Maart 2013: jaargang 10, nommer 1 - LitNet

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LitNet Akademies Jaargang 10 (1), Maart 2013 and consensus may be a hindrance, because the rise of new and social media has problematised traditional public sphere theory. For example, a spectrum of alternative voices is online critical (and also often crude) commentators, something that was possible only to a very limited extent on traditional media platforms (if at all). Therefore the view of Mouffe on the creative role of conflict in political processes is accepted and incorporated into the theoretical framework of the article. The argument is that Mouffe’s theory is more applicable to a new media environment. The fact that the theoretical framework of this article about a complex South African phenomenon is based on a decontextualised Western (in the main American and French) model may be seen as problematic. The counter-argument is that this “international” framework is necessary to emphasise new insights which have been obscured by the often parochial manifestation of the Spear debate in South Africa. On a methodological level it is important to note that this article is descriptive in the main and does not claim to contribute to theories on power and culture or media theory in general. It is also not a systematic Bourdieuan analysis. In conclusion the article posits that it remains an open question whether the Spear incident represented a measure of overlap between different public spheres in South Africa. South Africa is arguably much more fractured and diverse than American society, where Levine (2007) formulated the theory of the logic of the avant-garde and the interrelatedness of popular media and elite art. But it is still argued here that the Spear incident showed the advantage to the public sphere(s) in South Africa when opposing subfields of the field of cultural production really “talk” to each other. Maybe, the argument goes here, the Spear incident was a preview of what a future, more inclusive and dynamic public sphere in a democratic South Africa would look like. In this model, as this example has shown, the avant-garde arts and popular media could play a creative central role. The fact that the Spear incident also contained many disturbing aspects, including a lack of consensus and conflict, should not deter one from working towards such a public sphere, the article concludes. Keywords: art; avant-garde; cultural capital; democracy; media; public sphere; South Africa; The Spear; Jacob Zuma 1. Inleiding Die polemiek en oproer in 2012 rondom die kunstenaar Brett Murray se uitdagende kunswerk The Spear – wat Jacob Zuma satiries as korrupte diktator met ’n ontblote penis uitgebeeld het – het verskillende vlakke van spanning en verskil in die Suid-Afrikaanse samelewing blootgelê. Die dubbelsinnige titel van die werk is ’n ironiese verwysing na die ANC se gelyknamige militêre vleuel gedurende die bevrydingstryd teen apartheid (Umkhonto we Sizwe), en hoe die demokratiese ideale van die “struggle” sedertdien na bewering 584
LitNet Akademies Jaargang 10 (1), Maart 2013 gebanaliseer is deur leiers soos Zuma (wie se omstrede seksuele gedrag om verskeie redes in openbare diskoerse figureer). 1 Blignaut (2012) het op Sondag 13 Mei 2012 in die koerant City Press kortliks berig dat ’n kunsliefhebber “van die straat af” ingeloop het en The Spear (na wat verneem is vir R136 000) en ’n “paar ander werke” gekoop het kort nadat die tentoonstelling in die Goodmangalery in Johannesburg geopen het. Murray word in die berig aangehaal as dat hy “verheug” sou wees deur die verwikkeling, omdat The Spear “meer ’n idee verteenwoordig” en “nie die soort kunswerk is wat hy verwag het om te verkoop nie” (aanhaling-vertalings hier en elders deur my). Blignaut (2012) sluit die berig af met die opmerking dat kritici van die kunswerk verlig sal wees dat dit ná die tentoonstelling na Europa verskeep gaan word, omdat die koper daar woon. Op 17 Mei het die ANC by monde van Jackson Mthembu ’n persverklaring aan die mediaagentskap Sapa uitgereik waarin hulle met regstappe dreig teen Murray, die Goodman-galery en lede van die media wat afdrukke van die skildery gepubliseer het. Mthembu (2012) maak die insiggewende stelling dat die “walglike en ongelukkige uitbeelding van die president” onder die aandag van die ANC gebring is deur “een van die media-huise …” (my kursivering), klaarblyklik ’n verwysing na Media24, uitgewer van City Press. Terselfdertyd eis die persverklaring dat afdrukke van die skildery van die galery se webwerf en die webwerf van ’n “naweek-koerant” (City Press) 2 verwyder moet word. Behalwe dat die Spear-skildery die “waardigheid” van pres. Zuma aangetas het, maak die ANC ook beswaar teen Murray se “onregmatige” gebruik van die ANC-logo, met die woorde “FOR SALE” en “SOLD” skuins daaroor aangebring, in plakkate wat op die tentoonstelling beskikbaar was (Mthembu 2012). Dié verklaring deur die ANC het die nuus soos ’n veldbrand binnelands en internasionaal laat versprei (sien bv. Burbidge 2012; Foxnews.com 2012; Grootes 2012). Veral die sogenaamde nuwe media – en spesifiek die internet en sosiale netwerke – het klaarblyklik sterk bygedra tot die wye blootstelling wat die Spear-kunswerk en daaropvolgende polemiek geniet het. Kenners het in die populêre media onder meer daarop gewys dat die Grondwet van 1996 vereis dat vryheid van spraak en artistieke uitdrukking met menswaardigheid (dignity) gebalanseer moet word, asook dat die insident weer eens aangetoon het hoe broos wedersydse begrip tussen verskillende etniese en kultuurgroepe in Suid-Afrika is (Burbidge 2012; De Vos 2012; IOL News 2012). Die Goodman-kunsgalery, waar die kunswerk as deel van Murray se Hail to the Chief IIreeks ten toon gestel is, het eers geweier om selfsensuur toe te pas (Burbidge 2012), maar het later ’n “kompromis” met verteenwoordigers van die regerende ANC aangegaan (Polgreen 2012), nadat die party stappe gedoen het om ’n hofinterdik te verkry (Mthembu 2012). Intussen het die Film en Publikasieraad buite hul normale domein van optrede met ’n ondersoek begin (en uiteindelik ’n ouderdomsperk van 16 N [naaktheid] op The Spear geplaas), nuuskieriges en ontstokenes op die galery toegesak en vandale die kunswerk beskadig (Smuts 2012). Die eb en vloed van die polemiek het openbare platforms geruime 585
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