M.A. / The 1950s saw an upsurge in gang activities and as a result other alternative cultures emerged. In the midst of gang activities, a subcultural group that has come to represent the black township was in form; Amapantsula. This study examines changing Amapantsula identities, from the original style and dance to the present day, through the voices of actual Amapantsula insiders. Duduza township is used as a case study for the research. This dissertation attempts to begin to answer these more general question of what it is that constitutes the Amapantsula identity. While much work, past as well as recent, refers to Amapantsula, there are few studies dealing with Amapantsula as an identity, although some have been done on the links between kwaito music and Amapantsula. Although there has been a focus on kwaito music, which is associated with Amapantsula identity, there has not been much reference to the meaning of the accompanying dance. Moreover, present-day identification with Amapantsula identity has not been explored, and questions as to why most of the youth take part in it have been left unanswered. The following methodologies have been used. In this dissertation, data was generated through the use of interviewing (collecting oral histories using structured and semi-structured interviews) and by participant observation. The thesis consists of six chapters where within each new chapter deals with different aspects, of how the amapantsula construct their identities will be explored. In chapter 1 some of the theoretical considerations which inform this dissertation are examined. This is followed by a discussion of the debates in the literature on the Amapantsula. Some of the theoretical concepts that are explored touch on i my understanding of culture, including popular culture and subcultures. Theories on the origins of the Amapantsula are considered. Questions on whether they are a subculture or not, whether all Amapantsula are also tsotsis and the connection between the Amapantsula and political resistance will also be deliberated upon. All these issues will also be further reflected upon in individual chapters. The age bracket that defines the Amapantsula shifts continuously since they have began to be noticed as a popular phenomenon. Prior to 1976, the majority of Amapantsula ranged from the ages of 30 onwards. However, the political shifts that took place in the ’70s influenced the changes that the Amapantsula underwent in terms of age and behavioural patterns. For the process of this research the ages range between of 14 and 25, but also Amapantsula from different generations have been used so that a holistic conclusion can be reached. Chapter two outlines the Amapantsula of Duduza and includes the historical background of the township. There is also a discussion on how identity and performance is enacted and experienced by Amapantsula in this particular township. Chapter three explores issues of masculinity within the subculture of Amapantsula, in particular, how Amapantsula live their masculinity in their everyday lives. How concepts of masculinity impact on performance is also examined. In addition, a brief discussion of abomshoza (the female counterpart) is introduced. Chapter four looks at the dress and style of Amapantsula, focussing particularly on the fossilised icons of the 16 inch and All Star. Finally, chapter five deals with the dance, such as the origins of dance and how it can be used to construct a large part of the Amapantsula identity, with particular reference to meaning in dance by the Via Katlehong. This dissertation attempts to illustrate the dynamic process of identity creation through the use of Amapantsula.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:uj/uj:2108 |
| Date | 28 February 2012 |
| Creators | Makukule, Idah Makhosazana |
| Source Sets | South African National ETD Portal |
| Detected Language | English |
| Type | Thesis |
Page generated in 0.0071 seconds