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Theatre in a Post-Mandela South Africa by Nathanael M. Vlachos a TH

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Theatre in a Post-Mandela South Africa by Nathanael M. Vlachos a TH RICE UNIVERSITY Ethics of Freedom, Pragmatics of Constraint: Theatre in a Post-Mandela South Africa by Nathanael M. Vlachos A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Philosophy APPROVED, THESIS COMMITTEE h Janies D. Faubifon, Chair Professor of Anthropology Dominic Boyer Professor of Anthropology yq~^- J^ Elias Bongmba Professor of Religion HOUSTON, TEXAS April 2017 ABSTRACT Ethics of Freedom, Pragmatics of Constraint: Theatre in a Post-Mandela South Africa By Nathanael M. Vlachos This dissertation, an ethnography of South African theatre artists, traces the moral and ethical contours of a “post-Mandela” South Africa. While “post-apartheid” South Africa is marked by ethical nation-building projects like racial reconciliation and the push for a nonracial “rainbow nation,” post-Mandela South Africa is characterized by a growing skepticism of these projects and a sense that many South Africans have yet to enjoy the freedoms promised by Mandela and others. In dialogue with the anthropology of ethics and Foucauldian ethical frameworks in particular, I examine the implications of a post-Mandela South Africa with regard to processes of shaping and forming self and community. What moral and ethical resources are available for imagining and enacting a good life when moral nation-building projects collapse? What new moral exemplars and pedagogues emerge from a context where former icons of struggle are now seen as collaborators with a colonial past and an insidious neoliberal present? How has this moment mutated those things most integral to understandings of self, like race, class, kinship, and politics? What forms do freedom and constraint currently take in this context? These questions and others are answered through an ethnographic study of South African theatre, drawing on fieldwork from Johannesburg, Soweto, and Grahamstown. Rather than undertaking a study of audience reception or conducting close readings of plays, I focus on the artists themselves, contextualizing their aesthetic sensibilities, the ethical journey of becoming and being an artist, and the inescapable historical entanglements with which they grapple. As I iii explore the freedoms and constraints at the heart of South African ethical life, I engage their implications for classic and contemporary conversations in anthropology, including kinship, political economy, epistemology, pedagogy, and whiteness. At the same time, the dissertation contributes new conversations to the landscape of South African anthropology, charting emergent ethical subjectivities, diverse understandings of freedom, and the shifting significance of race in South Africa and beyond. ACKNOWLEDGEMENTS This manuscript and the theoretical, conceptual, and methodological work that animates it was shaped by many different hands, scholarly as well as personal, at Rice University and in South Africa, Houston, Dallas, Chicago, and Leavenworth (Washington), among many other locales. Beginning in the academic terrain, many thanks are owed for the careful direction and mentoring of all my professors at Rice. My primary dissertation advisor, James D. Faubion, has been a source of constant intellectual inspiration and guidance as I made the transition from philosophy to anthropology, helping me think through how and where ethics might speak to anthropology. This work would truly not be the same without his research as well as his constant encouragement and productive engagement with my work. Like James Faubion, Dominic Boyer’s direction and guidance have also been crucial, not only in terms of my interest in experts and epistemology but also professionally, as I learned the terrain and social dynamics of a new discipline and worked to connect my research to broader disciplinary conversations. Elias Bongmba from the Department of Religion has played a formative role as well, imparting his expertise on history, religion, and art in South Africa and beyond, and has been a great source of personal support and encouragement. I owe great debts to many other professors at Rice in anthropology and beyond: Cymene Howe, who cultivated my passion for ethnographic methods and pedagogy, Nia Georges, who taught me the art of grant writing, Jeff Fleisher for productive conversations about South Africa and race, Andrea Ballestero and Zoë Wool, who acted as important sounding boards in the latter stages of my dissertation, and Deborah Harter, a master of the craft of writing who brought my work to new heights and who mentored me in countless ways both personally and professionally. All of the professors mentioned above contributed to my formation in numerous ways, reading countless drafts of papers, grants, and job documents, v and working endlessly to cultivate a productive scholarly atmosphere for myself and my graduate colleagues. I will always be grateful for the forms of labor, both visible and invisible, that the faculty at Rice perform on a daily basis in the Department of Anthropology and beyond. Thanks are also due to the graduate students in anthropology at Rice, particularly my cohort of Nessette Falu, Ian Lowrie, Marcel LaFlamme, and Ereich Empey. Beyond our mutual attendance in seminars, these individuals have been a source of support, encouragement, and intellectual engagement from the earliest stages of my research project, giving me productive comments on drafts of papers and grant proposals. I trust that our rapport and collaborations will continue long after we graduate. Beyond my cohort, I collectively thank all the other graduate students in the Department of Anthropology at Rice, who also work tirelessly not only on their own research but organizing and facilitating the life of the department. Collectively, they created the perfect environment for my intellectual and personal growth. This research is also a product of South Africa, and was shaped by South African hands that are too numerous to count. I owe special thanks to the research contacts who paved a smooth road for my fieldwork: Hylton White and David Coplan at University of the Witwatersrand for hosting me as a Visiting Researcher, and Juanita Finestone-Praeg, Anton Krueger, Janet and Andrew Buckland, and Alex Sutherland for providing me an academic home and productive research engagements at Rhodes University. Beyond those who provided an institutional framework for my research are countless individuals and groups who allowed me to interview, engage, and observe them: artists like Ntshieng Mokgoro, Charlicks, Irene Stephanou, Athina Vahla, Themi Venturas, Renos Nicos Spanoudes, Kyla Davis, the Khulumani Forum Theatre Group, Dobsonville Artistic Youth, Umsindo Theatre Projects, Emma Durden, Roel Twijnstra, and the many others I encountered along the way. Whether or not they appear in the dissertation, vi they are all absolutely behind the scenes of the research I was able to conduct. Of course, I cannot forget to mention Robert and Shirley Charles and their beautiful family, who gifted Rachel and I with a South African home away from home and moments of inspiration too numerous to count—and flew across the world to be at our wedding. This dissertation is absolutely for them as well. Siyabonga (thanks, y’all) in the strongest terms possible for teaching me and allowing me to come into your lives. I owe my family a great deal of gratitude for their support, encouragement, and love over the course of my graduate career through good times and bad. My parents, who both took on numerous challenges later on in life, taught me the value of diligent work and persistence in the face of difficulty. Whether returning for a PhD or nursing degree later in life or finishing a marathon with a fractured femur, my parents are incredibly strong folks who finish what they start, and taught me to do the same. Thanks to my sisters Rachel Follet and Robin Christiansen and brothers-in-law Sam and Joel and their wonderful families, who have always provided both love and a fun place to break away from work. Thanks to my parents-in-law Robert and Anne Schneider for their unconditional support and love over the years. This dissertation would not exist without any of them. I would not be the person I am or the scholar I am without the vital partnership of my wife Rachel Schneider. It was Rachel whose passion for South Africa sparked my own, and who traveled there with me numerous times. As we began a journey at Rice as graduate students together, she was a fastidious sounding board and proofreader for my work, a source of love and encouragement in good times and bad, a best friend, and fellow fieldworker during my dissertation research. I hope in turn I have shaped her work and her life for the better as we continue our journey, wherever it takes us. Many pats and treats to our pup Irving, who lowers vii our collective blood pressure and provides us with an atmosphere of fun and play in the midst of a stressful student life. Finally, I dedicate this dissertation to the lives and memory of two incredible, talented, and strong women: my grandmother Catherine Vlachos and great-aunt Dr. Mary Dochios Kamberos. The daughters of Greek immigrant farmers who insisted that their children receive an education, Catherine and Mary fought their way into the professional world at a time when few women were able, becoming an attorney (Catherine) and a doctor (Mary). They made Chicago a special place to visit, and though they did not live to see me complete my PhD, they supported me in countless ways. They were my biggest fans, and remain
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