Book contents
- Frontmatter
- Contents
- Notes on Contributors
- Foreword
- Acknowledgements
- 1 Introduction
- Part I POSTCOLOINAL STATE FORMATION & PARALLEL INFRASTRUCTURES
- Part II EMBODIED MODES OF RESISTANCE & THE POSTCOLONIAL STATE
- Part III POPULAR CULTURE AS DISCURSIVE FORMS OF RESISTANCE
- 7 Participatory Politics in South Africa
- 8 Laughing at the Rainbow's Cracks?
- 9 ‘Beasts of No Nation’
- Part IV PUBLICS AS EVERYDAY SITES OF RESISTANCE
- Index
8 - Laughing at the Rainbow's Cracks?
from Part III - POPULAR CULTURE AS DISCURSIVE FORMS OF RESISTANCE
Published online by Cambridge University Press: 05 April 2014
- Frontmatter
- Contents
- Notes on Contributors
- Foreword
- Acknowledgements
- 1 Introduction
- Part I POSTCOLOINAL STATE FORMATION & PARALLEL INFRASTRUCTURES
- Part II EMBODIED MODES OF RESISTANCE & THE POSTCOLONIAL STATE
- Part III POPULAR CULTURE AS DISCURSIVE FORMS OF RESISTANCE
- 7 Participatory Politics in South Africa
- 8 Laughing at the Rainbow's Cracks?
- 9 ‘Beasts of No Nation’
- Part IV PUBLICS AS EVERYDAY SITES OF RESISTANCE
- Index
Summary
The emptiness behind the binary opposition is the emptiness behind the equation 0=0. One thing is opposed to another thing in a two-fold opposition incapable of accommodating marginalities, third forces, or synthesis
(Brockman 1986: 160).Introduction: ‘Don't touch me on my studio’
On 6 April 2011, South African television audiences watched an unscripted flare-up between e.tv anchor Chris Maroleng, Afrikaner Weerstandsbeweging (AWB) Secretary General Andre Visagie, and political analyst Lebohang Pheko during a live current affairs programme on race relations in South Africa, following the brutal murder of outspoken right-wing AWB leader Eugene Terreblanche. Terreblanche – a familiar figure in South African politics with strong views on race – was allegedly bludgeoned to death by his black farm workers. What stood out about the episode was not that Visagie and Maroleng almost came to blows on live television; nor that Visagie walked off the set in anger as the cameras rolled and the nation watched. The incident was unique in terms of the subsequent humour the South African public inscribed into Maroleng's agitated statement to Visagie: ‘Don't touch me on my studio!’ to which Visagie repeatedly shouted: ‘I will touch you on your studio!’ The grammatical error in the preposition ‘on’ had the country in stitches, with spoofs of the incident mushrooming across social media networks.
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- Civic Agency in AfricaArts of Resistance in the 21st Century, pp. 147 - 166Publisher: Boydell & BrewerPrint publication year: 2014