Abstract
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
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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.