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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

Grace A. Musila
Affiliation:
Stellenbosch University
Ebenezer Obadare
Affiliation:
Associate Professor, Department of Sociology, University of Kansas
Wendy Willems
Affiliation:
Lecturer in Media, Communication and Development in the LSE Department of Media and Communications
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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.

Type
Chapter
Information
Civic Agency in Africa
Arts of Resistance in the 21st Century
, pp. 147 - 166
Publisher: Boydell & Brewer
Print publication year: 2014

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