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12 November 2024 | Story Dr Nombulelo Shange | Photo André Damons
Dr Nombulelo Shange
Dr Nombulelo Shange, Lecturer in the Department of Sociology at the University of the Free State

Opinion article by Dr Nombulelo Shange, Lecturer in the Department of Sociology at the University of the Free State


Women For Change has created a very important petition, calling for the cancellation of the upcoming Chris Brown concert. Chris Brown has a long history of abusing women, with the 2009 abuse of Rihanna being the most notable example. The Women for Change petitionhas been polarising, with some celebrating the activism and support for women, even when it seems “unpopular” to do so. Others have rushed to social media to defend the American singer, sharing their excitement about attending the concert.

The sad reality is the Women For Change campaign is unlikely to succeed given that the tickets sold out in a matter of hours. South Africa prioritises profit over everything, over social well-being, over protecting vulnerable groups, its own state agenda or other important social factors. But this is an important campaign because it drums up awareness and holds a mirror to our society, reflecting the lengths we will go through to defend patriarchy.

Understanding structures of patriarchy through a radical feminist perspective

The overwhelming support for Chris Brown in a country that has been labelled the rape capital of the world, shows we are unwilling or unable to understand how we gained this jarring reputation. Patriarchy is at the centre of it all, radical feminist scholar, Sylvia Walby offers deeper discussion on patriarchy. Broadly, patriarchy is a social system that prioritises men and sees them as superior to women and is rooted in the oppression and marginalisation of women.

Walby identifies six social structures and practices that create or reinforce patriarchy, namely;

  • Household production, which includes everything from the hierarchy of importance within the family, women’s roles often being seen as inferior and unpaid domestic work.
  • Labour, where women are either excluded, discriminated against and/or paid less.
  • Culture, which entails ideologies and praxis that portray women as inherently inferior, a view often reinforced by religion, media and even language.
  • Sexuality ensures that women’s sexuality or sexual expression is more controlled, while men have more freedoms. Women have less bodily autonomy and agency.
  • Violence, gender-based violence and sexual abuse give men power over women, leaving women subdued and fearful.
  • Finally, the state and related structures like legal systems, policies and so on have a long history of perpetuating systematic and direct violences against women.

Intersectional politics and patriarchy

These six structures of patriarchy seldom ever exist in isolation from each other, in fact, it can be challenging to tell them apart because they are so interwoven. A single event could see one or more of these structures at play, which is why in part it becomes difficult to ensure justice in individual cases or to even dismantle patriarchy as a whole to protect everyone (including men) from the harm patriarchy causes. Intersectional scholars and activists such as Audre Lorde, Kimberlé Crenshaw, bell hooks and Patricia Hill Collins further help us understand the complex cocktail of oppression when patriarchy is met by other social identities perceived as negative, including; race, class, religion and so on.

These two theoretical approaches provide a lens for society to understand gender and different forms of oppression, so that we might be better able to address them. So, if a black woman in South Africa experiences oppression at a predominantly white-male-led highly respected place of work, and the abuse and bullying eventually leads to the black woman being pushed out with some reputational harm – in this singular case it becomes clear that there are different structures of patriarchy involved, and intersectional politics at play. The intersectional politics help us understand the racial and other social nuances like age and others that were used as a basis for marginalising this black woman. Multiple structures of patriarchy are at play in this illustration, labour, because the oppression is taking place in the workplace. Sexuality might also be at play depending on the kind of abuse the black woman is experiencing and because this structure of patriarchy includes bodily autonomy and the risk of being sexualised at work, based on rigid ideas around how one should behave or dress. Culture is also at play and informs the view that the workplace has towards the black women being seen as incompetent, incapable and not belonging in that space. And even the state and related structures are also interlocked into this oppression because stronger legal and policy protections that should prevent this kind of workplace abuse are missing. Many of these listed patriarchal violences are usually not viewed as illegal and are at worst, welcomed and celebrated or at best, seen as unfair or bordering on unethical

Connecting to the Chris Brown boycott

I am making this example because it is a relatable one that most women have gone through, even those who have come out fiercely defending Chris Brown. Whether you are a domestic worker or hold one of the most “important” roles one can hold within your industry, and it is followed by national and global recognition, we have all experienced some kind of gendered oppression in the workplace, relationships, and society as a whole. The structures of patriarchy active in our seemingly more relatable systemic oppression and lives as South African women are exactly the same, even though the events and experiences of abuse might appear to be different. It is the same structures of patriarchy that oppress us on a daily basis, that enable and empower artists like Chris Brown, P Diddy, R Kelly or Harvey Weinstein to rise to such prominence despite being known abusers for decades. To protect and celebrate these people and systems the way we have done, is to preserve and defend the very same oppression we go through in our own daily lives.

We have seen some very influential celebrities and leaders we love and look up to support Chris Brown or criticise Women For Change’s boycott and in doing so have attempted to compartmentalise abuse as separate from Chris Brown’s artistry and work. This is not true, many of these men mentioned above, use their places of work to enact their terror. Their connection to media and ability to shape and inform culture sees them normalising their violence or discrediting victims. We believe them because we are moved by their work and do not want to believe that such talented people can be so vile.

South Africa has its own fair share of these kinds of demonic perpetrators who hunt women for sport. The problem with our division as a country (and especially as women) over issues like this Chris Brown boycott, is that we believe we are different and have therefore transcended some of the patriarchal oppressions. You could be a young, poor woman, wearing next to nothing, twerking in a hip-hop music video for a living, or a church woman and highly respected member of your community, married with children and a thriving career in what is perceived as an important industry, patriarchy does not care. It treats us all with the same brutality, we must understand that these intersectional politics interact with patriarchal structures to create shared oppression and violences. We must see ourselves in the experiences of the women who come forward against artists like Chris Brown because it could easily be one of us. In the rape capital of the world, this threat of violence follows us everywhere, in churches, our homes, work, school and even mundane places like the post office.

16 Days of Activism 2024

The 16 Days of Activism for No Violence against Women and Children Campaign (16 Days Campaign) is a United Nations campaign which takes place annually from 25 November (International Day of No Violence against Women) to 10 December (International Human Rights Day).  https://www.gov.za/16DaysOfActivism2024

 

Other articles by Dr Shange

Violent events will continue to take place if poverty is not eradicated as a matter of urgency

Black women’s hair: A political battlefield

Opinion: Disrupting the harmful ‘strong black woman’ narrative

Xenophobic South Africa goes against the Pan-Africanist agenda that liberated us from Apartheid

Black men take a page out of their own oppression to marginalise black women in higher education

Opinion: Love as Revolutionary Rebellion

African Knowledge: Not yet uhuru

South Africa has betrayed the dreams of the youth of 1976

Charges against Frederick Mhangazo for Cape Town fire criminalise poverty

Opinion: Overcoming COVID-19 with the strength and resilience of Sharpeville

Can we use African Indigenous Knowledge to tackle COVID-19?

Tokenised celebrations of black womanist leaders negate their success

What are we really celebrating this Women’s Day?

 

 

News Archive

OSM opening concert 2012
2012-03-02

 

The OSM Camerata is going to shine in the very first annual OSM opening concert.
1 March 2012


 

OSM opening concert 2012 with the OSM Camerata
Conductor: Nicholas Nikolaidis
Date: 1 March 2012
Venue: Odeion
Time: 19:30

The OSM opening concert 2012 with the OSM CAMERATA will be streamed live on the internet with the generous support of OSM partner, LA MUSE AUDIO & LIGHTING (www.ufs.ac.za/ufslivestreaming) in collaboration with the UFS LIVE STREAMING UNIT.

The OSM Camerata is going to shine in the very first annual OSM opening concert. The ensemble will be conducted by Nicholas Nikolaidis. The programme includes excerpts from Stabat Mater (Pergolesi), Romanian Folk Dances (Bartók), Pelimannit (Rautavaara), Elegy (Grové) and Purple Haze (Hendrix). since 2011, the Odeion School of Music has embarked on a new, innovative strategy striving towards uncompromising excellence and internationalisation, which includes the A-List scholarship programme and a new flagship chamber ensemble, the OSM Camerata. Talented South African, conductor/tenor Nicholas Nicolaidis, (runner-up in the First National Len van Zyl Orchestral Conducting Competition) will take the stage for the inaugural concert of the OSM.

Nicholas started his conducting career at an early age while still in the Drakensberg Boys’ Choir School. Professionally his first conducting post was as choirmaster and conductor of the choir and band at Pridwin Preparatory School (Melrose, Johannesburg) in 1996.

Following his appointment in April 1997 as the Musical Director of Côr Meibion Cymru de Affrig (The Welsh Male Voice Choir of South Africa), he conducted the choir for seven years, producing three albums. One of the highlights was the performance at the Royal Albert Hall in London in October 2000 for the Millennium Festival of Male Voice Choirs.

His orchestral conducting debut was in 1998 at the Johannesburg City Hall where he conducted the Johannesburg Festival Orchestra and the Symphony Choir of Johannesburg in a few items of ‘Last Night of the Proms’. Selected conducting performances include the Chanticleer Singers in a performance of Schubert’s Mass in G at the Holy Trinity Church (Braamfontein, Johannesburg) in 2002, and the Johannesburg Camerata, a chamber orchestra consisting of talented young performers, during their winter season in 2005.

In 2006, Nicholas enrolled at Stellenbosch University for a Master’s degree in Choral Conducting under the direction of the Norwegian pedagogue, Kåre Hanken. During this time, he also conducted the Johannesburg-based chamber choir, Collegium Vocale. He conducted the Johannesburg Chamber Wind Ensemble from 2006 to 2008.

In 2009, he conducted the Johannesburg Festival Orchestra in a programme of music by Leroy Anderson, the vocal ensemble, In Verse, and the Chanticleer Singers during their Christmas season. Nicholas was also the winner of the inaugural Young Choral Conductors Competition held during the Stellenbosch International Choral Conducting Symposium in March 2009.

In February 2010, he was awarded the Silver Medal in the inaugural Len van Zyl Conducting Competition held in conjunction with the Cape Philharmonic Orchestra. During the Easter period of 2010 he conducted Cantamus Corde in a performance of JS Bach’s St John’s Passion, whilst also singing the role of the Evangelist.

Nicholas has also appeared as guest conductor of the Philharmonia Choir of Cape Town in a concert with music by Ramirez and Klatzow. In that year he also conducted the gala Concert of the Brooklyn Theatre (Pretoria).

Refreshments will be on sale before and after the concert.

Admission:
R60 (adults)
R40 (pensioners, students and learners)
Tickets available at Computicket.

Enquiries:
Ninette Pretorius (Tel: +27(0)51 401 2504)


 

 

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