Institutionalised Homosexuality in South Africa: Queering Same-Sex Desire

Total Page:16

File Type:pdf, Size:1020Kb

Institutionalised Homosexuality in South Africa: Queering Same-Sex Desire Institutionalised Homosexuality in South Africa: Queering Same-Sex Desire Bernard Nolen Fortuin Dissertation presented for the degree of Doctor of English Studies in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Professor Shaun Viljoen December 2015 Stellenbosch University https://scholar.sun.ac.za 1 DECLARATION By submitting this dissertation electronically, I 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 a n d that I have not previously in its entirety or in part submitted it for obtaining any qualification. 08 June 2015 Copyright © 2015 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za 2 Abstract This dissertation looks at South African literary and cultural representations of male homosexual desire from 1948 to 2013. It employs Michel Foucault’s concept of biopolitics/biopower and Judith Butler’s heterosexual matrix amongst others to engage with South African literary and cultural representations of male homosexuality. The country is seen to associate homosexuality with a similar sense of pathology as was the trend in the colonial centre. Later, as the continent comes to rely less on Western frameworks of self-definition there is an indigenisation of these Western identities as they rub up against conservative patriarchy and homophobia. I analyse texts set in the various institutions that form/ed the foundation of the modern capitalist state that is South Africa. They reflect my argument that in a society geared at institutionalising (white) heteronormativity there was/is still space for a queering of self and other which in turn allows moments of intimacy and transgressive dissidence. The homosexual man and his interplay with the heteronormative family, army, schools and prisons reflect the racist and gendered nature of South African society and the problematic way in which femininity has become conflated with a state of subjection. Similarly, homosexuality is seen to become a generative site where performances of masculinity and gender can be queered. Stellenbosch University https://scholar.sun.ac.za 3 Opsomming Hierdie proefskrif kyk na Suid-Afrikaanse literêre en kulturele uitbeeldings van manlike homoseksuele begeerte vanaf 1948 tot 2013. Dit werk met Michel Foucault se konsep van biopolitiek/biomag en Judith Butler se konsep van die “heterosexual matrix” as 'n lens waardeur die Suid-Afrikaner literêre en kulturele konstruksie/s van homoseksualiteit gelees kan word. Homoseksualiteit word in die land geassosieer met 'n gevoel van patologie soos die tendens was in die koloniale sentrum. Later, wanneer die vasteland minder op Westelike raamwerke van self-definisie staatmaak is daar 'n verinheemsing van hierdie Westelike identiteite soos hulle wryg teen konserwatiewe patriargie en homofobie. Ek bespreek tekste wat wys hoe biopolitiek die basis van Suid Afrika as moderne kapitalistiese staat vorm. Die tekste weerspieël my oogpunt dat in 'n samelewing gerig op die institusionalisering van (wit) heteronormatiwiteit daar nog steeds ruimte is vir 'n “queering” van die self en die ander wat op sy beurt oomblikke van intimiteit en grensoorskryding bewerkstelling. Die homoseksuele man en sy wisselwerking met die heteronormatiewe familie, weermag, skole en tronke weerspieël die rassistiese en geslagtelike aard van die Suid-Afrikaanse samelewing asook die problematiese manier waarop vroulikheid verwar geword het met 'n toestand van onderdanigheid. Net so kan homoseksualiteit gesien word om 'n generatiewe terrein waar vertonings van manlikheid en geslag “queered” kan word. Stellenbosch University https://scholar.sun.ac.za 4 Acknowledgements I thank my family for your unconditional love and acceptance. I am happy and blessed to have been shaped and loved by you. I also want to thank Professor Shaun Viljoen for your support and guidance. Thank you Jaco Greeff Brink for your unwavering love. Stellenbosch University https://scholar.sun.ac.za 5 Table of Contents: List of Figures: .............................................................................................................................. 6 Chapter 1: Introduction ................................................................................................................ 7 Overview: ................................................................................................................................................................... 7 Theorizing Indigenous Sexualities............................................................................................................................. 24 These Queers are un-African: On Homosexuality as Foreign Import......................................................................... 32 Chapter 2: Colonial Transcriptions of Homosexual Identities: Early Attempts at Categorization ............................................................................................................................. 45 Overview: ................................................................................................................................................................. 45 What Is This Thing? What Is Its Name? Colonial Transcriptions of Homosexual Identities ...................................... 48 Transcription as Historicizing Gay Identities ............................................................................................................. 58 Historicizing “Queered” Institutions: Proteus as Archival Project .......................................................................... 67 The Making of a “Snaakse” Boer: Early Constructions of Afrikaner Heteronormativity. ....................................... 71 Chapter 3: Armed Afrikaner Men: Militarized Male-Eroticism ........................................... 78 Overview: ................................................................................................................................................................. 78 The Hunt as Initiation into Afrikaner Manhood ....................................................................................................... 80 A Different Kind of Hunt: Melancholic Pederasty ................................................................................................... 85 Cruising/Sex-Hunt: Sex as an Attempt at Community ............................................................................................. 96 Hunting for Moffies ................................................................................................................................................ 104 Chapter 4: “Men without Women”: Queering Sex in the Carceral Space .......................... 124 Overview: ............................................................................................................................................................... 124 Papa Wag Vir Jou: Male Prisoners as Sexualised Others ....................................................................................... 127 Constructing a Queered Prison Masculinity ........................................................................................................... 144 Chapter 5: “Words Gone too Soon”: Queer Duiker.............................................................. 165 Overview: ............................................................................................................................................................... 165 “I am almost a man”: Manhood and Understanding How it feels to be a Woman ................................................. 166 The Mental Institution and Male Brothel as Spaces of Queer Community ............................................................ 175 Chapter 6: Contemporary Labels of Dissent: Die Antwoord Appropriates the Number .. 209 Overview: ............................................................................................................................................................... 209 “Let Us Set the Fokken Record Straight, DJ Hi-Tek Will Fuck You in the Ass” .................................................. 210 Conclusion: ................................................................................................................................ 226 Rooiland, ‘n Tronk Drama: More Than a “Wyfie” ................................................................................................. 226 Bibliography: ............................................................................................................................. 230 Stellenbosch University https://scholar.sun.ac.za 6 List of Figures: Figure 1: “Who’s Driving You Home Tonight?” Example A 132 Figure 2: “Who’s Driving You Home Tonight?” Example B 133 Figure 3: “They’d Love to Show You a Good Time” Example A 134 Figure 4: “They’d Love to Show You a Good Time” Example B 135 Figure 5: Still from Die Antwoord’s “Fok Julle Naaiers” music video 204 Stellenbosch University https://scholar.sun.ac.za 7 Chapter 1: Introduction Overview: As Andrew Tucker, in Queer Visibilities, Space, Identity and Interaction in Cape Town (2009) notes, South Africa took a giant step forward with regard to ensuring equality for homosexuals1 in South African society when in 2006 [i]t decided to grant same-sex couples the right to marry […] [and thereby] position [itself] as the most
Recommended publications
  • Rodrigue HUART
    Mémoire de fin d’études Rodrigue HUART Le clip musical : Médium d’auteur, hybride entre musique, cinéma et photographie. Comment définir le clip musical comme un genre à part entière, médium hybride entre musique et cinéma? Quelles sont ses spécificités photographiques, d’un point de vue historique, esthétique et technique? Sous la direction de Monsieur Christophe CAUDROY Membres du jury : Monsieur Christophe CAUDROY Madame Françoise DENOYELLE Madame Claire BRAS Monsieur Pascal MARTIN Section photographie, promotion 2013 Remerciements Je souhaite tout d’abord remercier les membres du jury, Madame Françoise Denoyelle et Monsieur Pascal Martin. Je remercie Monsieur Christophe Caudroy pour les conseils prodigués tout au long de la rédaction de ce mémoire et Madame Claire Bras qui m’a permis de poser les bases de cette étude. Je tiens également à remercier mes camarades de promotion Nejib Boubaker, Louis Boulet, et Thibaut Bissuel, qui, chacun à leur manière m’ont permis d’avancer sereinement jusqu’au terme de l’écriture de ce mémoire. Je remercie Romain Bassenne et Pascale Fulghesu pour leur sympathie et leur disponibilité sans faille. Je remercie Monsieur Michel Coteret, directeur de la formation initiale et l’école ENS Louis Lumière pour le prêt de la Phantom et du studio 2. Je remercie Abteen Bagheri, Roger Ballen, Pierre-Édouard Joubert, Marty Martin, Pablo Maestres, Chris Milk, réalisateurs de clips musicaux, d’avoir répondu à mes questions avec intérêt et sympathie. Je remercie chaleureusement toutes les personnes qui m’ont accompagné dans la réalisation de ma partie pratique, le clip Washed Away pour le groupe Juveniles : Pierre Saba-Aris, Arthur Briet, Brice Barbier, Quentin Labail, Théo Raush, Flora Fishbach, Maxime Ducrot, Kevin Fermaud, Loich Lambert et Gilles Desloires.
    [Show full text]
  • How Ninja from Die Antwoord Performs South African White Masculinities Through the Digital Archive
    ZEF AS PERFORMANCE ART ON THE ‘INTERWEB’: How Ninja from Die Antwoord performs South African white masculinities through the digital archive by Esther Alet Rossouw Submitted in fulfilment of the requirements of the degree MAGISTER ARTIUM in the Department of Drama Faculty of Humanities University of Pretoria Supervisor: Dr M Taub AUGUST 2015 1 ABSTRACT The experience of South African rap-rave group Die Antwoord’s digital archive of online videos is one that, in this study, is interpreted as performance art. This interpretation provides a reading of the character Ninja as a performance of South African white masculinities, which places Die Antwoord’s work within identity discourse. The resurgence of the discussion and practice of performance art in the past thirty years has led some observers to suggest that Die Antwoord’s questionable work may be performance art. This study investigates a reconfiguration of the notion of performance art in online video. This is done through an interrogation of notions of risk, a conceptual dimension of ideas, audience participation and digital liveness. The character Ninja performs notions of South African white masculinities in their music videos, interviews and short film Umshini Wam which raises questions of representation. Based on the critical reading of Die Antwoord’s online video performance art, this dissertation explores notions of Zef, freakery, the abject, new ethnicities, and racechanges, as related to the research field of whiteness, to interpret Ninja’s performance of whiteness. A gendered reading of Die Antwoord’s digital archive is used to determine how hegemonic masculinities are performed by Ninja. It is determined that through their parodic performance art, Die Antwoord creates a transformative intervention through which stagnant notions of South African white masculinity may be reconfigured.
    [Show full text]
  • Expressions of Coloured Identity in Cape Town-Based Hiphop
    In the Mix: Expressions of Coloured Identity in Cape Town-Based Hiphop The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Moses, Warrick. 2019. In the Mix: Expressions of Coloured Identity in Cape Town-Based Hiphop. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42029829 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA !"#$%&#'()*#+),-&..(/".#/0#1/2/3-&4#!4&"$($5#("#16,&#7/8"9:6.&4#;(,%/,# # # # # <#4(..&-$6$(/"#,-&.&"$&4## :5## =6--(>?#'/.&.# $/# 7%&#@&,6-$A&"$#/0#<0-(>6"#6"4#<0-(>6"#<A&-(>6"#B$34(&.# ("#,6-$(62#0320(22A&"$#/0#$%&#-&C3(-&A&"$.## 0/-#$%&#4&D-&&#/0# @/>$/-#/0#E%(2/./,%5# ("#$%&#.3:F&>$#/0## <0-(>6"#B$34(&.# # # # # ;6-G6-4#H"(G&-.($5# 16A:-(4D&I#'6..6>%3.&$$.# <,-(2#JKLM# ! ! ! ! ! ! ! ! ! ! !!"#$%!&'(()*+!,-./.! 011!2)345.!2/./(6/7! ! ! !"##$%&'&"()*+,-"#(%.*/)0%",*1()#()** * * * * 2'%%"34*1(#$#* * * * /)*&5$*1"6.*768%$##"()#*(9*:(;(<%$,*/,$)&"&=*")*:'8$*>(?)@A'#$,*B"85(8* * * !"#$%&'$( * 1=*,"##$%&'&"()*8%(C$3&D*!"#$%&#'()*#")-$#&"0'&$#*$68%$##"()#*(9*EF"6$,*%'3$DG*(%* E3(;(<%$,G*#(3"(@8(;"&"3';*'),*3<;&<%';*",$)&"&=*")*&5$*8$%9(%F')3$*0$)%$*(9*:'8$*>(?)@A'#$,* 5"85(8*F<#"3H*I(<&5*+9%"3')*5"85(8*(%"0")'&$,*")*&5"#*3"&=*'),*5'#*A$$)*'##(3"'&$,*?"&5*&5$*
    [Show full text]
  • Challenging Desire: Performing Whiteness in Post-Apartheid South
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) Challenging Desire: Performing Whiteness in Post-Apartheid South Africa A thesis submitted in the fulfilment of the requirements for the degree of Doctor of Philosophy In the Department of Drama at Rhodes University Sonja Smit January 2014 Abstract The central argument of this thesis asserts that in the process of challenging dominant subject positions, such as whiteness, performance creates the possibilities for new or alternative arrangements of desire. It examines how the creative process of desire is forestalled (reified) by habitual representations of whiteness as a privileged position, and proposes that performance can be a valid form of resistance to static conceptions of race and subjectivity. The discussion takes into account how the privilege of whiteness finds representation through forms of neo-liberalism and neo-colonialism in the post apartheid context. The analysis focuses on the work of white South African artists whose work offers a critique from within the privileged “centre” of whiteness. The research is situated within the inter-disciplinary field of performance studies entailing a reading and application of critical texts to the analysis. Alongside this qualitative methodology surfaces a subjective dialogue with the information presented on whiteness. Part Two includes an analysis of Steven Cohen’s The Cradle of Humankind (2011), Brett Bailey’s Exhibit A (2011) and Michael MacGarry’s LHR-JNB (2010). Each section examines the way in which the respective works engage in a questioning of whiteness through performance. Part Three investigates South African rap-rave duo, Die Antwoord and how their appropriation of Zef interrogates desires for an essential authenticity.
    [Show full text]
  • Muller Suen 2016.Pdf
    INHOUDSOPGAWE BEDANKINGS ............................................................................................................. i ABSTRACT ................................................................................................................. ii OPSOMMING ............................................................................................................. iii HOOFSTUK EEN ........................................................................................................ 1 INLEIDING .................................................................................................................. 1 1.1 Inleiding ............................................................................................................................. 1 1.2 Bekendstelling van die kontekstuele ruimte waarin Jones Ninja konstrueer ..................... 2 1.2.1 Breë kwashale van die apartheidskonteks .............................................................. 3 1.2.2 Bondige kontekstualisering van postapartheid ........................................................ 6 1.2.3 Bekendstelling van Watkin Tudor Jones ................................................................... 9 1.2.4 Bekendstelling van Ninja as deel van Die Antwoord ............................................. 11 1.2.5 Die Suid-Afrikaanse stereotipes wat Ninja vergestalt ............................................ 13 1.2.6 Ninja as ʼn “zef-Afrikaner” ....................................................................................... 15 1.2.7 Ninja as
    [Show full text]
  • Download Lagu Die Antwoord Ugly Boy
    Download lagu die antwoord ugly boy LINK TO DOWNLOAD Free download Die Antwoord Ugly Boy mp3 songs in high quality for free. High quality music, biggest collections of artists here. Download Die Antwoord songs, singles and albums on MP3. Over one million legal MP3 tracks available at Juno Download. Die Antwoord. Official Die Antwoord Ugly boy lyrics at CD Universe. Ooh I love my ugly boy So rough and tough Don't care about anything but me Yes I just love him cause he's so crazy Just crazy about me Ooh I love my. Dapatkan Lirik lagu UGLY BOY oleh Die Antwoord! Koleksi lengkap lirik lagu Die Antwoord hanya ada di Lirikbagus. 03/06/ · Listen to Ugly Boy on Spotify. Die Antwoord · Song · Music Duration: 3 min. Stream Ugly Boy by Die Antwoord from desktop or your mobile device. SoundCloud. Ugly Boy by Die Antwoord published on TZ. Genre Electronic Comment by minji. just love this. TZ Comment by Adam Edge. Why is it always at the end there are. Die Antwoord "Ugly Boy": Ooh I love my ugly boy So rough and tough Don't care about anything but me Yes I just love him cause. Download: Lagu Fuc Boy MP3 & MP4 Download lagu Lagu Fuc Boy MP3 dapat kamu download secara gratis di MetroLagu. Untuk melihat detail lagu Lagu Fuc Boy klik salah satu judul yang cocok, kemudian untuk link download Lagu Fuc Boy ada di halaman berikutnya. Die Antwoord - Ugly Boy (tradução) (Letra e música para ouvir) - Yolandi / Ooh, I love my ugly boy / So rough and tough / Don't care about anything but me / Yes, I just love him cause he's so crazy / .
    [Show full text]
  • The BG News September 4, 1998
    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 9-4-1998 The BG News September 4, 1998 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News September 4, 1998" (1998). BG News (Student Newspaper). 6358. https://scholarworks.bgsu.edu/bg-news/6358 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Friday,The Sept. 4 1998 A dailyBG independent student News press Volume 85* No. 9 Vandals strike cars in lot 9 □ Several cars parked in Uni- my resident adviser told me (the cars) were vandalized. I went to check versity lot 9 were broken into and mine was one of them." and stereo equipment was Matz said his windows were broken out and his stereo and radio equipment stolen. were stolen. He said he noticed between eight and ten cars broken into. He said he does not believe the car By BRANDI BARHITE break-ins had anything to do with the The BG News recent problems with parking, yet noted Broken glass and missing stereo equip- the suspects knew what they were doing. ment brought some students out of bed "I felt that the lot was safe because it early Thursday morning. Three Universi- was in a high-traffic area.
    [Show full text]
  • Die Potensiële Problematiek Van Kulturele Toeëiening in Hosh Tokolosh
    Die potensiële problematiek van kulturele toeëiening in Hosh Tokolosh M Sorgdrager orcid.org/0000-0002-2476-5951 Verhandeling voorgelê ter nakoming vir die graad Magister Artium in Kunsgeskiedenis aan die Noordwes-Universiteit Studieleier: Dr. M Goosen Eksaminering: November 2018 Studentenommer: 23459514 Die finansiële ondersteuning van die Suid-Afrikaanse Akademie vir Wetenskap en Kuns vir hierdie navorsing word hiermee erken. Menings wat uitgespreek word en gevolgtrekkings wat gemaak word, is dié van die outeur en kan nie noodwendig aan die Akademie toegeskryf word nie Abstract This research investigates questions of cultural appropriation in the music video Hosh Tokolosh by Gazelle, Jack Parow, and Louis Minnaar. Cultural appropriation is a complex psychological game, encumbered with issues of injustice. The construct broadly refers to the unwarranted use and appropriation of marginalised cultures’ cultural products by a prevailing culture that is not bound to that culture. Although acts of cultural appropriation are not new, it has only recently gained media attention, emphasising the need for critical conversations surrounding culture. In this dissertation, I investigate cultural appropriation in a threefold way: 1) as a representation of an asymmetric power landscape 2) as containing and propagating protagonistic and antagonistic elements and 3) as problematically reducing culture to merely a costume. Hosh Tokolosh is ostensibly a comical, frivolous depiction of a Southern African narrative. Through further exploration it appears, however, that the music video is laden with more issues than is immediately apparent. The conceptualisers portray cultural products, such as the tale of the Tokoloshe, to which they are not culturally entitled in order to construct an entertaining music video.
    [Show full text]
  • Die Antwoord
    Die Antwoord: Postmodern performances of local identities Nena Buchmann Student Number: 071045T A Research Report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television. Johannesburg, May 2014 DECLARATION I declare that this is my own unaided work, save insofar as indicated in the acknowledgments and references. It is being submitted in partial fulfillment for the degree of Master of Arts in Film and Television, in the University of the Witswatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. ___________________________ Nena E. Buchmann 31st day of MAY, 2014 2 ACKNOWLEDGEMENTS It is with my greatest appreciation that I thank the following people: Lieza Louw – for being a fantastic supervisor, for believing in me, for delicious coffee, for lending me your books, for the million things more that you did for me… Mom and Dad – for supporting my decision to further my studies and for your unconditional love and patience while I completed my seven year run of studying. Richard – for keeping Mom sane when I nearly drove her crazy, for your wise words and guidance, and especially for helping me with my submission! Rob – my big little brother Special friends and special family All those who contributed to the making of Flood Hale Modau and the admin staff at the Postgraduate Office at the Faculty of Humanities, University of the Witwatersrand 3 TABLE OF CONTENTS Declaration 2 Acknowledgements 3 Table of Contents 4 1.
    [Show full text]
  • On Popular Culture
    e.g. Photo found on Digital Music News On Popular Culture Spring 2017 Vol.1 Issue 2 Letter from the Editors Vol 1 Issue 2 June 15th, 2017 Welcome back to returning readers and a warm welcome to those who are visiting the e.g. journal site for the first time. After our winter special issue: On Violence, we decided to delve into an frequently misrepresent- ed field of interdisciplinary research: popular culture. Historically, scholars who study popular culture have often been pigeon-holed as doing fringe research which, though entertaining, is outside the heavy-hitting work of most academic departments. The study of popular culture has sought to resist the division of cultural forms into “high” and “low,” arguing that there is as much value to be found in comic books as there is in opera. Our hope, by offering this special issue on the topic, is to create space for students who study popular culture from a wide range of disciplinary perspectives to show how popular culture shapes the ways we en- gage with the world and helps codify timely discussions of race, economics, politics, social movements, etc. in the global imagination. We were not disappointed. This issue marked a sharp uptick in submissions from a wide range of disciplines: film studies, gender and women’s studies, and media studies. We have selected two essays that speak to the current scholarly moment in the study of popular culture. In our first essay, “Die Antwoord: The Face of a Homologous Subculture, or a Purposeless Façade of Zef?”, Julia Engel makes use of Dick Hebdige’s theories of subculture formation to analyze the cultural context, artistic contributions, and political significance of the South African rap-rave performance group Die Ant- woord.
    [Show full text]
  • Parodies of Whiteness: Die Antwoord and the Politics of Race, Gender and Class in South Africa
    Parodies of Whiteness: Die Antwoord and the Politics of Race, Gender and Class in South Africa ABSTRACT: The dramatic reconfiguration of the social, political and ideological order in South Africa since 1990/1994 has demanded a concomitant reconceptualization of (white) Afrikaner notions of self and belonging in the (new) nation. In this paper, we draw on recent developments in the study of vari-directional voicing (polyphony), performance and mediatization to examine how the South African rap-rave group Die Antwoord makes use of parody and metaparody in their music to critique emerging ‘new Afrikaner’ identities and the racial, class and gender configurations on which they are based. We also discuss the structural limits of these critiques and the political potential of (meta)parodic performance more generally. KEYWORDS: (meta)parody, polyphony, performance, race, class, gender, South Africa In August 2016, ¥o-landi Vi$$er, a member of the well-known South African rap-rave group Die Antwoord, took to Instagram to accuse filmmaker Dave Ayer of “jockin our style” in his newly- released action film Suicide Squad. Vi$$er’s post was immediately picked up by a variety of international media outlets, who described it as yet another blow to Ayer’s film, which by that point had been almost universally panned by critics. In South Africa, however, Vi$$er’s statement elicited a combination of bemusement and anger, with hundreds of Twitter users commenting on the irony of her claim. Since its inception in 2010, Die Antwoord has been heavily criticized
    [Show full text]
  • Cosmopolitanism and Nationalism in Post- Apartheid Portrayals Of
    Cosmopolitan REFEREED PAPER Civil Societies: An Monstrous Transformations: Cosmopolitanism Interdisciplinary Journal and Nationalism in Post- Apartheid Portrayals Vol. 12, Nos. 2–3 of Afrikaners Dec 2020 Nicholas J. Hauman Benedictine College, Atchison, Kansas Corresponding author: Nicholas J. Hauman, Benedictine College, 1020 North 2nd Street, Atchison, KS 66002, United States of America. [email protected] DOI: https://doi.org/10.5130/ccs.v12.i2-3.7174 © 2020 by the author(s). This is an Open Access article Article History: Received 01/5/2020; Revised 27/08/2020; Accepted 01/10/2020; distributed under the terms Published 12/02/2021 of the Creative Commons Attribution 4.0 International (CC BY 4.0) License (https:// creativecommons.org/ licenses/by/4.0/), allowing Abstract third parties to copy and redistribute the material in According to Ulrich Beck, the breakdown of nation- state power and the migration of any medium or format and to people, culture and ideas through neoliberalism provides us with a unique historical remix, transform, and build moment that simultaneously holds the potential for unparalleled cosmopolitanism upon the material for any and rising xenophobia. This essay further explores and problematizes this distinction purpose, even commercially, through an analysis of the video art and music of the rap- rave group Die Antwoord and provided the original work is the photographer Roger Ballen, both of which provide images of Afrikaner Identity with properly cited and states its license. differing ramifications for the formation of cosmopolitan identities. In both, figures become living collages, their anatomy mixes with animals and inanimate objects, Citation: Hauman, N. J.
    [Show full text]