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Krotoa’ Through a Rahab Prism: a Postcolonial Feminist Encounter

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Krotoa’ Through a Rahab Prism: a Postcolonial Feminist Encounter Viewing ‘Krotoa’ through a Rahab Prism: A Postcolonial Feminist Encounter by Sheurl Valene Davis Thesis presented in fulfilment of the requirements for the degree of Master of Theology in the Faculty of Theology at Stellenbosch University Supervisor: Prof L Juliana M Claassens December 2020 Stellenbosch University https://scholar.sun.ac.za DECLARATION By submitting this thesis electronically, I, Sheurl Davis, declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Sheurl Davis Signature: ................................................. Copyright © 2020 Stellenbosch University All rights reserved 1 Stellenbosch University https://scholar.sun.ac.za ABSTRACT This thesis employs a hermeneutic of suspicion to reread the narratives of two underdog women characters, as it analyses the narrative world of Rahab in Joshua 2 and 6 and the story of Krotoa as portrayed in the 2017 film Krotoa side-by-side. This study argues that decolonising and deconstructing hegemonic interpretations of the biblical texts is the only way the Bible still may possess value to the marginalised. Insights from postcolonial feminist biblical interpretation are employed to show how these two very different narrative worlds collide with each another. To reflect on the stories of Rahab and of Krotoa, Musa Dube’s Rahab’s reading prism is used as a reading strategy to reread the narrative of Rahab as well as the portrayed character of Krotoa in the 2017 film Krotoa. Rahab’s character and portrayals are analysed by means of a postcolonial reading optic. Although most previous interpretations have portrayed Rahab as heroine as well as traitor, this study argues that Rahab was also the victim of the coloniser's pen, a literary construction of Israelite ideology. This study further employs postcolonial feminist film theory as an additional methodological approach to critique the imperial strategies employed in the portrayal of Krotoa in the film Krotoa (2017). Postcolonial feminist film theory shows how the portrayal of Krotoa in the film version possesses a specific form of power which could liberate and at the same time perpetuate imperialising interpretations and ideologies. Instead of revolutionising Krotoa in the history of South Africa by offering a life-giving portrayal of Krotoa, this study argues that the film has perpetuated elements of Afrikaner nationalism. Delineating the various portrayals of Krotoa exposed the patriarchal and imperial ideologies still present in the film especially with a practical application of Rahab’s reading prism. The central premise of this thesis is that both Rahab and Krotoa have much in common. This study, therefore, applies a hermeneutic of suspicion that prioritises alternative perspectives in the pursuit of a transformative understanding of these two women in contrast to their reputation and portrayals as traitors. This study argues that the two women have suffered under the rhetoric of God, glory, gold, and gender. The biblical narrative of Rahab and the film Krotoa (2017), as well as the historiographies that depict them, are a perfect example of how the imperial powers impose their control 2 Stellenbosch University https://scholar.sun.ac.za on foreign lands and on the bodies of women, who have been sacrificed on the altar of unity and imperial control. Moreover, this study explores the possibility that these two women were betrayed by their own people and the colonisers have done what they do best—employing the bodies of women who serve as the contact zones for colonisation. By interrogating, deconstructing, and re-interpreting these two characters, this study prioritises life-affirming interpretations and portrayals of both women. The study demonstrates how the chosen reading optic liberates Rahab and Krotoa from the yoke of imperial and patriarchal interpretations and portrayals. 3 Stellenbosch University https://scholar.sun.ac.za OPSOMMING Hierdie tesis gebruik 'n benadering van hermeneutiese suspisie om die verhale van twee “underdog” vroue-karakters te herlees, deur die narratiewe wêrelde van Rahab in Josua 2 en 6 en die vertolking van Krotoa soos voorgestel in die 2017 film Krotoa langs mekaar te lees. Hierdie studie argumenteer dat die dekolonisering en dekonstruksie van hegemoniese interpretasies van die Bybelse tekste die enigste manier is waarop die Bybel steeds waarde kan hê vir die gemarginaliseerdes. Die insigte van postkoloniale feministiese Bybelse interpretasie word gebruik om aan te toon hoe hierdie twee baie verskillende narratiewe wêrelde met mekaar in gesprek tree. In die proses om na te dink oor die verskillende vertellings van Rahab en die verhaal van Krotoa, word Musa Dube se Rahab-lees-prisma as leestrategie gebruik om die vertelling van Rahab en die uitbeelding van karakter 'Krotoa' in die film Krotoa (2017) te herlees. Die karakter en uitbeeldings van Rahab word in die studie geanaliseer aan die hand van 'n post-koloniale leesoptiek. Rahab is onderskeidelik as heldin sowel as verraaier uitgebeeld. Volgens hierdie studie is Rahab die slagoffer van die pen van die koloniseerder, 'n literêre konstruksie van die Israelitiese ideologie. Hierdie studie gebruik verder postkoloniale feministiese filmteorie as 'n addisionele metodologiese benadering ten einde die imperiale strategieë wat gebruik is in die uitbeelding van Krotoa in die film Krotoa (2017), krities te ontleed. Postkoloniale feministiese filmteorie toon aan hoe die uitbeelding van Krotoa in die filmweergawe 'n spesifieke vorm van mag besit wat terselfdertyd imperialiserende interpretasies en ideologieë kan bevry en voortbestaan. In plaas daarvan om Krotoa op ‘n bevrydende wyse in die geskiedenis van Suid-Afrika uit te beeld, het die film elemente van Afrikanernasionalisme voortgesit. Met behulp van die toepassing van die Rahab-lees-prisma word die patriargale en imperiale ideologieë wat nog in die film aanwesig is met betrekking tot die verskillende uitbeeldings van Krotoa, blootgelê. Die sentrale uitgangspunt vir hierdie tesis is dat hierdie twee vroue baie in gemeen het. Hierdie studie gebruik 'n hermeneutiek van suspisie om die alternatiewe perspektiewe van hierdie twee vroue te prioritiseer in die strewe na 'n nuwe verstaan van hierdie twee vrouens, afgesien van hul reputasie as verraaiers. Hierdie studie voer 4 Stellenbosch University https://scholar.sun.ac.za aan dat beide vroue onder die retoriek van God, glorie, goud en gender gely het. Die Bybelse verhaal van Rahab en die filmweergawe van Krotoa (2017) is ‘n goeie voorbeeld van hoe geskiedskrywing hierdie vroue “afgeskryf” het in die geskiedenis, van hoe die koloniale magte hul beheer op vreemde lande en op die liggame van vroue uitgeoefen het en op die altaar van eenheid en imperiale beheer geoffer het. Hierdie studie ondersoek ook die moontlikheid dat twee vroue deur hul eie mense verraai is, en dat die koloniseerder gedoen het wat hulle die beste doen deur die liggame van vroue te gebruik wat dien as kontakgebiede vir kolonisasie. Deur na te dink oor hierdie twee karakters, te dekonstrueer, en weer te interpreteer, prioritiseer hierdie studie lewensbevestigende interpretasies en uitbeeldings van beide vroue. In hierdie studie word uiteengesit hoe die gekose leesoptiek Rahab en Krotoa bevry van die juk van imperiale en patriargale interpretasies en uitbeeldings. 5 Stellenbosch University https://scholar.sun.ac.za ACKNOWLEDGEMENTS My overflowing gratitude goes to God, the God who have shined light and favour upon me, the God I got to know anew through this study, the God who has affirmed my constant questioning and scepticism in God. To the living dead Rahab, Krotoa and now Professor Mary-Ann Plaatjies-Van Huffel, I am forever indebted to you. You have paved a way for me to be because you were. You have been the fire in my bones and yet the trees under which I have found shade and shield against burning patriarchy. To my supervisor, Professor Julie Claassens, you have shaped and carved my critical, raw articulated thoughts. I have no words other than ‘Thank you, thank you, thank you,’ for working assiduously with me in the articulation and framing of this study despite much resistance from me. For your committed guidance, constant affirmation, and your spirit of resistance, thank you. Your committed faith in my capabilities and potential has been a lighthouse to me throughout. You have shaped me as a womanist and a theologian. Thank You. To the matriarchs, my mother Marna Davis and Grandmother Martha Bock, thank you for your resilience which made me who I am today. You have instilled the fire of resistance, refusing to bow, and the back-chatting spirit in me. Mamma & Mammie, as always, you have inspired this study and my reading optic by embodying a different reality like the spirit of Rahab and Krotoa. To Ethan Esterhuizen, thank you for always being my safe space where I could at any time break away from the troubles of this study. You have been my home space. Your endless support and encouragement have helped me through it all. Thank you for being the constant sounding board for all my afflictions and for always keeping me mindful of how far I have come. Your support has grounded me. To Ashwin, Friend, thank you! You have journeyed with me on this path of affliction. I am so grateful to create theology with you. Your being and constant affirmation and reassurance have many times helped me exhale. Thank you for the critical loyal and sustaining friendship which can only be from God. Dr NC Philander and family, thank you for the financial assistance and support throughout my studies. Your home has been my home away from home. I am forever grateful for the roles you have played in my life, for the loving care I have found in you, and the congregation of Wefleur Atlantis.
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