Monstrous Transformations
Bibliographic Data
| ID | 2641591 |
|---|---|
| Authors | Nicholas Hauman (0000-0002-9563-5716, Benedictine College, corresponding author) |
| Year | 2020 |
| Volume | 12 |
| Issue | 2-3 |
| Publication date | 2020-11-25 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Cosmopolitan Civil Societies An Interdisciplinary Journal (JOURNAL) |
| Journal identifiers | ISSN: 1837-5391 • E-ISSN: 1837-5391 |
| Publisher | University of Technology, Sydney (UTS) (PUBLISHER) |
| DOI | 10.5130/ccs.v12.i2-3.7174 |
| OpenAlex | W4251040158 |
| Language | EN |
| References cited | 21 |
According to Ulrich Beck, the breakdown of nation-state power and the migration of people, culture and ideas through neoliberalism provides us with a unique historical moment that simultaneously holds the potential for unparalleled cosmopolitanism and rising xenophobia. This essay further explores and problematizes this distinction through an analysis of the video art and music of the rap-rave group Die Antwoord and the photographer Roger Ballen, both of which provide images of Afrikaner Identity with differing ramifications for the formation of cosmopolitan identities. In both, figures become living collages, their anatomy mixes with animals and inanimate objects, and they transform into stark colors of black and white. The cosmopolitan becomes something monstrous and frightening. If an understanding of this xenophobic seed embedded in cross cultural soil is placed in the context of the larger history of capitalist market expansion, within the cyclical movement of cosmopolitanism and nationalism in South Africa, then discourses of monstrous transformations can be seen as obfuscating cosmopolitanism and xenophobia as alternatives opposing one another - as dialectically related phenomena. Interactions between groups within capitalism might lead to innovative mixtures but only in ways that quietly reinforce differences which surface when competition over resources occurs in hierarchical social relationships. Through analyzing how identities fuse in the works of Ballen and Die Antwoord, the following article will display both the space of critique and the danger of co-option of cosmopolitan identities
Aesthetics · Art · Capitalism · Cosmopolitanism · Epistemology · Materialism · Nationalism · Political science · Politics · Racism · Sociology · Xenophobia · Gender Studies · Law · Philosophy · South African History and Culture
A history of South Africa
The Oxford history of South Africa
Enter the imperceptible
Cosmopolitanism and the African Renaissance
Black Feminist Thought
Challenges to Political Cosmopolitanism
Fatty Boom Boom and the Transnationality of Blackface in Die Antwoord's Racial Project
Part IV
Die Antwoord and a delegitimised South African whiteness
Afrikaans, Inc
White
Skin Salvaged
National melancholia and Afrikaner self-parody in post-apartheid South Africa
Rehabilitating a whiteness disgraced
Postapartheid Justice
The American Construction of the Poor White Problem in South Africa
Tactical Cosmopolitanism and Idioms of Belonging
Bastardised whiteness
Parodies of whiteness
Shifting boundaries of racial space in post-apartheid South Africa
Apartheid's Anthropologists
| Citation velocity | historical |
|---|---|
| Highly cited | No |