The question of “the black lesbian”: monstrous,ideal and fictitious postapartheid citizen

This paper calls attention to how “the black lesbian”—as a figure and an idea—is emerging as a model of the ideal postapartheid citizen. I argue that this figure is both instituted and undermined at the point at which the nation becomes vexed by its own limits. Within this symbolic politics, “the black lesbian” is staged as a traumatized victim. To track how black lesbians have become enmeshed in debates about defining citizenship, I revisit the rape trial that was initiated when the pseudonymous “Khwezi” made a rape complaint against Jacob Zuma. I examine how “Khwezi” and Zuma came to represent competing ideas about citizenship. Drawing on Berlant’s analysis of the crucial role that “official sexual underclasses” play in the production of “national symbolic and political coherence,” I argue that the trial evidences how “the black lesbian,” a simultaneously abjected and idealized figure, is produced and mobilized as a political resource in South Africa’s citizenship politics.     

“Zones of indistinction” and visions of post-reconciliation South Africa in District 9

In this article, I explore the ways in which District 9 reflects South Africa’s current socio-political transition through the problematical representation of the film’s eponymous slum and its impoverished inhabitants as well as its protagonist, Wikus van der Merwe. Drawing on Giorgio Agamben’s influential ideas of biopolitics, I demonstrate the ways in which the film provides a compelling critique of the effects of neoliberal capitalism on post-apartheid transition and South Africa’s complex geopolitical landscape. In this regard, I analyze how the slum figures as a “zone of indistinction” where political and economic forces combine to produce the paradoxical conditions in which impoverished South Africans are included in a democratic social contract, but are simultaneously excluded from the socioeconomic benefits that it promises.     

Ghosts in the Shell: On South Africa,the USA and Japan

This article surveys American literary responses to the rise of Japan as an economic power during the period from the late 1970s to the early 1990s, and examines how these responses were anticipated in the writings of the South African author Laurens van der Post. Paying particular attention to van der Post’s autobiography, Yet Being Someone Other (1982), I suggest that the author’s formative experiences aboard a Japanese trading vessel in 1926, coupled with South Africa’s close-knit trading relationship with Japan in the 1980s, enabled a perspective on Japan’s economic ascendancy that was markedly less reactionary than those in the USA. By emphasizing the historical contexts that held true at the time of publication, I situate Yet Being Someone Other in a framework that deliberately circumvents—without necessarily confronting—van der Post’s preferred version of his life story. Rather than “recovering” the author’s ‘place in the canon of South African literature, this article is intended to incorporate the author’s work into ongoing discussions of the representation of Japan and the Japanese in twentieth-century Anglophone writings.     

Toward a “Modernizing” Hybridity: McAdoo’s Jubilee Singers,McAdoo’s Minstrels,and Racial Uplift Politics in South Africa, 1890–1898

This essay focuses on Orpheus McAdoo, an African American performer/entrepreneur who contributed to late nineteenth century Black Atlantic cultural formations. In the 1890s, he brought two tours to South Africa, the first of which was a singing troupe based on the Fisk Jubilee model. The second tour included a non-traditional minstrel show. This essay addresses McAdoo’s attempts to present racial narratives that countered the prevailing race discourse of the South African colonies. During both tours, McAdoo disseminated a specific variant of uplift politics. Racial uplift politics developed in the postbellum era as a middle-class African American response to notions of black backwardness. Advocates of racial uplift believed that discourses which advanced the notion that blacks were incapable of fully participating in modern democratic societies, could be challenged with images of black civility and refinement. McAdoo was a proponent of uplift politics, and he used the stage as a means to spread these notions in South Africa. McAdoo was able to successfully merge uplift politics with minstrelsy, two concepts that often seem incompatible. Furthermore, McAdoo was also aware of the three-tiered racial classification system of South Africa, and how it could be used to his advantage. In a “spectacularly opaque” gesture, McAdoo claimed to be “Coloured” American so that he could gain access to the cultural and social capital of mixed race identity.     

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.     

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.     

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.     

“Putting Food back on the table”: Decolonising towards a Sustainable University that Feeds Us in South Africa

Abstract

The higher education landscape in South African (SA) has recently experienced a wave of student movement organised under the #MustFall campaign, where students demanded quality and accessible higher education. This movement spoke against the colonial character of the curriculum, demographic representation, institutional cultures, and architecture of the university in South Africa today, which excludes the majority of the students who cannot access higher education in South Africa. It is in this context that the high cost of higher education was questioned, with some questioning the very “idea of the university”, and the role of the university in a society contending with income inequalities, unemployment, and poverty. This article seeks to position food at the centre of decolonising tools towards a sustainable African university of the future. Looking at growing levels of hunger, and the lack of access to food among our students, I argue that in putting food at the centre, regarding our understanding of the curriculum, shape, size, and future of the university in South Africa, we might begin to transform the exclusivist, uncaring and elitist spaces that define a university. In trying to rethink the ‘‘idea of the university’’ in South Africa I look at one of the enduring institutions of knowledge in African societies—uMakhulu (“Senior Mother/Grandmother”) as a body that can reconnect the African university to its matriarchal heritage, in order to define a university that can feed itself beyond the narrow neoliberal understanding of sustainability.     

Manufacturing Black-on-Black Violence in Africa: A Decolonial Perspective on Mfecane and Afrophobia/Xenophobia in South Africa

The phenomenon of “black-on-black” violence among the people of Africa has, ever since the advent of modernity/coloniality, been articulated in such a way that it presents victims as perpetrators. Thus, from the Mfecane violence of the “pre-colonial” era to the xenophobic/Afrophobic violence of the “post-colonial” era in Africa, incidents of black-on-black violence have always attracted explanations that cast doubt on the humanity of the black subject, through the colonial strategy of inventing and inverting causation. This colonial strategy entails both mis-presenting the epochal history of coloniality by representing it in terms of rupture instead of continuity, as well as representing the indigenous African subject as inherently violent. I argue in this article that black-on-black violence is a product of coloniality—a racist global power structure that makes incidents of “non-revolutionary violence” among the oppressed black subject inevitable. Thus, I deploy the case of the Mfecane violence of the “pre-colonial” era in southern Africa, and the Afro-phobic attacks on foreign nationals in “post-apartheid” South Africa to unmask the longue durée of coloniality, and its role of manufacturing blackon-black violence among the black people of Africa.     

Intercepting Disgrace: Lacuna and “Letter to John Coetzee”

ABSTRACT

This review article examines two palimpsest rewritings of J. M.Coetzee’s canonical but controversial novel, Disgrace (1999). Both rewritings are by women: Lacuna, a novel published in 2019, is by a white South African woman, Fiona Snyckers, and “Letter to John Coetzee” takes the form of a short story by Michelle Cahill, a woman of color living in Australia, published in Cahill’s collection Letter to Pessoa (2016). The article uses Cahill’s coinage of “interceptionality” to discuss how dominant narratives may be disrupted and subverted, particularly when it comes to representing gender-based violence in the arts. It concludes with a discussion of South African artist Gabrielle Goliath’s exhibition, “This song is for … ” (2019).     

Marooned time: disruptive waiting and idleness in Carpentier and Coetzee

This article develops a framework for reading the maroon in literature, drawing on the maroon’s historical and contemporary significance in the Caribbean, as well as its continuing resonance for writers and thinkers. The maroon’s separateness or withdrawal, I argue, is characterized by a spatial distance that also engenders a challenge to the authority and temporality of the colonial regime or the apartheid state. I turn to Alejo Carpentier and J.M. Coetzee to offer readings of their novels through the lens of marronage, analyzing their protagonists’ flight, labor, and “idleness” as newly legible dimensions of resistive waiting. The strategies of marronage encourage new readings of the formulations of freedom and unfreedom, resistance and refusal in the literary texts, and create a “line of flight” between the Caribbean and South Africa.     

Material Things

In “Positive Bleeding,” I argue that allusions to blood in contemporary South African art and literature fruitfully link myriad stigmatized experiences and embodiments of self usually considered taboo, including HIV/AIDS, female sexuality, menstruation, and sexual violence. Through Mlu Zondi’s and Ntando Cele’s dance performance piece Silhouette (2005), Zanele Muholi’s mischievous and haunting photographic Period series (2006), and Makhosozana Xaba’s revisionist short story “Inside” (2008), blood is defiantly transformed from a remnant of personal and historic trauma into that which incites female–female pleasure and eroticism. I contend that the politics of visibility operate uncomfortably within all four texts; blood serves as both a reminder of and departure from sensationalized images of violence against lesbians.     

“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.     

Growing Up with Maya Angelou and Sindiwe Magona

This article compares and contrasts Angelou's “I Know Why the Caged Bird Sings,” and Magona's “To My Children's Children,” in order to examine the emerging sense of female selfhood within the larger political and cultural structures of the United States and South Africa during the 1940s and 1950s.     

Youth and generation in South African history*

In recent years, “the youth” have captured (or perhaps recaptured) public attention in South Africa. This paper reflects on South Africa’s experience of generational conflict and places it in the broader context of South African history. After attempting to define “youth,” this paper makes two key points. First, far from being a recent development, generational tension has been a continuous feature of Southern African history since at least the late nineteenth century. Second, organized political mobilization is not the way this tension usually manifests itself. Mass youth politics is a specific phenomenon, which needs to be explained historically rather than assumed. The paper focuses on three historical examples to illustrate this: early migrant labor in South Africa, the formation of urban youth gangs, and the sustained youth uprising from 1976 until the early 1990s. It concludes with a tentative attempt to draw some parallels between that phase of rebellion and recent student upheavals.     

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.     

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.     

Looking from South Africa to the World: A Story of Identity for our Times

The article is a consideration of the question of identity in South Africa, and also in a global context. Just as South Africa has looked to the world in order to understand its place, so too the world might look to South Africa to illuminate patterns less immediately visible elsewhere. Far from being unrepresentative in the apartheid period, South Africa was the ‘state of exception’ that incarnated and concentrated global realities; equally in the current era the reciprocal relations between the South African and the global evoke haunting concerns. The article begins with a consideration of the ‘classic’ generation of anti-apartheid activists, including figures such as Nelson Mandela and Bram Fischer, as they fashioned a new sense of South African identity. Yet it goes on to consider what happens when the classic period is over, and older definitions and oppositions are no longer available. Here the navigations of fiction, both in South Africa and elsewhere, become significant, and the article examines the work of writers from Gordimer, Coetzee and Ndebele, to Caryl Phillips and W. G. Sebald. It ends with a contemplation of the current period, nearly twenty years after the democratic transition in South Africa. In the era of the Marikana massacre and other pressing developments, both music and fiction open up some of the ambiguities and obligations. Drawing on Agamben, I suggest the intrinsic mutuality of the ‘home’ and the ‘foreign’ in establishing a more promising—and challenging—sense of belonging and identity both in South Africa and the world.