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The herstory of Black women in South Africa is one of sexualised forms of political, physical and psychological violence. A herstory of violence, oppression, exploitation, victimisation, imprisonment and police brutality. The apartheid government used violence to control women, their bodies, their religious and spiritual experiences. The feeling of disregard for African women is echoed in an interview with Mhlophe, a South African author, playwright and actress, when she talks about the Battle of Blood River and emphasises how there is no mention of women. ‘Did those men have no sisters, no mothers who helped them? Our history is very unbalanced’ (August, 1990, p. 332).

The herstory of African women is one of sexualised forms of political violence which was used by the apartheid government to control women. African women were the ones who suffered the loss of sons, husbands, brothers and fathers, and who had to fend for themselves in the homelands or Bantustans. Ending women’s oppression was high on the agenda of the democratically elected government in 1994 and women’s groups lobbied consistently to ensure that gender equity was a priority. The violence in South Africa against women can be equated with a civil war on women’s bodies. There is saddening attitude of normalizing the violence committed against women and children. During the apartheid regime the dominant white group used violence to regulate the lives of African people and to remind them constantly of their subordinate status. This was not confined only to public and political spaces such as white and non-white signs on benches, beaches, shops and post offices but also penetrated private and domestic spaces. Black African men and women were subjected to conditions that perpetuated inequality, extreme disparities between the poor and the rich, violence in prisons and humiliating experiences of police harassment. Institutionalised racism led to feelings of inferiority and a lack of self-worth which contributed to acts to violence. The provision of a public space in which to voice women’s experiences of apartheid is essential as it is a contribution to a documentary record of the herstory of South Africa and to uncover the truth about the sacrifices that women have made. There is a crisis of violence against women – we need to seriously consider the dismantling of patriarchy. The concept of emancipation must involve societal transformation, women’s interests and gender interests in order to improve the status of women relative to that of men. The marginal role that women play in the occupational division of labour should be transformed to a central one. The struggle should now become a gender-conscious struggle for the new transformed South Africa.

Mothers – The Silent supporters focus on the potential role of the mother in the restorative justice (RJ) process. This chapter provides a contextual framework for the research highlighting debates pertaining to RJ and parents, especially mothers. This was made possible with a grant from the BA/Leverhulme Small Research Grants. The research provided a holistic understanding of social backgrounds and links between theory and the practice of RJ. The workshop provided a multi-perspective analysis of the interactions within significant relationships between mothers and sons. The author’s focus was on the role of the mother prior to the RJ process. The workshops were held in a safe space in a northern region. The mothers were from different economic and social backgrounds.

The five play texts You Strike the Woman, You Strike the Rock (Phyllis Klotz, 1994), Glass House (Fatima Dike, 2002), Born in the RSA (Barney Simon, 1994), Has Anyone Seen Zandile? (Gcina Mhlophe, 1994), and So What’s New? (Fatima Dike, 1998) are introduced providing a brief insight into the strength of women as they struggle to make a living for their children in the face of extremely adverse political conditions, both in urban areas and in their households, as well as their suffering and grief for the loss of children caught up in the political struggle. Marginalised and struggling African women represented the most vulnerable members of the urban community. The reader is introduced to the voices within the play texts and how they represent both white and black South African women and how they on women’s lives from different backgrounds, classes and race thereby providing insight into their diversity of experiences and the censorial and penal repercussions women were forced to endure for contravening political Afrikaner ideology and statutory law.

The play text, You Strike the Woman, You Strike the Rock, (Klotz, 1994) takes its title from a protest slogan ‘Wathint Abafazi’Wathint’. This slogan is associated with the Women’s Protest March in 1956, the largest mass gathering of women in South African herstory where women gathered to demonstrate peacefully against the imposition of pass laws on black South African women. The play recalls the story of the Women’s March and their courage as they fought against the imposition of the pass laws and is based on the lives of three women, Sdudla, Mampompo and Mambhele who sell chickens, vetkoek and oranges near a taxi rank in the squatter camp of Crossroads in Cape Town. Sdudla is the political activist who tries throughout the play to politicise both Mampompo and Mamphlele by making frequent references to the Women’s March and recalling the defiance and strength of the women who went on that March. What You Strike the Woman You Strike the Rock does is firstly to emphasise and explore the personal experiences, and perspectives of three women and, importantly, to represent a break from tradition, secondly to use consciousness-raising as a way for the women to talk about their experiences; to offer their testimony and, thirdly, to use the process as a bonding experience.

There are seven main characters of which five are women: Sindiswa, Mia, Susan, Thenjiwe and Nicky. The other two characters, Glen and Zaccaria, represent males from very different socio-economic and political backgrounds. The character of Dumasani, a young boy, is referred to in the play. What makes the play especially significant is that of a cast of seven, five are women. Throughout the play the character of Glen, a spy for the apartheid government, reveals the manipulative and deceitful manner in which the members of the South African police force and political informers carried out their work. He forms relationships with people about whom he professes to care; however, his only concern is that they are able to provide information that will secure financial reward for his spying activities for the apartheid government. Born in the RSA offers the audience an interesting exchange of ideas and thoughts about the political, economic and social situation in apartheid South Africa. Through the exploration of narratives and improvisation a landscape of violence is thrown open. A landscape of violence, that is not only physical, but also psychological. The play presents a complex situation in which violence does not only come from one source but from various sources such as the government, the youth, the opposition parties, the comrades, the private domestic space, subversive activities and political organisations. Any opposition to government policies results in harsher and more extreme violence by the apartheid regime strengthening their oppressive forces.