Disempowering Music: The Amandla! Documentary and Other Conservative Musical Projects

Scholars of black South African popular music have established important connections between music and society. Lara Allen’s studies of pennywhistle-kwela, Christopher Ballantine’s research on marabi and African jazz/mbaqanga,and David Coplan’s social history of black city music, among others, have underwritten the new literature in South African musicology and cultural studies. Previous neglect of black popular culture has made oral testimony crucial to the writing of these musical pasts. Recent investigations in the field, which are preoccupied with the articulation of black struggle to music, and the expression of struggle through music, have adopted a more popular format. Within these, the autobiographies of Miriam Makeba and Hugh Masekela are integral, as is Lee Hirsch’s documentary film, Amandla!. The popularity of these studies and their subjects, and their foregrounded debt to oral testimony and veneration of ‘the Struggle’ has tended to foreclose scrutiny of their representational politics. This article questions whether their homological substitution of music and musicians for anti-apartheid struggles in a postapartheid South Africa enables the radical stories they would tell of that past.     

Ernest Cole: the perspective of time

Ernest Cole’s photographs reveal the contradictions and paradoxes of apartheid South Africa. At a very young age, and with little formal instruction Cole instinctively produced a significant documentary photo-book titled House of Bondage (1967). This article makes a close reading of some of Ernest Cole’s photographs in relation to the historical circumstances of apartheid and how they can be perceived through the lens of hindsight in postapartheid South Africa. The work offers a potent argument for the power of perception to uncover overlooked moments of the period. As an African, Cole’s photographs construct a narrative of apartheid from the position of an “invisible” black insider. In so doing, they tellingly reveal how he used the system of apartheid to his own advantage in his photographic practice. His photographs ask us to consider his modus operandi and the courage it took to make them at that time, offering the opportunity to behold moments that cut across gaps of space and time.     

Apartheid,Jim Crow,and Comparative Literature

This article examines John Greyson’s film, Proteus, for the way it figures queer masculinity and race in South Africa’s national historical narrative. The film offers an esthetic rendering of an eighteenth century interracial sodomy trial set on Robben Island. Drawing on contemporary queer theory and recent South African narratives of masculinity that privilege heternormativity and nationalism, this paper argues that the film carves out a space for queer identity within national history where it had previously been denied. The paper traces the way that the film interjects queer narratives into South Africa’s national identity, disrupts the heteronormalization of various sites of national iconography on South Africa’s historical terrain (such as Robben Island), and offers a queer masculinity that resists racial segregation. Moreover, this paper traces the ways that the film has implications for contemporary queer communities within South Africa.     

“What is it that We Call the Nation”: Cecilia Lillian Tshabalala’s definition,diagnosis, and prognosis of the nation in a segregated South Africa

Abstract

This paper examines the ideology of Cecilia Lillian Tshabalala who spent 18 years in the United States from 1912 to 1930. Within two years of returning to South Africa, she founded the self-help group, the Daughters of Africa in 1932. Tshabalala used the Daughters and the widely read newspapers—Bantu World and Ilanga laseNatal—to define, construct, and diagnose the African nation she found materially and socially wanting upon her return. Tshabalala’s experience abroad and her exposure to African-American women’s clubs and her participation at the annual Chautauqua conferences in upstate New York provided the platform for her to conduct her own social service gospel in segregated South Africa. This essay, which argues that religion served as Tshabalala’s antidote to all the social ills plaguing the African nation, traces the evolution of her ideology by discussing how she was in conversation with African-American and South African male movements, and also women on the African continent.     

“Zimbabwe is Mine”: Mugabe,Murder, and Matabeleland

Searching for Sugar Man, the celebrated 2012 documentary of Sixto Rodriguez’s musical life, opens onto (but does not adequately address) important questions concerning musical circulation and reception. It is a story of two albums, Cold Fact (1970) and Coming From Reality (1971) that traveled in very different ways in the USA and South Africa and of how these travels were shaped by cultural politics and cultural circuits. But, it is also a story about the ways that the music industry complicated these cultural circuits by muddying and interrupting financial pathways—that is, by acting as a circuit breaker. Unfortunately, the film misses an opportunity to explore any of these stories in a sustained manner, crafting instead a narrative that engages them only to the extent that they help the director, Malik Bendjelloul, present a lost-and-found narrative of musical rebirth, featuring South African fans and audiences as the supporting cast. In choosing this entertaining, but myth-making path, the film itself configures new circuits and inaugurates additional circuit breakers that must be disentangled from and read in relation to Rodriguez’s musical life.     

On Music,Censorship, and Globalization

Malik Bendjelloul’s music documentary, Searching for Sugar Man (2012), uses the narrative of its central figure, American rock “n” roll musician Sixto Rodriguez, to allegorize South Africa’s emergence from censorship and isolationism to a post-apartheid and increasingly transnational dispensation. I look at the cultural politics of apartheid-era censorship in attempt to account for Rodriguez’s cult appeal in South Africa, despite his artistic shortcomings and his obscurity in the USA. I then focus on the film’s final concert sequence, featuring Rodriguez’s first South African performance, which Bendjelloul subtly positions as a moment of celebration over the new possibilities enabled by the demise of apartheid and the rise of an increasingly integrated global culture.     

Kopano Matlwa’s Coconut and the Dialectics of Race in South Africa: Interrogating Images of Whiteness and Blackness in Black Literature and Culture

The public outcry against President Jacob Zuma’s labeling of black ownership of pet dogs as fundamentally “unAfrican” in 2012 and the academic debates around Archbishop Desmond Tutu’s proposal in 2011 for a 1% reparative wealth tax on whites is further evidence of the continued necessity of whiteness studies today, despite South Africa’s independence from a racist Afrikaner regime and its movement towards a nonracist society. Yet, the authority, agency, and normative value of whiteness continue to work covertly within an intellectual critique embedded in standardized interrogations of images and imaginations of race and culture. Kopano Matlwa’s popular debut novel, Coconut, is a necessary, self-reflexive commentary on the interdependent nature of racial inquiry. While critics typically read the novel as resoundingly critical of contemporary blackness, they fail to see its simultaneous evocation of the necessarily porous, performative, and continuously evolving character of race and culture generally. This paper acknowledges Matlwa’s concern with a superficial postapartheid blackness, but also argues that Coconut’s complex invocation of black culture exposes the impossibility of imaging and imagining blackness without imaging and imagining whiteness. In the continued satirical fetishization of whiteness, racial essentialism is destabilized and whiteness is positioned as an inevitable mirror on and of blackness. As such, the paper simultaneously questions the efficacy of “whiteness” studies that suggest the possibility of establishing separate and exclusive studies on race and culture.     

Ecologies of relation: post-slavery,post-apartheid,and rethinking race across the Atlantic in Zakes Mda’s Cion

This article will argue that Zakes Mda’s 2007 novel Cion stages a dialog, one where two “Souths” – South Africa and the American South – speak to one another and give a critical voice to an under-acknowledged history of transatlantic discursive exchange on race and racial governance. Mda’s fictional South African critique, of an America still struggling with the cultural and political legacies of slavery, gestures towards a history of exchange between the two countries that in many ways is representative of a more global dialog on racial segregation during the first half of the twentieth century – of which both southern (US) segregation and apartheid are seminal examples. Moreover, this article explores various conceptualizations of race as well as the governance of racial relations as they have been articulated through ecological imaginaries, and especially between South Africa and the Southern United States over the course of the twentieth century. In this article, I argue that not only can apartheid (as well as pre-apartheid segregation) be rethought of as part of a global conversation on race and thus less as a South African anomaly, but also that the United States through its examples of various racialist technologies was highly influential across the colonial and apartheid worlds.     

THE RENAISSANCE FACTOR IN SOUTH AFRICA AND THE CHANGING LANDSCAPE OF AFRICAN REGIONAL GOVERNANCE (1999-2008)

ABSTRACT

This article examines a likely South African hegemony in Africa between 1999 and 2008. Hegemony is admittedly difficult to define in African regionalism studies, as it is counter intuitive to Pan-Africanism discourse. However, this article aims to show that hegemony can be a credible argument in explaining the South African driven changes that occurred in African regionalism between 1999 and 2008. The article locates key characteristics which underpin arguments of South African hegemony during the study timeline. It argues that Thabo Mbeki's governance philosophy of African renaissance was the central piece of South African Africa foreign policy that distinguishes this period from any other before or after it. By establishing hegemonic credibility in South Africa's interaction with Africa in this period, the article demonstrates how South Africa was able to contribute to transformational governance changes in Africa. This also holds lessons for South African regional ascendancy in the future.     

“The most patient of animals,next to the ass:” Jan Smuts,Howard University,and African American Leadership, 1930

Former South African Prime Minister Jan Smuts’s 1930 European and North American tour included a series of interactions with diasporic African and African American activists and intelligentsia. Among Smuts’s many remarks stands a particular speech he delivered in New York City, when he called Africans “the most patient of all animals, next to the ass.” Naturally, this and other comments touched off a firestorm of controversy surrounding Smuts, his visit, and segregationist South Africa’s laws. Utilizing news coverage, correspondence, and recollections of the trip, this article uses his visit as a lens into both African American relations with Africa and white American foundation work toward the continent and, especially, South Africa. It argues that the 1930 visit represents an early example of black internationalism and solidarity, reflecting a shift from sociocultural connections between Africa and the diaspora to creating political movements on behalf of African people. To contextualize this visit, we assess events surrounding a meeting that the Phelps-Stokes Fund organized for Smuts at Howard University, using this as a lens into the two disparate, yet interlocked, communities.     

A response to Steven Feierman’s ‘writing history: flow and blockage in the circulation of knowledge’

ABSTRACT

This paper responds to Steven Feierman’s ‘Writing history: flow and blockage in the circulation of knowledge.’ Feierman has noted that most of the publications produced in Tanzania, and in Africa more generally, do not circulate to America. As a result, American scholars do not have access to such publications. The consequence of this phenomenon is that American scholars have difficulty producing African historical knowledge that is rich in context. While agreeing with Feierman’s thought-provoking intervention, this paper makes three main propositions. First, while acknowledging the problem of knowledge circulation between Africa and America, the paper renders visible an equally serious and disturbing reality: that the circulation of knowledge between African institutions is far more limited than it is between Africa and America or Europe. Many Africans consume knowledge that is largely produced in America and Europe. Secondly, while agreeing with Feierman that many scholars in America have difficulty producing historical knowledge about Africa that is rich in context, the paper argues that it is still possible for historians to produce contextually-rich knowledge. To do so, it is proposed, such historians need to craft locally-based methodological strategies that are sensitive to Africans’ perspectives on their changing cultural and physical world. Finally, while recognising that the limited circulation of knowledge is an important reason for some American scholars to produce historical knowledge about Africa which is rich in context, the paper offers four additional explanations on this problem, namely the failure of some scholars to conduct sustained primary field research in Africa; lack of personal sacrifice, a proper attitude and commitment to do long-term research in Africa; the tendency of some scholars from America to make no effort to find works produced in African institutions of higher learning when they visit Africa; and the growing over-reliance on digitised sources of information for producing histories, sources which can hardly capture such things as emotions, feelings, thoughts, silences, or cosmologies that are inevitable in the production of contextually-rich historical knowledge.     

Anti-Apartheid Solidarity Networks and the Production of Come Back,Africa

In 1957, American filmmaker Lionel Rogosin arrived in Cape Town, South Africa, determined to make a film about apartheid. “Anti-apartheid Solidarity Networks and the Production of Come Back, Africa” discusses the film’s historical and cultural significance, and— a topic which deserves more attention— the film’s production. The article examines the interconnected and international nature of early anti-apartheid activism. International movements against apartheid may have been relatively small between 1957 and up until March of 1960, but Come Back Africa’s production shows that anti-apartheid activists and artists were becoming increasingly connected in a transnational web spanning the Atlantic with hubs in South Africa, Europe, and the United States. In the case of Come Back, Africa, relationships forged between Rogosin, black South African artists-activists (such as Lewis Nkosi, William “Bloke” Modisane, and Miriam Makeba) and white liberal anti-apartheid activists (including Father Trevor Huddleston, Reverend Michael Scott, and Mary Benson) proved mutually beneficial.     

Against the law: Arthur Maimane’s pioneering hard-boiled black detective fiction in Drum Magazine

ABSTRACT

This article sets out to re-examine, and recover, South Africa’s first hard-boiled crime fiction created by a black writer: Arthur Maimane’s crime stories published in Drum magazine in 1953. Maimane wrote a series of stories about a black PI, styled on the American hard-boiled genre for Drum, a popular South African magazine aimed at a black audience, known for its borrowing from American popular culture. Mamaine’s fiction has been widely dismissed by generations of Drum critics, as “derivative” “imitation.” Repositioning the stories within the broader context of crime fiction suggests quite a different reading. Maimane’s stories reveal how tensions between the genre and laws in apartheid South Africa resulted in radical alterations to the hard boiled formula. Since Maimane’s stories precede Chester Himes’s African-American novels, they should be recognized as a pioneering example of black crime fiction that demonstrates the relationship between race and genre.     

Norm dynamics and international organisations: South Africa in the African Union and International Criminal Court

Over the past two decades, South Africa has sought to perform several roles on the world stage, such as the economic dynamo of Southern Africa, a diplomatic heavyweight representing the African continent, and a norm leader on the world stage as a so-called ‘middle-power’. Although South Africa's evolution and rise as an important player in global affairs has generated a welcome body of critical scholarly literature, comparatively little analysis has been allocated to understanding how norm dynamics and the country's ever-evolving international identities have enabled it to construct and reconstruct its ‘interests’. Social constructivism is best suited for such an analysis because it can operationalise norms, commitments, identities, and interests, and it provides the epistemological tools to map the increasingly multilateral connections between global, regional, and domestic forums. By employing a rationalist approach to constructivism, this paper remedies the aforementioned gap in the literature by illustrating how South Africa constructs and reconstructs its identities and interests in relation to membership in international organisations (IOs). To that end, the paper examines the evolution of South Africa's participation in the African Union (especially ‘peacekeeping’ contributions) and the International Criminal Court. The paper concludes by assessing the theoretical implications and practical ramifications of the norm dynamics involved in South Africa's commitment to these two IOs.     

Conspicuous Destruction,Aspiration and Motion in the South African Township

The paper limns modes of consumption and wastefulness in recent South African fiction about the township. It draws upon moves of aspiration and carelessness articulated in the youth practice I’khothane to think through the ways in which conspicuous destruction around car-use maps onto township socialities. Accordingly, it compares Sifiso Mzobe’s Young Blood and David Dinwoodie-Irving’s African Cookboy as texts utilizing scenes of consumption and destruction with a variety of effects. While commodity ownership and disposal enunciate identities that can unsettle the status quo, the article argues that aspiration alone cannot provide resources with which to shift structural inequalities persisting in South African cities.     

Ruth First: political journalist,researcher and teacher

This article begins with Ruth's teaching at Durham and Dar es Salaam and teaching and research at the Centro de Estudos Africanos in Maputo. It discusses Ruth's research on how white farmers and mining houses in South Africa addressed their common problem of finding labour that was ‘abundant and … cheap’. She wrote about migrant workers to the South African mines from the South African end in ‘The gold of migrant labour’ and from the Mozambican end in Black Gold: the Mozambican miner. The address examines her analysis of the ‘power elite’ in Barrel of a Gun. It concludes with the threat that new legislation makes to investigative journalism in South Africa.     

Democracy,African intellectuals and African Renaissance

Abstract

This article argues that democracy is a prerequisite for the African Renaissance. The role of African intellectuals is crucial in making the dream of the African Renaissance come true. This article revisits the discourse on the African Renaissance, its history and content before dealing with the issue of democracy. Democracy is closely related to human rights and development and is a sine qua non for the African Renaissance. The current discourse on the African Renaissance is not new. The first international conference on the African Renaissance was held in Dakar, Senegal, from 26 February to 2 March 1996 where African intellectuals gathered to celebrate the works of Professor Cheikh Anta Diop, ten years after his death. The theme of the conference was ‘African Renaissance in the Third Millennium’. The first African Renaissance Conference in South Africa took place from 28 to 29 September 1998. Thabo Mbeki ‐ then, Deputy Pesident of South Africa ‐ read the keynote address on ‘Giving the Renaissance content: Objectives and definitions’. This article complements efforts at redefining the roles of African intellectuals in fostering democracy through a conscious application of the framework of African Renaissance.     

The Voice of (Which?) Africa: Miriam Makeba in America

Throughout her time as a concert singer in 1960s America Miriam Makeba was promoted as the embodied voice of a sonic, imagined Africa. Where her white audiences were attracted to the complete ‘‘otherness’’ of her African blackness, her black American audiences saw themselves – or imagined versions of themselves – put on stage, and built solidarities between their own struggle and the struggle against apartheid. In this essay, I argue that the discourses that followed Makeba’s voice and body reflected the evolving attitudes of America towards Africa, and, through Africa, its contradictory relationship to its own African American citizens. Makeba played on these discourses to craft a political and musical identity in solidarity with black and diasporic causes. This identity, embodied in the persona of ‘‘Mama Africa,’’ allowed Makeba the flexibility to speak to and for her fellow (South) Africans with cultural authority. By joining the oft-opposed positions of ‘‘Africa’’ and ‘‘The World,’’ Makeba became what I’m calling an African Cosmopolitan.     

Africa unknown: Addressing the effects of an alienating education amongst learners in South Africa

Abstract

The article argues for the Africanisation of the South African education system, most critically at high school and tertiary levels. Using both experiential and theoretical reasoning, it seeks to present a compelling argument for the value of teaching our children, using methodologies, examples and stories they can relate to. It argues that this relatability is what will best develop the cognition of learners and better equip them to turn knowledge into action. The South African education system has often been seen as lacking a critical thinking and problem-solving element, and the article argues that this limitation is embedded in the abstractness of our curricula. The article presents a short case study highlighting just how little about Africa some of our best learners know. It ends by offering practical suggestions about how the education system could incorporate critical African knowledge in its learning models.