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An Analysis of the Representations of Blackness in South African Youth Novels by White Writers from 1976 to 2006

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An Analysis of the Representations of Blackness in South African Youth Novels by White Writers from 1976 to 2006 Through the Eyes of the Other: An Analysis of the Representations of Blackness in South African Youth Novels by White Writers from 1976 to 2006 Silindiwe Sibanda A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy. Johannesburg 2012. The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. Declaration I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy, at the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination at any other university. ------------------------------ Silindiwe Sibanda -------- day of -------------------------- 2012 ii This thesis is in memory of my grandfather Mbuso Sibanda and my brother Sandiso Sibanda without whom life is a little less. In honour of my parents in whose immense footprints I wade my way through life. Mbulelo! My heart! My life! Because of whom all things are possible. iii Abstract The portrayal of blackness in South African youth literature written by white writers from 1976 until 2006 is the primary focus of this thesis. The manner in which blackness is perceived by the other and the ways in which these perceptions are conveyed within literature for the youth have, for decades, served the dual function of interpreting the other, while providing the white reader with a sanitized voyeuristic view of black reality during and after apartheid. South Africa’s political history informs a significant part of the ways in which black characters have been portrayed within the literature that is produced in the country. The argument that is presented in this study is that stereotypes about black people have become an established mode of representation informing the ways in which black characters are portrayed in a majority of the novels analysed herein. Looking at the historical functionality of stereotyping and its role in the formulation of race some of the more common stereotypes of blackness that are part of the South African literary canon will be delineated. Stereotypes of black servitude, sexuality (male and female), superstition, exceptionality, political and intellectual ineptitude, dependency and a proclivity for music and dance are replete in the majority of the novels that will be discussed. This thesis also looks at the ways in which the contemporary understandings of the concept of race have been constructed and manipulated in accordance with the dictates of the dominant group. Analysing the construction and formation of race this thesis assesses the ways in which race has been made a function of our processes of self-identification and social engagement. However, the definitional parameters of group identities are continually morphing to reflect the mobility of contemporary society and this is reflected in the new sites of identity formation and prejudice, such as culture and religion. Edward Said’s seminal work entitled Orientalism (2003) explores the ways in which the other is not only portrayed by the dominant group, but also the ways in which they are interpreted and constructed. Informed by Said’s Orientalism, this thesis introduces Bantuism as a discursive regime for the elucidation of the construction of blackness within a South(ern) iv Africa(n) context. Bantuism assesses the particular nature of the experience of apartheid within a historical and geographical context that particularised South Africa’s oppression, and analyses how youth fiction has been affected and influenced by Bantuism. One of the main arguments is that Bantuism not only encourages the construction of race and the other, but enables the appropriation of the voice of the other thus vesting knowledge, and therefore, power with the dominant group. Concomitant to the appropriation of the voice of the other is the usurping of their history and systems of knowledge and the simultaneous transfer of said knowledge and power. In light of the silencing of the other that is a feature of oppression, this thesis explores whether or not white writers can and/or should write in a black voice. Given that most white writers have no first-hand experience of oppression in conjunction with a largely prejudicial perception of the other predicated on their upbringing within an oppressive society most white writers are not able to write in a black voice. The depictions of blackness within South African youth literature have not substantially changed over time. Many white South African writers continue to portray blacks either as stereotypes or as characters that provide a platform for the white character to vicariously experience oppression and inform the white readers of their understandings of blackness based on their observations. There remains very little substantive change in South African youth literature to reflect the significant changes that have taken place in the political arena between the years 1976 and 2006. v Acknowledgements Why no one saw fit to warn me that the vanity of being called ‘doctor’ would hardly be enough to sustain the necessary energy over such an extended period I am not entirely certain. I thank you all for the help, support, encouragement, and downright harassment that I have received during this process. I must apologise in advance as I am unable to mention everyone by name, but I would like to express my deepest and sincerest thanks to each and every one of you who contributed to the completion of this thesis, and the nervous tick I now have. I would like to acknowledge the financial support I received from the National Research Foundation, the Doris and Tothill Scholarship the Post Graduate Merit Award and the M. J. Wishart Support Fund without which this research would not have been possible. I am grateful to Prof Judith Inggs my supervisor for the encouragement and support, and never allowing me to give up on this thesis as I was tempted to do so many times. Thank you for everything. To my parents, whose love and support has been unfailing from the first moment I drew breath, thank you. Marcus, my husband, my love, my friend, how clever I was to ask and what luck, you were foolish enough to say yes. Thank you Wish, you really are my Wish. Mbu, guy of guys, you are the best thing about me. Sa, this life would not be much of a journey without you. Nthabi (DDS, SDS, WFDS), then they all lived happily ever after and there was world peace. It’s not a bib party until you are there. The Wisharts, best in laws in the world. Do I still have my slot on your bookcase? Nosi, my sister, we really are awesome, but mostly because of you. Palesa, this is the beginning of our Mookhofied life. Sabelo, for just being you. My children Sandi, Sange, Sakhu, Lulu, Mbu, Solo, Henry, Silo, Agnes, Thato, Choolwe, Lupanda Bwalya, Theo, Sophia, Gift and Sam I hope at least one of you will be able to look after me, and soon. Vajdon, neither time nor distance are a match for my love of you. Grace, thank you, thank you, thank you there are children to be had and named after you. Tanya, life is so much better when you are around. Musonda, I did choose my friends wisely, see I have you. Kay, if I have not said it already then it is probably censored, with good reason. Namaala, the parameter and the vault are as safe as I am with you. Deborah, oh my word we can finally vi stop talking about this thesis. Steve, if you have a spare job I’ll take it thanks. Janine, did you ever believe this moment would come? Ndlela, even in your absence you are ever present. Thom after all those hours of listening to my pseudo intellectual babble now you get to read it. Gray, you really are a keeper, thank you. Ibrahim thank you, I get it now. The LICS Community all other schools shall be forever compared to yours and be doubtlessly found wanting. To all my utterly insanely fantastic friends: Thank you! Thank you! Thank you! And again Thank you I am truly blessed. Thank you to all of you for the love and support to say nothing of the patience that you have shown throughout this process. I would also like to thank the Department of African Literature at Wits, Lesley Beake, Howard Winant, Michael Omi and the staff at the Johannesburg Libraries head office for all the help that they gave me in completing this thesis. vii Table of Contents DECLARATION ................................................................................................................................... II ABSTRACT .......................................................................................................................................... IV ACKNOWLEDGEMENTS ................................................................................................................. VI CHAPTER 1 INTRODUCTION: BLACK IMAGES IN THE WHITE SOUTH AFRICAN IMAGINARY ......................................................................................................................................... 2 1.1 AIM ............................................................................................................................................... 2 1.2 RATIONALE ................................................................................................................................... 4 1.3 LITERATURE REVIEW ...................................................................................................................
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