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.     

“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.     

Letting Go of the Cold Facts

“Letting Go of the Cold Facts” argues that Malik Benjelloul’s award-winning Searching for Sugar Man offers a nostalgic reflection on the intersections between politics and music culture in South Africa during Apartheid. The veracity of the film’s account of the career of Six to Rodriguez is less important to its project than its re-animation of a lost moment in the history of popular music, a moment when music consumption appeared to be endowed with cultural and political significance. At the same time, the film’s nostalgic impulses blind it to the complexities of the racialized histories with which it engages.