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Train Surfing (Soweto Style) As an Extreme Spatial Practice

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Train Surfing (Soweto Style) As an Extreme Spatial Practice THE URBAN UNDERCLASS AND POST- AUTHORITARIAN JOHANNESBURG: TRAIN SURFING (SOWETO STYLE) AS AN EXTREME SPATIAL PRACTICE by HILKE STEENKAMP Submitted in fulfilment of the requirements for the degree Magister Artium (Visual Studies) in the FACULTY OF HUMANITIES UNIVERSITY OF PRETORIA MAY 2011 Supervisor: Prof. AA du Preez i © University of Pretoria UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES DEPARTMENT OF VISUAL ARTS The Department of Visual Arts places specific emphasis on integrity and ethical behaviour with regard to the preparation of all written work to be submitted for academic evaluation. Although academic personnel will provide you with information regarding reference techniques as well as ways to avoid plagiarism, you also have a responsibility to fulfil in this regard. Should you at any time feel unsure about the requirements, you must consult the lecturer concerned before you submit any written work. You are guilty of plagiarism when you extract information from a book, article or web page without acknowledging the source and pretend that it is your own work. In truth, you are stealing someone else’s property. This doesn’t only apply to cases where you quote verbatim, but also when you present someone else’s work in a somewhat amended format (paraphrase), or even when you use someone else’s deliberation without the necessary acknowledgement. You are not allowed to use another student’s previous work. You are furthermore not allowed to let anyone copy or use your work with the intention of presenting it as his/her own. Students who are guilty of plagiarism will forfeit all credit for the work concerned. In addition, the matter can also be referred to the Committee for Discipline (Students) for a ruling to be made. Plagiarism is considered a serious violation of the University’s regulations and may lead to suspension from the University. For the period that you are a student at the Department of Visual Arts, the under-mentioned declaration must accompany all written work to be submitted. No written work will be accepted unless the declaration has been completed and attached. I (full names): Hilke Steenkamp Student number: 22249002 Subject of the work: The urban underclass and post-authoritarian Johannesburg: train surfing (Soweto style) as an extreme spatial practice Declaration 1. I understand what plagiarism entails and am aware of the University’s policy in this regard. 2. I declare that this dissertation is my own, original work. Where someone else’s work was used (whether from a printed source, the internet or any other source) due acknowledgement was given and reference was made according to departmental requirements. 3. I did not make use of another student’s previous work and submitted it as my own. 4. I did not allow and will not allow anyone to copy my work with the intention of presenting it as his or her own work. Signature: H. Steenkamp Date: May 2011 ii SUMMARY Title of dissertation: The urban underclass and post-authoritarian Johannesburg: train surfing (Soweto style) as an extreme spatial practice Name of student: Hilke Steenkamp Supervisor: Prof. AA du Preez Department: Department of Visual Arts Degree: Magister Artium (Visual Studies) This dissertation aims to position train surfing as a visual spectacle that is practised by Sowetan train surfers within the context of post-authoritarian Johannesburg. The author argues that train surfing is a visual and spatial phenomenon that is theoretically under- researched. As such, this study aims to decode seven train surfing videos to establish what train surfing looks like, where train surfing occurs and why individuals participate in such a high risk activity. This study, furthermore, aims to frame train surfing as a spectacle by investigating the similarities between train surfing and rites of passage (initiation rites). The author also regards train surfing as a very specific form of storytelling. The narratives conveyed in the seven videos are, therefore, interpreted to establish that train surfing is practised to ‘voice’ fatalistic feelings, societal as well as individual crises. After establishing the visual aspects of train surfing, the author focuses on the spatial context of train surfing. Johannesburg is described as both an authoritarian and post- authoritarian construct by tracing the spatial and political history of the city. When the discussion turns to the post-authoritarian city, townships and squatter settlements are analysed as being both marginal and hybrid spaces. It is argued that townships are marginal spaces due to their location, they are inhabited by the underclass and they are formed by processes of capitalism and urbanisation, and as a result of these factors, township residents might have fatalistic mindsets (Gulick 1989). The author, however, contends that township space is an ambivalent construct, and as such, it can also be read as hybrid space. Here, hybrid space is interpreted as a platform from which township iii residents can resist oppressing spatial and political ideologies. In this context, train surfing is regarded as one way in which train surfers use hybrid space to express tactics of resistance. After establishing the spatial context of train surfing, the socio-economic and material living conditions of train surfers are investigated. The discussion firstly, explores the underclass, as theorised by Jencks and Peterson (1990), and thereafter highlights why train surfers can be classified as being part of this sub-category. It is, furthermore, argued that Sowetan train surfers are part of a new lost generation due to high unemployment rates, the HIV/AIDS pandemic and bleak future outlooks. The author aims to establish that, as a result of their socio-economic status and material living conditions, train surfers are fatalistic, and practice an extreme activity to exert control over one area of their lives, namely their bodies. Lastly, the dissertation aims to explore train surfing as being both a risk-taking activity and a new spatial practice. The dynamics of adolescent risk-taking behaviour is explored by emphasising the psychological motivations behind high risk activities. The author argues that alienating space can be regarded as an additional factor that usher adolescents into risk-taking activities. As such, the place(s) and space(s) inhabited by train surfers, namely Johannesburg, Soweto and township train stations, are discussed as alienating spaces. Moreover, it is argued that alienating spaces create opportunities for resistance (following the power-resistance dialectic inherent to space), and as such, train surfing is interpreted as a de-alienating spatial practice that enables the marginalised train surfer to exert control over his surroundings. iv KEY TERMS Train surfing; spectacle; performative theory; authoritarian and post-authoritarian Johannesburg; marginal and hybrid space; townships; underclass; lost generation; fatalism; risk-taking behaviour; spatial practice; alienation; de-alienation; agency; Debord; Foucault; Lefebvre; Soja; De Certeau. v ACKNOWLEDGEMENTS I would like to express my appreciation towards the University of Pretoria for their financial assistance. I would also like to thank the Department of Visual Arts for awarding the JA Everard bursary to me. The opinions expressed in this dissertation and the conclusions drawn are those of the author and should not be attributed to the University of Pretoria. To my supervisor, Prof. Amanda du Preez, thank you for your guidance, support, encouragement and constructive input during the writing of this dissertation. It has been a very exciting journey! You have assisted me during the first conceptual stages; you advised me during my embryonic period when I considered a phenomenological approach to African cities; you guided me through the tricky world of the ‘sublime’; and you eventually helped me to narrow my focus to a topic that proved to be challenging and richly rewarding. I admire your knowledge on the sublime, cross-disciplinary research and Visual Culture. Your comments not only shaped my writing skills, but also honed my abilities as a researcher. Thank you for ‘surfing’ with me! To Prof. Jeanne van Eeden: you ‘unlocked’ space for me during our third year VKK module on space. I will never forget your insightful lectures on city space, architecture and gendered space. Your knowledge on the topic is truly inspiring. This dissertation is dedicated to: Liefste mamma en pappa, baie dankie vir mamma en pappa se ondersteuning en onderskraging gedurende die skryf van hierdie verhandeling. Sonder mamma en pappa sou ek dit nooit kon regkry nie. Baie dankie dat mammie en pappie vir my klankborde was op die dae wat ek net nie meer kon nie. Ek waardeer al die objektiewe kommentaar, proeflees en redigering opreg .Mamma en pappa het my waarlik die betekenins van ‘dabar’ geleer: voeg die daad by die woord! Ek het geleer om my woorde te weeg, sommige was te lig gevind, maar op die einde van die dag het ek darem genoeg woorde vir 180 bladsye gehad! Baie dankie dat mamma en pappa op my trots is. Muti und Vati, ich liebe Sie! Aan my sussies en boeties: Maryke, Ute, Stephan, Karel en Armandt – baie dankie vir julle belangstelling en gespottery met my wat gedurig voor die rekenaar moes sit. Julle is beslis die beste sussies en boeties waarvoor ek ooit kon vra. Ute, nou wag ons net in spanning dat jy jou M kry! My beste vriendin, Yolandi Visser. Wat meer hoef ek te sê? Ai, ons het soveel prettige ure op kampus deurgebring. Jou grappies, ondersteuning en
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