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South African Popular Music of the 1980S and the Role of the Graceland Project: a Case of International (Usa-Rsa) Collaboration and Co-Production

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South African Popular Music of the 1980S and the Role of the Graceland Project: a Case of International (Usa-Rsa) Collaboration and Co-Production SOUTH AFRICAN POPULAR MUSIC OF THE 1980S AND THE ROLE OF THE GRACELAND PROJECT: A CASE OF INTERNATIONAL (USA-RSA) COLLABORATION AND CO-PRODUCTION by Thulani Zulu Student Number: 11533702 A thesis submitted in fulfilment of the requirement for the degree of Doctor of Philosophy degree in the Department of African Studies At the University of Venda Supervisor: Prof. M.G. Mapaya Co-supervisor: Dr P.E.A. Ramaite Mafadza 2018 DECLARATION I, Thulani Zulu, hereby declare that the thesis for the Doctor of Philosophy degree at the University of Venda, hereby submitted by me, has not been submitted previously for a degree at this or any other university, it is my own work in its design, and all reference material contained herein has been duly acknowledged. Signature: __________________________ Date: __________________ i ABSTRACT In the 1980s South Africa was subjected to cultural embargo. However, at the height of the embargo, Paul Simon went against the political climate of the day and mounted a cross- cultural, multinational music project called Graceland. Although South African popular music can facilitate the prosperity of musicians, only few musicians have succeeded in fostering this aspect. Using popular music and pop culture Afrocentrism as frameworks, this study analyses the Graceland project in the context of the South African popular music of the 1980s. The empirical research approach leaning towards the qualitative method was used. Interviews and literature review were the main modes of data gathering. Owing to the sensitivity of the subject, ethical considerations were adhered to. The cultural embargo, as well as other political interventions aiming at pressurising the South African government to abandon its apartheid policies, were well-meaning, but at the same time, the cultural embargo had a negative impact in that the popular culture of the country went unrecognised by global players. It was envisaged that this study would help in understanding the motivations and intentions of the planners of the Graceland project, and how these were to benefit the South African music sector. Keywords: Graceland, socioeconomic, South Africa, music industry, popular music, cultural embargo, apartheid ii CONTENTS DECLARATION ..................................................................................................................... i ABSTRACT ........................................................................................................................... ii CONTENTS .......................................................................................................................... iii LIST OF APPENDIXES ........................................................................................................ v CHAPTER ONE: INTRODUCTION TO THE STUDY ................................................. 1 1.1 INTRODUCTION ................................................................................................... 1 1.2 BACKGROUND OF THE STUDY ........................................................................ 2 1.3 PROBLEM STATEMENT ...................................................................................... 3 1.4 RATIONALE ........................................................................................................... 4 1.5 AIM OF THE STUDY ............................................................................................ 4 1.6 OBJECTIVES OF THE STUDY ............................................................................. 4 1.7 RESEARCH QUESTIONS ..................................................................................... 5 1.8 LITERATURE REVIEW ........................................................................................ 5 1.9 DIVISION INTO CHAPTERS ................................................................................ 6 1.10 CONCLUSION ........................................................................................................ 6 CHAPTER TWO: LITERATURE REVIEW .................................................................. 7 2.1 INTRODUCTION ................................................................................................... 7 2.2 Perspectives on American and South African popular music of the ’80s................ 8 2.2.1 American popular music of the ’80s ............................................................. 10 2.2.2 South African popular music of the ’80s ....................................................... 14 2.2.3 Understanding collaborative popular music .................................................. 23 2.3 HYBRIDITY AND SYNCRETISM: A GRACELAND CONTEXTUAL ............ 27 2.4 THE SOCIAL ECONOMICS OF POPULAR MUSIC ......................................... 38 2.4.1 Music performances as a social factor ........................................................... 38 2.4.2 Spirituality of African popular music ............................................................ 41 2.4.3 African music approach ................................................................................. 50 2.4.4 An analysis of the Graceland music album ................................................... 53 iii 2.4.5 Relations between South African and American popular music cultures ..... 73 2.4.6 The economy of collaborative popular music in the context of Graceland ... 79 2.5 THE POLITICS OF THE GRACELAND PROJECT ............................................ 87 2.5.1 Exploring the cultural boycott: Graceland .................................................... 87 2.5.2 The politics of the 1980 cultural boycott in South African ........................... 90 2.5.3 The experiences of South African popular music in the 1980s ..................... 97 2.6 THEORETICAL FRAMEWORK ....................................................................... 102 2.6.1 Popular music .............................................................................................. 103 2.6.2 Pop culture Afrocentrism............................................................................. 104 2.7 CONCLUSION .................................................................................................... 105 CHAPTER THREE: METHODOLOGY AND DESIGN ........................................... 107 3.1 INTRODUCTION ............................................................................................... 107 3.2 QUALITATIVE RESEARCH ............................................................................. 107 3.1 RESEARCH DESIGN ......................................................................................... 108 3.2 SCOPE OF THE STUDY .................................................................................... 108 3.3 Population .................................................................................................... 109 3.2.1 Data collection procedure ............................................................................ 109 3.2.2 Data analysis ................................................................................................ 111 3.4 DELIMITATIONS OF THE STUDY ................................................................. 111 3.5 LIMITATIONS OF THE STUDY ...................................................................... 112 3.6 ETHICAL CONSIDERATIONS ......................................................................... 112 3.2.3 Deception ..................................................................................................... 113 3.2.4 Voluntary participation ................................................................................ 113 3.2.5 Validity and reliability ................................................................................. 113 3.3 CONCLUSION .................................................................................................... 114 CHAPTER FOUR: PRESENTING OF DATA, ANALYSIS AND DISCUSSION ... 115 4.1 INTRODUCTION ............................................................................................... 115 4.2 INTERVIEWS WITH THE PARTICIPANTS .................................................... 116 iv 4.2.1 Exploratory research .................................................................................... 116 4.3 ANALYSIS OF THE INTERVIEWS ................................................................. 192 The background of the Graceland project .......................................................................... 192 The role of South African musicians in the Graceland project .......................................... 199 The spinoffs from the Graceland project ............................................................................ 204 4.4 DISCUSSION ...................................................................................................... 207 Discussing the background of the study in terms of the Graceland project ....................... 208 The social effect of popular music of the 1980s ................................................................. 212 The political effects of popular music of the 1980s ........................................................... 214 The effect of cultural embargo on the South African music scene of the 1980s ................ 215 4.5 CONCLUSION .................................................................................................... 221 CHAPTER FIVE: CONCLUSION AND RECOMMENDATIONS .......................... 223 5.1 INRODUCTION .................................................................................................
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