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Music and Inter-Generational Experiences of Social Change in South Africa

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Music and Inter-Generational Experiences of Social Change in South Africa All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 PhD Social Anthropology Goldsmiths, University of London All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 Thesis submitted in fulfillment of the requirements for a PhD in Social Anthropology Goldsmiths, University of London 2013 Cover Image: Party Goer Dancing at House Party Brixton, Johannesburg, 2005 (Author’s own) 1 Acknowledgements I owe a massive debt to a number of people and institutions who have made it possible for me to give the time I have to this work, and who have supported and encouraged me throughout. The research and writing of this project was made financially possible through a generous studentship from the ESRC. I also benefitted from the receipt of a completion grant from the Goldsmiths Anthropology Department. Sophie Day took over my supervision at a difficult point, and has patiently assisted me to see the project through to submission. John Hutnyk’s and Sari Wastel’s early supervision guided the incubation of the project. Frances Pine and David Graeber facilitated an inspiring and supportive writing up group to formulate and test ideas. Keith Hart’s reading of earlier sections always provided critical and pragmatic feedback that drove the work forward. Julian Henriques and Isaak Niehaus’s helpful comments during the first Viva made it possible for this version to take shape. Hugh Macnicol and Ali Clark ensured a smooth administrative journey, if the academic one was a little bumpy. Maia Marie read and commented on drafts in the welcoming space of our writing circle, keeping my creative fires burning during dark times. Natasha Santos provided editing help that went beyond the call of duty (even if I kept rewriting after you’d done such a thorough job….). Davina Moonsammy for the music, Quanita Adams for the laughs, Shamim and Bobby Marie for their warm home and sneaky peaks at their library. Shakir at Roka and Norman at Moody Blues for the breaks. Sarah O’Neil, Gabriella Nicolescu and Luna Glucksberg for unflinching understanding and knowing looks. Magda Baran-Taracki, Sharon Dogra and Jo Yeoman for their support, both practical and spiritual. Julie Tallard Johnson for the dreams. Diana Santos for calm abiding. Carlos Santos for stormy provocations (I think it’s done now…). Alexia, Grant, Jack and Erin McCoy, Yolanda Caracandas and Diane & Arnold Van Lendt, Jodeigh Daniels and Jessica Osman for the sanctuary of their homes, and delicious food, at crucial writing up points. Terence Momple and Dean Osman. Della Osman for pragmatic words at the right time, and of course, Matthew Gunkel. A very special mention of Brenda Osman, for the huge space she made for me in her life. I can’t hope to do your story justice. Most of all, thank you to David, Naliyah, Kenzo and the little one still to come, whose love makes work meaningful. Thank you for always believing I could do it. And in memory of Granny Sylvia. Who wrote lovely letters and thought I was lucky. 2 Contents ABSTRACT ...................................................................................................... 8 CHAPTER 1 .................................................................................................. 11 INTRODUCTION ........................................................................................... 11 Focus of Research & Intellectual Problem ........................................................................ 11 Music, History and Race in South Africa ........................................................................... 18 Music & the Meaning of South African Identity ................................................................ 26 Music as Biographical Sound: An Intimate Approach to Mapping the Emergence of Identities in South Africa ...................................................................................................... 32 Location of Research & Chapter Breakdown ................................................................... 40 A Note on Ethical Concerns, Confidentiality and Terminology ..................................... 43 Conclusion ............................................................................................................................ 45 CHAPTER 2 .................................................................................................. 49 A MIXED UP METHODOLOGY: FIELDWORK AND PROCESS ...................... 49 Responsive Methodology and Multi-Sited Fieldwork ...................................................... 60 The Biographical Method .................................................................................................... 72 Description of Main Field Site – Western Suburbs of Johannesburg .............................. 73 3 Data Gathering .................................................................................................................... 85 Audio Material ...................................................................................................................... 89 Conclusion ............................................................................................................................ 90 CHAPTER 3 .................................................................................................. 93 MUSIC, CLASSIFICATION & CONSEQUENCE ............................................. 93 Music, Social Change & The Making and Masking of Boundaries ................................ 95 Music, Memory and History ................................................................................................ 98 Music and the Making of Meaningful Narratives ........................................................... 100 Music and the Interview Process ..................................................................................... 101 1945 – 1950: A Musical Courtship & The Beginning of Apartheid ................................. 104 The Match Factory and the Church Dance: Class, Taste & Race ................................ 108 1950-1961: Music, Hierarchy, Morality & Multi-Racial Life in a White Neighborhood 111 Langarm and the Constitution of Multiracial Family Life ............................................... 118 1961 - The Declaration of the Republic of South Africa ................................................ 121 Coming of Age, Popular Music and Social Dance ........................................................ 128 A Miracle & A Dream ......................................................................................................... 142 Birth and Death ................................................................................................................... 145 Music and the Making of Personal Rituals of Recovery ................................................ 149 Conclusion .......................................................................................................................... 154 4 CHAPTER 4 ................................................................................................ 158 TRANSFORMATION & ITS LIMITS: MUSIC & THE ROAD TO JOHANNESBURG ................................................................................................................... 158 Becoming a Wife and a Mother ....................................................................................... 159 Escape to Johannesburg .................................................................................................. 165 A Brief History of Johannesburg ....................................................................................... 167 Music, Friendship and The City: Brenda’s Jazz Years 1976 -1979 ................................ 169 Music: A Second Courtship & Reconstituting Family Life .............................................. 179 Music and the Making of Domestic Life on Renegotiated Terms................................. 184 A House in the Western Areas: Mayfair ........................................................................... 185 Music and Staying with Violence ..................................................................................... 197 Conclusion .......................................................................................................................... 201 CHAPTER 5 ................................................................................................ 205 BRAVE NEW KWAITO WORLD ................................................................... 205 Kwaito is Dead. Long Live Kwaito ................................................................................... 208 Kwaito and the End of Apartheid ..................................................................................... 214 The Politics of Kwaito ......................................................................................................... 218 Songs, Memory and Social Change: Fester 1995 – 2005 .............................................. 223 5 Model C, Kwaito and Distinction ...................................................................................... 230 Chasing the Party ............................................................................................................... 238 After Party ........................................................................................................................... 241 Boom Shaka and the Making of Pride, Possibility and Good Memories .................... 246 Too Late for Mama ............................................................................................................
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