel like to raise a white child when your own child's at home being looked after by somebody else?”
The film reminded me of this image that was part of a David Goldblatt exhibition I saw at the V&A Museum in London in July.
In the photograph entitled 'A farmer’s son with his nursemaid, on the farm Heimweeberg, near Nietverdiend in the Marico Bushveld' Transvaal, December 1964, the tenderness between the boy and his companion is evident. They both look happy but she has sad eyes. Maybe she’s thinking about her little boy or girl far away in another village.
The amazing story behind the photos in this collection is told by one of the items in the exhibition, a letter from Goldblatt to the V&A’s former Senior Curator of Photographs in 1987.
115 of Goldblatt’s photographs had been on display in several venues in the UK during the 1980s. With the exhibition ending and the political circumstances in South Africa worsening, Goldblatt was concerned about what could happen to the photos on their return to SA. He felt the need to secure his photographs in a safe, though publicly accessible, place outside his country.
He wrote, ‘Obstinately, and probably unrealistically, I still believe that this can become as reasonably ‘just’ a society as can be hoped for, and that the transition to that distant state might happen without catastrophic conflict. Increasingly however, that belief is becoming baseless. In the face of the awful things happening here and the worse that are very possible it is ridiculous to be concerned with anything as paltry as photographs. But I am. And it seems to me that considering their vulnerability to destruction, it might one day be useful and even valuable to have a fairly wide ranging collection of photographs from South Africa, such as this exhibition, housed outside this country in a museum which is publicly accessible and as likely to be permanent as any institution can be. Hence the V&A’.
Apartheid may be over but domestic workers are still a fixture in many middle class homes, except now the madams are of all different hues. While they remain a relatively inexpensive form of labour compared to most countries, it doesn't seem as though maids will go out of fashion any time soon. In fact, this practice is what keeps some people here. A well-to-do family we know recently went through a traumatic experience that's sadly not unusual in this country. Having been held at gunpoint and robbed in their home, they decided this was not the place for them, and were planning to emigrate. But then they decided to stay because the wife decided she couldn't live without her maid.
