Abstract
The last few years of widespread protest and activism initiated by young Black South Africans within a project of decolonization have been critical for the larger context of social justice in the post-apartheid democracy. Importantly student activism has reminded not only higher education, but the country more widely, that the challenges in the ‘new’ democracy need to address the complex intersections of racial capitalism and patriarchy, the long heritage of the violences of colonization and continued white, male and Eurocentric dominance and privilege. Young people have deployed a powerful intersectional and decolonial discourse that brings the inequalities of race, gender, sexuality, age, dis/ability to centre stage through a range of creative, performative modalities that also engage the body, affect, materiality and subjective experience. Significantly, these efforts reinvigorate a role for a critical, feminist and community psychology in the acknowledgement of the psychosocial demands of social change. The chapter argues that the proliferation of what I term performative activism and activist performance by young people through both activist and artistic interventions provide an important example of what Boonzaier and van Niekerk (2019) term ‘modes of engagement, research, dialogue and reflexive practice that espouse principles of an emerging decolonial feminist community psychology’ in the introduction to this volume. Drawing on a proliferation of such activism and art over the last few years in South Africa, which specifically engage materiality, bodies and affect, I argue for the generative impact of such disruptions to current orthodoxies and practices in higher education and in patriarchal racial-capitalist inequalities and injustices more generally. Through these examples, I explore the way in which transgression, bodies and the ‘taking of space’ is deployed to disrupt, disturb and destabilize normative patterns of intersectional gender and sexual inequality, injustice and violence in South African higher education and society more broadly. Such examples will also be drawn on to unpack the way in which counter-hegemonic identities, practices and performances claim public space to disturb continued marginalisations and exclusions. The chapter argues that a critical, decolonial feminist community psychology is already there/here, and urges in line with Haraway (2016) to ‘stay with the trouble’ by acknowledging, promoting and learning lessons in dialogue with the activist and artistic actions and imaginaries of young South Africans.
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Notes
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See https://www.theguardian.com/artanddesign/2015/may/15/sethembile-msezane-cecil-rhodes-statue-cape-town-south-africa for more detailed description and http://www.sethembile-msezane.com/projects/ for more of Msezane’s work.
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https://www.facebook.com/transfeministcollective/posts/113220963351248, accessed 18 June 2016.
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Siyanibona has generated 13 television episodes so far which highlight discrimination against LBTIQ+ as well as resistances and advocacy (see for example, https://www.youtube.com/watch?v=0Ew-A8B-lI0; http://www.mambaonline.com/2018/02/08/sas-first-lgbti-tv-show-celebrates-coming-closet/)
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Iranti is a queer human rights visual media organization based in Johannesburg, South Africa. Iranti works within a human rights framework as its foundational platform for raising issues on Gender, Identities and Sexuality. Founded in January 2012 by Human Rights activist, photographer and curator, Jabu Pereira is formed with the clear intention of building local partnerships and movements that use media as a key platform for lobbying, advocacy and educational interventions across Africa. Through the use of various visual mediums such as videos, photography, audio recording, among others it sets itself as an archive of Queer memory in ways that destabilize numerous modes of discrimination based on gender, sexuality and sexual orientation’. (https://www.iranti-org.co.za)
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While representing a transnational example of women’s solidarity, #MeToo also raises intersectional inequalities since the campaign has tended to be driven by global northern white womxn, while many of those in global southern and other marginalized, less resourced parts of the world have not been.
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Acknowledgements
Acknowledgements to the Andrew W. Mellon Foundation for funding the New Imaginaries for Gender and Sexual Justice Project. Thanks to the editors of this volume for their patience and support, and to Karen Graaf for assistance with literature. My appreciation to the inspiring work of activists and artists in South Africa, on the continent and elsewhere.
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Shefer, T. (2019). Performative Activism and Activist Performance: Young People Engaging in Decolonial Feminist Community Psychology in Contemporary South African Contexts. In: Boonzaier, F., van Niekerk, T. (eds) Decolonial Feminist Community Psychology. Community Psychology. Springer, Cham. https://doi.org/10.1007/978-3-030-20001-5_10
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