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Thesis Hum 2018 Maedza Ped Chains of Memory in the Postcolony: Performing and Remembering the Namibian Genocide Town Pedzisai Maedza Cape of Thesis submitted for the degree of UniversityDoctor of Philosophy Centre for Theatre, Dance and Performance Studies University of Cape Town South Africa Supervised by Associate Professor Veronica Baxter & Professor Doctor Carola Lentz March 2018 The copyright of this thesis vests in the author. No quotation from it or information derivedTown from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes Capeonly. of Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non-commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. 2 Plagiarism Declaration I hereby declare that this submission is my own work and to the best of my Knowledge it contains no materials written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UCT or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked with at UCT or elsewhere, is explicitly acknowledged in the thesis. I also declare that the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acKnowledged. Signed: Pedzisai Maedza Date: 20 March 2018 3 ABSTRACT This research project is an interdisciplinary investigation of the memory of the 1904-1908 Namibian genocide through its performance representation(s). It lies at the intersection of performance, memory and genocide studies. The research considers the role of performance in remembering, memorialising, commemorating, contesting, transmitting and sustaining the memory of the genocide across time and place. The project frames performance as a media through which history is narrated by positioning performance as a complex interlocutor of the past in the present. This claim is premised on the assumption that the past is not simply given in memory ‘but it must be articulated to become memory’ (Huyssen, 1995:3). The research considers commemoration events and processes as fruitful performance nodes to uncover the past as well as the politics of the present. It maKes the case that while the Namibian genocide has so far been denied official or state acKnowledgement, it is chiefly through the medium of performance that the genocide memory is remembered, contested and performed. The project offers a variety of perspectives on the relationship between genocide violence, memory and space by focusing on what is remembered, how it is remembered and by paying attention to when it is remembered. The research contributes to an understanding and reconstruction of memory and performance of the Namibian genocide on two fronts. Firstly, as a cultural phenomenon and secondly, as a form of elegy and memorial in contemporary times. These insights contribute to the emerging body of scholarly worK on performance and the cultural memory of the Namibian genocide. The project also charts avenues of inquiry in the production and transmission of memory across time and generations, within and beyond Namibian national borders. It pays close attention to performance’s contribution to the formation of cultural memory by exploring the conditions and factors that make remembering in common possible such as language, images, rituals, commemoration practices, exhibitions, theatre and sites of memories. Through examining the specific role of performance as a medium of cultural memory of the Namibian genocide the study considers ‘memory as performing history’ (Shuttleworth et al., 2000:8). The research interrogates how contemporary artistic performance representations and interpretations from within and outside of Namibia inform the way societal history and the present are presented and remembered. Performance becomes an aperture to investigate the enduring contemporary role of the memory of the Namibian genocide as well as its simultaneous reconfiguration. This enables the project to investigate how memories circulate across time and place - transnationally and across generations. This cross-border and trans- generational reflection is essential to understanding how the Namibian genocide has and is articulated, circulated, structured and remembered through performance in the postcolony. 4 ACKNOWLEDGEMENTS This split-site research project was made possible by the generous funding support of the Canon Collins Trust, United Kingdom; the German Academic Exchange Service (DAAD); the Sulzmann Foundation, Germany; the Social Science Research Council, New York, USA- Next Generation Social Sciences in Africa and the University of Cape Town’s Rosalie van der Gucht and International Scholarships. Prof Veronica Baxter and Prof. Dr Carola Lentz my academic supervisors deserve special mention for being the project’s intellectual anchors. They both nurtured and challenged my research ideas and enriched my sojourn at the Centre for Theatre, Dance and Performance Studies, University of Cape Town, South Africa and at the Institute for Anthropology and African Studies, Johannes Gutenberg University-Mainz, Germany. While a lot more people deserve credit for the completion of this work, for any and all mistaKes and inaccuracies contained in this worK, though not intentional I taKe full and sole responsibility. Jessie, Rutendo, Takudzwa, Tariro, Raphael, Kuzivakwashe and Kudakwashe my beautiful nieces and nephews this is for you. This thesis is dedicated in loving memory to a candle blown out too soon, Keith Tawananyasha Maedza (27 September 2006 - 05 April 2017) 5 Table of Contents Chains of Memory in the Postcolony: Performing and Remembering the Namibian Genocide ABSTRACT ............................................................................................................................... 4 ACKNOWLEDGEMENTS ....................................................................................................... 5 CHAPTER ONE ........................................................................................................................ 9 Introduction ........................................................................................................................................ 9 Defining Genocide in the Postcolony .............................................................................................. 11 Remembering Genocide .................................................................................................................. 15 Performing Genocide ........................................................................................................................ 17 Conceptual FrameworK .................................................................................................................... 20 Historical Overview ............................................................................................................................ 22 A Forgotten genocide ........................................................................................................................ 22 The Herero War ............................................................................................................................. 25 Schrecklichkeit (Extermination Order) ........................................................................................ 27 Konzentrationslager (Concentration Camps) ............................................................................ 29 Colonial Science ............................................................................................................................ 35 Conclusion .......................................................................................................................................... 36 CHAPTER TWO ..................................................................................................................... 37 Red Flag Day: The Aesthetics of Memory and Commemoration since 1923 ................... 37 Red Flag Day as Performance ........................................................................................................ 39 The Procession .............................................................................................................................. 43 The Graves ..................................................................................................................................... 46 Kommando as a Site of Memory ..................................................................................................... 48 Oturupa ........................................................................................................................................... 51 Red Flag ......................................................................................................................................... 52 BodyworK: The performativity of Herero dress and uniforms ...................................................... 54 Mimicry as resistance ..................................................................................................................
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