There’s
a kind of magic sweeping across global culture, taking everyone on a flux that
is exciting yet equally apprehensive at what lies at the corner of this
rollercoaster. Cultural critics are trying to forecast its trajectory, tech is
fueling its drive and marketers are desperately trying to keep abreast. Politicians
on the other hand, shame, (most) have absolutely no idea what’s going on.
Steve
Stoute, in 2011, authored an important book that was later adapted into a
mini-series entitled: The Tanning of America. It sought to educate the world
(and America) on the influence of black culture in contemporary America. And
so, this piece, in part, is inspired by The Tanning of America and the notion
of POST BLACK amongst other observations in contemporary culture.
Back
to South Africa, on the one hand, there’s this conversation about baby boomers
VS generation X and Y on a global scale. But there is something even more
peculiar about South African millennials. To better participate in this
cultural flux, one needs to have been between six years of age or early teens at
the beacon year of 1994 (in South Africa). The reason for this is because these
people would have experienced the transition during their formative years (mostly
at school level) and most probably have been
trying to locate themselves in post 94’ S.A, ever since. [This means
that this generation isn’t shocked at the sudden change of method, they could
easily adapt to new ways of doing things; which did not replace an entrenched
way of being.]
[Back
to 94’,] when considering the power of media there was a particular consistency
(and nostalgia) associated with the programming of the 90’s, it had a specific
agenda; which could be roughly summarized as ‘’education, health, opportunities,
diversity and nation-building’’. Think of programs like Soul City, Kideo, Issues
of Faith, Yizo Yizo, TRC, Lilifa likwa’Mthethwa, Ingqumbo yeminyanya, Teens on
a Tight Rope, Going Up, Suburban Bliss with more recently Backstage, Madam
& Eve and Gaz’ Lam. All these series were crucial to the shaping of our
world-view, all too critical. These productions sought to assist South Africans
negotiate their existence in this young democracy, if not that, it articulated
the change that citizens were faced with.
Fast
forward to 2014, we find ourselves at a cultural cross road and at this
intersection is
· - classism,
· - difference
in orientation between the generations (baby boomers strained relationship with
their kids of mid- 80’s)
· - socio -political
(the meaning of democracy out-weighting cultural norms)
· - and a strong
international media influence (or rather confluence)
There
are various vantage points at which to view this and the best of them all is to
sit at the peripheral of the various circles as an observer, not as critic or
traditionalist, just as an observer.
Earlier
this year I was invited to a music festival in Johannesburg which was an eye
opener for me, culturally, (black) Jo’burger’s are (naturally) more embracing and
as a result, some of their mannerisms may seem drastic to traditionalists. For
example kids have a very casual relationship with their parents, their drive
for success is at a strong dose and the women are much more assertive, not that
they shouldn’t be. And these are typical traits of a city, right?
What
I saw at the festival was a population of mid-30’s towards late 40’s rejoicing
to yesteryear music that evoked a very deep sense of nostalgia for them. They
drove the best cars, flamboyantly dressed and out to make statement. One can’t
articulate the buzz that enflamed when The Brand New Heavies hit stage. The
band had taken them to a past phase in their lives where they dreamt of the
party they were having at present. So as to say, ‘’this is what we dreamt of,
this music from our teens is now, LIVE in front of us, dressed in our best
cotton, at our venue of choice with an open audience drinking the best alcohol
in the cooler box’’. And I could only sit there as an observer, not as a critic
but as an observer.
This
experience was repeated at a local venue called Kwa-Max, but this time, it was
slightly different, just slightly.
The
venue is a high- end entertainment spot at uMlazi township but prices are as
high as Morningside, uMhlanga and Kloof (suburban) bars. Once again, the best
cars outside, the fashion was anything from Saint Laurent, Gucci, Versace all
across to Ralph Lauren. A good fraction of the audience is suburbia and the
other percentage is made up of wealthy locals of the same economic bracket.
The
interesting point was how everyone looked a bit too hip-hop, dressing hip-hop
like was laughed at and dismissed as ‘’nigger wannabes’’ until a few years ago.
Fade haircuts were also considered kwere-kwere hairstyles, they were also
laughed at. In South Africa the hip- hop culture was mainly a middle-class
movement. There are exceptions in this case too. This new jubilance towards
hip-hop culture is thanks to artists such as h2o, Skwatta Kamp, Tear Gas,
MalumKoolKat, Kuli Chana, HHP and KO who boldly contextualized hip-hop to
appeal to a local audience and changed its perception of ‘’wannabe thugs and
niggas’’. At no point did these artist’s songs make more sense than they did
when they were played kwa-Max.
At
some point, a friend said ‘’it’s a Sunday late night and I’m sure most of these
people have kids, where are the kids and who’s with the kids at this very
moment?’’ A question that I will sideline for the sake of this piece. For me,
what I got to understand is how black South Africa is responding to the myriad
of influences from their youth to their current life.
At
the conclusion of this, one cant help but ask, what will we project as the
global spotlight is cast on South Africa, where are we headed and what will we
be like in five decades from now? What will it mean to be a black South African
in 2064?
What
will the consequence of all of this be and retrospectively, what will we point
to as the defining moments of the new reality?
We
speak of Sophiatown, Cato Manor and District Six as cultural hotspots of
yesteryear, what will our kids point to when reflecting on their parents youth?
These
questions are posed at the gambit of the turning point in culture; The Tanning
of America, the redefinition of the black individual, POSTBLACK, the
millenialls in relation to their
offspring, technology, media, wealth, politics, pop influences and
orientation which will determine the goals and ambitions of the following
generation; both privileged and under privileged.