(Re)inventing African oral traditions and national heritage(s) through film images: The case of Keita! The Heritage of the Griot [1995] and Kare Kare Zvako: Mother's Day [2004]

ABSTRACT

The aim of this article is to explore how African films such as Keita! The Heritage of the Griot and Kare Kare Zvako: Mother's Day reinvent oral traditions on-screen, so that the traditions are revitalised and given new life in a contemporary world where visual and literary narratives have tended to dominate the collection and dissemination of information. The ontological and cosmological dimensions of African oral traditions provide the cultural humus that continues to feed the narrative structures of most African films. It is argued that the films' conscious refusal to be totally submerged in European modernism or their capacity to merge some traditional aspects with modern values is what constructs the multiple subjectivities that most African filmmakers strive to bring out. By using oral narrative structures embedded in songs, storytelling, myths, legends, poems, riddles, anecdotes and proverbs, the selected African films recreate traditions and heritage; they help to preserve African values that face a Western onslaught, promoted through European languages. Oral narratives carry a freight of cultural meanings infused in different modes of expression, while articulating the philosophies and beliefs of African people. It is important to recognise and [re]discover the critical role played by oral narratives in order to understand the epistemologies and ontologies that inform the construction of African films. A study of this nature is critical in that it builds on the existing indigenous knowledge systems embedded in orature (oral literature) that remain threatened by European cultural imperialism, which is promoted through the Hollywood film paradigm.     

Citizenship without representation? Blackface,misogyny and parody in Die Antwoord,Lupé Fiasco and Angel Haze

Abstract

This article explores Die Antwoord's blackface politics to question whether the concept of citizenship has any value in a context where marginal artists’ attempts to represent themselves on their own terms are overshadowed by the global reach of corporate entertainment media monopolies, and by the legacy of racism and sexism in the music industry. It analyses the work of Die Antwoord, Lupé Fiasco and Angel Haze to contend that global capital undermines the nation-state's ability to secure its citizens’ economic or cultural interests. Using Michael Hardt and Antonio Negri's concept of Empire, the author argues that corporate globalisation undermines the sovereignty of the nation-state, effectively compromising democratic ideals. The global appeal of Die Antwoord tells us a great deal about the extent to which diverse cultural expressions are marginalised, as well as the extent to which colonial conceptions of race, gender and class endear in public discourse – specifically in light of the continuing appeal of blackface in the mainstream entertainment industry.     

‘Ek sê, heita!’: Kwaito and the construction of community

Abstract

Kwaito can be described as the new music of the new South Africa. Since its emergence over a decade ago, kwaito still blasts from minibus taxis, on the new urban commercial stations formed after media liberalisation, and on street corners from Cape Town to Johannesburg. Kwaito is young, vibrant and decidedly black. This is hardly surprising in a context where music, like everything else, is a highly racialised terrain. This article describes the emergence of kwaito, and explores community radio station, Bush Radio's, broadcasts of kwaito music, looking at how these broadcasts create a sense of community. First, kwaito's emergence within the context of South Africa's mainstream cultural industries is articulated. Then kwaito music is explored as a signifier of black identity. This article is located within a cultural studies framework, which approaches musical genres as cultural texts capable of generating multiple meanings (Grossberg, 1993).     

From Freud to funny music in films: The case of Blazing Saddles

Abstract

This article contends that music creates comedy in film in two significant ways: first, by ‘setting us up’ and confirming our understanding of purely musical, cinematic musical, and cultural musical codes in the symbolic order of film, only to play with or subvert our established responses to such codes thereafter; and second, by a reliance on age-old rhetorico-musical techniques associated with musical comedy. An analysis of selected scenes from the film Blazing Saddles, directed by Mel Brooks and released by Warner Brothers in 1974, follows, wherein such techniques of musical comedy are shown to be evident. By way of reflecting on these techniques, some thought is given to Sigmund Freud's understanding of the continuum of humour involving play, jest and jokes, within the context of his notion of the principle of economy in psychical expenditure. Accordingly, the author concludes that the political discourse of Blazing Saddles is effective precisely because it is clothed in humour.     

Global media/local meanings

ABSTRACT

In this article the author argues that qualitative investigations into the consumption practices of local audiences provide an important counter to the pessimistic claims of the media imperialism theorists, limited as they are primarily to institutional and textual analysis. In particular, the author argues that qualitative studies of how local audiences interact with global media provide an important corrective to the assumption that cultural homogenisation and synchronisation (Schiller 1976; Hamelink 1993) is following in the wake of the spread of global (primarily American) media and that this is necessarily something to be deplored.

This article first outlines some of the main tenets of the media imperialism thesis. Next it considers some of the more important critiques of this thesis. Finally, it draws on an interview the author conducted with a student at Rhodes University in order to clarify some of the important theoretical considerations we need to take into account when trying to assess the impact of global media on local audiences.

Indeed after years of anti-apartheid sanctions … South African is a country awash in American consumer goods, colonised by American pop culture, and obsessed with American celebrities. (Bill Keller, New York Times, September 25, 1993:5)

Choices [pertaining to media consumption] are constantly being made … But the questions of what those choices might mean, and how they work their way into the lives of those who make them, separating those lives from others perhaps just down the street, and linking them perhaps with others who share everything but locality; these questions remain. (Roger Silverstone 1990:186)     

Between a croc and a herd place: Battle at Kruger and nature interpretation

Abstract

The article examines the popular YouTube clip Battle at Kruger and its National Geographic spin-off Caught on safari: The battle at Kruger. In seeking to account for the clip's popularity and National Geographic's motivations for making the hour-long feature, the author draws on the burgeoning studies of wildlife film in an effort to contextualise this new ‘eye-witness’ approach within the traditions of documentary films focusing on nature – particularly animals. Furthermore, do the clip and its online popularity suggest a new direction for wildlife documentary in an age of increasingly advanced filming technologies and digital broadcast platforms?     

Designating structures: cultural studies,philosophy and semiotics

SUMMARY

In this article the author deals with the subject of the philosophical underpinnings of the field of cultural studies, with reference to the traditions within which and against which the field originally defined itself. The social and historical context within which cultural studies originated defined which theoretical agendas were valid for the kind of discussions that were possible in the field. While these may have been relevant for the time and place of the field's origins, the validity of the frameworks in contexts other than the original one may be doubtful. Against this, he suggests some directions in which to explore the possibility of reconstituting the idea of culture within alternative conceptual frameworks. These include the methodological semiotics and pragmatic semantics of C S Peirce, Wittgenstein's notion of the public essence of signification, and revisionist concepts in the Philosophy of Science.     

Preface to Yoshimi Shun'ya's Voice Capitalism

Abstract

This article is a translation of the preface to Voice Capitalism by influential sociologist Yoshimi Shun'ya. The chapter ties together a wealth of discourse on the meaning of sound to society and to the individual, and its evolving role as a means of expression and connection to our environments. Yoshimi walks us through Nagai Kafū's reverence for tangible sound, R. Murray Schafer's schizophonic soundscapes, Marshal McLuhan's essays on the impact of the advent of sound recordings and electronic voices, Glenn Gould's theories on the blurring borders between musical performer and audience – amongst numerous other topics and writers.     

Televisie,tegnopolie en postmodernisme

SUMMARY

In this article the author argues that the ongoing process of redefining public broadcasting can be related to the nature of the technopological society of the late twentieth century and the existing postmodern condition. In this society the emphasis moved away from television as a cultural product to television as a consumer product or commodity. Based on Neil Postman's work he briefly discusses the nature of the technopological society and its influence on public communication. He relates this to postmodernism and briefly discusses the so-called postmodern condition and how it is reflected (and even created) by and through television.     

Recreating traditional music in postwar Japan: a prehistory of enka

This article examines how enka evolved from the earlier genre of kayōkyoku, looking at the musical markers of Japaneseness and considering issues of authenticity and originality in those earlier genres. The careers of composers Koga Masao and Hattori Ryōichi and singers Misora Hibari and Kasagi Shizuko show the development of a hybrid style of popular song both before and after the Pacific War, which would by the 1960s evolve into enka. As its core audience has aged, enka has become increasingly rigid and concerned with nostalgia for a ‘pure’ Japanese past, even though the music itself is quite distant from traditional musical forms. Analysis of three movie musicals from the late 1940s and early 1950s, Ginza kankan girl, Carmen comes home and Janken girls, also demonstrates the performance practices of popular music at the time, and the complex relationship between popular music and national identity.     

Iran's perception of Western Europe: A study in national and foreign policy articulation

Acts of public communication cannot be isolated from other features of a political process. In fact, a study of public policy articulation can provide a valuable framework of national perceptions, demands and expectations through which a nation's evolving position in the international system may be analyzed. Iran offers a valuable opportunity in this regard because its policy articulation occurs through a limited number of communication channels‐one of which is the newspaper Kayhan. Kayhan has been chosen because of its clear capacity to reflect accurately the perceptions of Iran's political elite in regard to general national development and foreign policy objectives. This paper will concentrate on two reference periods‐one pre‐1973 and one post‐to analyze in terms of selected variables, Iran's evolving elite perceptions of its traditional relationship to Western Europe. Editorials and policy statements have been keyed to selected variables representing various channels of Iran's perceptions and then analyzed to chart shifting policy priorities among Iranian elites. The results indicate a radically altered self‐perception of both national development objectives and Iran's self‐perceived role in global power relationships.     

Terrorism and subversion of the state: Italian legal responses

Political assassinations constitute a specific form of violence intended to take someone else's life against that person's wish. The act of killing (the ‘event') is distinguished from the cultural interpretation given to that act (the ‘rhetorical device'). The essay examines the rhetorical device as a cultural artifact to construct and interpret the deliberate serious attempt(s) to kill a specific actor for political reasons having something to do with the political position (or role) of the victim, and with the symbolic‐moral universe out of which the assassin/s act(s). This universe generates the legitimacy and justifications required for the act, which are usually presented in quasi‐legal terms although the acts are typically not the result of a fair legal procedure.     

Chinese rock and pop music: a semiotic perspective

This paper provides a detailed semiotic analysis of Chinese rock and pop music in the past 30 years. To support this analysis, an historical account of Chinese music from the third millennium B.C. to the Mao period is offered to explain how semiotics and music in China have been highly interrelated and how rebellious rock and pop was born in China. Chinese rock and pop was shaped by historical events. This paper does not only focus on popular music and its symbols, but also on the tools for the application of semiotic concepts in rock and pop music analysis and on the need for understanding and differentiating areas and relevant points of view.     

Modern poetry,popular song and their dangerous liaisons

Abstract

In this article, Tsuboi Hideto examines the mutually entwined pursuits of modern poetry and music in interwar Japan, focusing especially on the work of Nakahara Chūya, Kitahara Hakushū, and the People's Poetry group. Cutting across their respective distinctions within the poetry establishment, Tsuboi draws attention to these figures’ shared investment in symphonic, folk and popular music. In so doing, he identifies among them a prevailing concern for curating a poetic voice that might harmonize the conflictual registers of individual and collective expression and thereby attune the work of the poet to that of the ‘people’ more broadly. Meanwhile, the essay traces the currents of modernist and avant-garde thought in Japan and Europe that framed these poets’ engagements with music and sound. Tsuboi then illustrates the varying degrees to which these voices, forged within the cosmopolitan milieu of the Taisho period, bent toward the nationalizing project and later gave way to the chorus of wartime fascism and imperial expansion.     

FRAMING OF JACOB ZUMA AND POLYGAMY IN DIE BURGER (2008–2013)

ABSTRACT

The traditional practice of polygamy, whereby a person is married to more than one spouse at the same time, entered the public discourse in South Africa primarily through President Jacob Zuma's weddings in 2008, 2010 and 2012. This article aims to reflect the discussion of Zuma's polygamy in particularly the Afrikaans communities of South Africa from 2008 to 2013, as the Afrikaans language newspaper Die Burger targets this segment of the broader society. Drawing on framing theory, three major themes emerged from this analysis. First, writers in Die Burger want Jacob Zuma to be a modern head of state instead of a traditional man. Second, they believe that the particular cultural right to practise polygamy violates women's human rights. Third, they see Jacob Zuma and polygamy not as a private but as a public issue, since taxpayers are supporting his family financially.     

Reproduction Versus Transformation: The Case of the Asian Infrastructure Investment Bank

ABSTRACT

This article offers a constructive critique of Fehl and Freistein's argument that international organisations (IOs) significantly affect international stratification, either producing, reproducing or transforming inequality. It suggests that without reference to the specific purposes which individual IOs pursue and the forces driving global change, it is impossible to predict either when the goals of IOs and states might diverge, or when a particular IO might promote the reproduction of inequality on the one hand, or its transformation on the other. In particular, divergence between states on the one hand and IOs charged with the management of the global economy on the other is explained by the fact that the IOs concerned are committed to the reproduction of capital on a global scale, and therefore to the continuous transformation of global hierarchies. The argument is supported by a case study of IO support for China's Asian Infrastructure Investment Bank (AIIB).     

The story of the larger grain borer: Communicating Science to Rural Communities

Abstract

Although the democratisation of science was prioritised after the South African democratic elections of 1994, thus, promoting dialogue, transparency and consultation, communication with rural communities remains a challenge in South Africa. Because of the diverse cultural landscape of the country, aspects such as language, traditions and poverty impact significantly on the facilitation of communication and the dissemination of information, particularly in rural communities.

The South African government's quest to build a better future for all South Africans places renewed emphasis on the role of ‘development’ and the use of communication to meet the future challenges of ‘development for all’.

The purpose of this article is, firstly, to explore the development communication media used in the community awareness programme of the National Department of Agriculture of South Africa in the town of Makutu, Mpumalanga Province, and, secondly, to investigate and offer an assessment of the communication approach followed by the National Department of Agriculture. In this article the scene is set with a brief overview of development communication models and a discussion of different types of media and methods available for communicating with rural communities. A case study on an awareness project launched by the National Department of Agriculture is presented and the article concludes with an assessment of the case study against the theoretical overview presented in the first section of this article to determine the communication approach followed, and communication media and methods used.

A case study on The Larger Grain Borer (LGB), a quarantine insect pest of maize that has left a path of destruction through Africa, forms the basis of this article. The Directorate: Plant Health and Quality of the National Department of Agriculture of South Africa initiated this awareness project to empower farmers through awareness and education to prevent the spread, and to manage the impact, of the pest. It is believed that the key to rural food security lies in the country's ability to effectively disseminate information to rural communities.     

Subversive semiotics and ironic anchorage on Vrye Weekblad covers: A visual analysis

Abstract

The apartheid-era Afrikaans press's compliance with apartheid politics and ideology is commonly recognised. This article investigates the newspaper Vrye Weekblad as an exception in this regard. A reading is made of four selected Vrye Weekblad front covers, through a qualitative visual semiotic analysis based on a Barthesian model, in order to describe the covers’ subversive and anti-apartheid tendencies. This analysis reveals that the subversive tendencies at work on the covers represent an open assault on the ruling National Party's (NP) norms and values, especially in terms of the bastions of apartheid Afrikaner nationalism, such as traditional reformed Christian beliefs, symbols of Afrikaner patriotism, concepts of racial purity and white ethnic superiority. The myths present on these covers, while functioning to undermine dominant ideologies, also naturalise an ideology of Vrye Weekblad's own, by creating alternative myths of a critical disposition towards the NP government. The subversive encoding of these covers stems from an ironic tension in anchorage between the conventional connotations associated with the cover images and their accompanying text, which undermine the dominant meanings of the images. This article seeks to contribute a theorisation of this ironic anchorage as a mode of encodification within the broader context of mythical representational practices. The author proposes that as these Vrye Weekblad covers were published under much the same uncertain circumstances as are experienced today with the African National Congress's (ANC) looming Protection of Information Bill and Media Appeals Tribunal, one might see the same occurrence of subversion through ironic anchorage in the contemporary South African media.