Apartheid Namibia: a Focus on State Sponsored Cultural Festivals in Kavango Region

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Apartheid Namibia: a Focus on State Sponsored Cultural Festivals in Kavango Region THE FORMATION OF 'NATIONAL CULTURE' IN POST- APARTHEID NAMIBIA: A FOCUS ON STATE SPONSORED CULTURAL FESTIVALS IN KAVANGO REGION. MICHAEL UUSIKU AKUUPA STUDENT NO: 2559867 Dissertation presented for the degree of Doctor of Philosophy (Anthropology) at University of the Western Cape PROMOTER: PROF HEIKE BECKER 2011 1 ABSTRACT This dissertation investigates colonial and postcolonial practices of cultural representations in Namibia. The state sponsored Annual National Culture Festival in Namibia was studied with a specific focus on the Kavango Region in northeastern Namibia. I was particularly interested in how cultural representations are produced by the nation-state and local people in a post-colonial African context of nation-building and national reconciliation, by bringing visions of cosmopolitanism and modernity into critical dialogue with its colonial past During the apartheid era, the South African administration encouraged the inhabitants of its „Native Homelands‟ to engage in „cultural‟ activities aimed at preserving their traditional cultures and fostering a sense of distinct cultural identity among each of Namibia‟s officially recognized „ethnic groups‟. This policy was in line with the logic of South African colonial apartheid rule of Namibia, which relied upon the emphasis of ethnic differences, in order to support the idea that the territory was inhabited by a collection of „tribes‟ requiring a central white government to oversee their development. The colonial administration resorted to concepts of „tradition‟ and „cultural heritage‟ in order to construct Africans as members of distinct, bounded communities („tribes‟) attached to specific localities or „homelands‟. My central argument is that since Namibian independence in 1990, the postcolonial nation-state has placed emphasis on cultural pride in new ways, and on identifying characteristics of „Namibian-ness‟. This has led to the institution of cultural festivals, which have since 1995 held all over the country with an expressed emphasis on the notion of „Unity in Diversity‟. These cultural festivals are largely performances and cultural competitions that range from lang-arm dance, and „traditional‟ dances, displays of „traditional‟ foodstuffs and dramatized representations. The ethnographic study shows that while the performers represent diversity through dance and other forms of cultural exhibition, the importance of belonging to the nation and a larger constituency is simultaneously highlighted. However, as the study demonstrates, the festivals are also spaces where local populations engage in negotiations with the nation-state and contest regional forms of belonging. The study shows how a practice which was considered to be a „colonial representation‟ of the „other‟ has been reinvented with new meanings in postcolonial Namibia. The study demonstrates through an analysis of cultural representations such as song, dances and drama that the festival creates a space in which „social interaction‟ takes place between participants, spectators and officials who organize the event as social capital of associational life. KEY WORDS: Post-colonial state, reconciliation, Anthropology, culture, globalization, nationalism, cultural festivals, cultural diversity, national identity, media 2 DECLARATION I declare that „THE FORMATION OF 'NATIONAL CULTURE' IN POST- APARTHEID NAMIBIA: A FOCUS ON STATE SPONSORED CULTURAL FESTIVALS IN KAVANGO REGION‟ is my own work, that it has not been submitted before for any degree or examination at any other university, and that all the sources I have used or quoted have been indicated and acknowledged as complete references. Michael Uusiku Akuupa November 2011 Signed………………… 3 DEDICATION This study is dedicated to all those that participated in culture festivals in Kavango Region. 4 ACKNOWLEDGEMENT Firstly, I thank God for the strength, courage and ability to do this work. Equally so, I express my profound gratitude and appreciation to my promoter Professor Heike Becker for your superior guidance and encouragement in writing of this thesis. It was a long journey and we have reached the destination. Furthermore, I thank Professor Olajide Oloyede „the elder‟ for your outstanding academic support and listening to me when I did not make sense, during weekends on end. You made me believe in myself. I also thank Professor Diana Gibson „auntie‟ for your encouragement and our critical deliberations on „performance‟ and „trance‟. I thank Dr. Sakhumzi Mfecane „Bra Saki‟ for your academic support and being a friend. I also acknowledge Dr. Emile Boonzaier for your insights on matters of Anthropology. I also thank the entire staff in the Department of Anthropology and Sociology for being good colleagues and their critical input during seminars when I presented my work. I thank Professor Meredith Mckittrick for reading my chapter drafts on numerous times. I want to acknowledge my academic friend and brother Kletus „Mukashirongo‟ Likuwa for being very supportive and constructively critical to this scholarly work. We have worked, laughed, and suffered together during this journey. You are a true friend „Likiti‟. I am highly indebted to Dr. Herbert Ndango Diaz the director at National Heritage and Culture Programmes (NHCP) for the opportunity you gave me to work as an intern at Maria Mwengere Culture Center in Kavango, and Mr. Simon Indongo for giving me crucial information about the festival. At Maria Mwengere Culture Center, I thank Mr. Thomas Shapi, Tamwa Mbambo, Valesca Kazanga, Donaveltha Bashir, Gelasia Shikerete, Seraphina, Theresia, Nangombe and all others for making my stay enjoyable at the center. I am equally indebted to the people of Rundu who participated in this study for their time and willingness to contribute to the wealth of knowledge. Thank you so much for working with me. I also thank my social friends Tate Jason Ambole, John Sivute, Gerre Kakonda, Nyerere Shanghala, Mukuve Hausiku, Maggy Nepaya, Nehoa Kautondokwa, and Michael Shirungu for 5 keeping in touch when I secluded myself during this academic project. I also thank everybody that contributed in any way to this study, but wished to remain anonymous. I am also grateful to Luccio Schlettwein and the Carl Schlettwein Foundation specifically, for its generous financial support during the first three years of my PhD research without which this study would have never come to fruition. Thank you for your kind support. Finally, I would thank my family especially my wife Mwengere for your support in this endeavor. I am also grateful to my parents, brothers and sisters and my children for being patient with me, I know that you needed my attention, but I could not afford it all to you fully. 6 Table of Contents Chapter 1: The festive „moment‟ of Namibia ........................................................................................... 9 Introduction and Background ................................................................................................................. 10 Aims and objectives of the study ............................................................................................................ 15 PhD research and setting ......................................................................................................................... 18 Limitations .............................................................................................................................................. 20 Ethical Consideration .............................................................................................................................. 22 Chapter outline ........................................................................................................................................ 24 Chapter 2: On „doing‟ and „performing‟ „culture‟ at State sponsored culture festivals .......................... 27 Introduction ............................................................................................................................................. 27 Anthropology and Performance .............................................................................................................. 28 Performance theory in context ................................................................................................................ 31 Theory of Performance: A critical look .................................................................................................. 34 Postcolonial nationalism: „One Namibia One Nation‟............................................................................ 40 Festival making in postcolonial Africa ................................................................................................... 45 Culture and making the nation ................................................................................................................ 47 Festival with new social meaning and function ...................................................................................... 50 Conclusion .............................................................................................................................................. 54 Chapter 3: “Whose child are you?” the dynamics and politics of ekoro/likoro in doing ethnography at home ........................................................................................................................................................ 57 Introduction ............................................................................................................................................
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