urban spaces: gender,genre, mediation

After an initial period of feminist theorizing concerned with understanding patriarchy as a structure of male domination, many thinkers turned away from theorizing domination as such and focused instead on women's (constructed) subjectivity, identity, and agency. While this has fostered important insights into the formation of women's preferences, desires, and choices, this focus on subjectivity and subject formation has largely overshadowed deeper understandings of patriarchy as a structure of male domination while producing elisions between agency and freedom. In this article, I move to show how domination as a structural concept can help us to reclaim the idea of ‘patriarchy’ as a source of women's systematic oppression while freedom as non-domination, derived from early republican conceptualizations of freedom, can help us to disambiguate freedom from agency by taking as central the relative positions of actors within social and political structures. Structural freedom as non-domination is thus useful for feminist thinkers in that it gives us critical purchase on the dynamics inherent in unequal social and political relationships and can be linked clearly to the institutions and ideologies that shape and justify interactions between more powerful and less powerful groups. Further, from this point of view intersecting structures of domination can be analysed rather than intersecting identity categories, allowing us to take intersectionality into account and avoiding the need to ground feminist action on a unitary ‘category woman’. Finally, this analysis points toward the radical democratic connexion between freedom and participation in the creation of the material and symbolic structures that frame our collective lives.     

Jacob Zuma, the social body and the unruly power of song

This article tracks the life of the song ‘Umshini Wami’(My Machine Gun) adopted by Jacob Zuma, the President of theAfrican National Congress, since early 2005.  It exploresthe wider implications of political song in the public spherein South Africa and aims to show how ‘Umshini Wami’helped Jacob Zuma to prominence and demonstrated a longing inthe body politic for a political language other than that ofa distancing and alienating technocracy. The article also exploresthe early pre-Zuma provenance of the song, its links to thepre-1994 struggle period and its entanglement in a seamlessmasculinity with little place for gendered identities in thenew state to come. It argues too that the song can be seen asunstable and unruly, a signifier with a power of its own andnot entirely beholden to its new owner.