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Black OperaHistory, Power, Engagement$
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Naomi André

Print publication date: 2018

Print ISBN-13: 9780252041921

Published to Illinois Scholarship Online: January 2019

DOI: 10.5622/illinois/9780252041921.001.0001

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Winnie, Opera, and South African Artistic Nationhood

Winnie, Opera, and South African Artistic Nationhood

Chapter:
(p.167) 6 Winnie, Opera, and South African Artistic Nationhood
Source:
Black Opera
Author(s):

Naomi André

Publisher:
University of Illinois Press
DOI:10.5622/illinois/9780252041921.003.0006

This chapter places Winnie: The Opera (Bongani Ndodana-Breen, Warren Wilensky, and Mfundi Vundla, 2011) in a larger comparative framework that includes the Western opera tradition, opera in the United States, and the representation of blackness in opera more generally. With a reading of postcolonial and post-apartheid theorists (for example, Homi Bhabha and the “unhomely,” Karin Barber and entextualization, and Sarah Nuttal’s entanglement), this chapter also draws upon the Global South (and global studies) along with transnationalism. This chapter examines events from the opera in Winnie Mandela’s life (torture, the Mandela United Football Club, and the Truth and Reconciliation Commission) as they are characterized musically and in the drama.

Keywords:   Postcolonial, post-apartheid, Karin Barber’s entextualization, Sarah Nuttal’s entanglement, the Global South, transnationalism, the Mandela United Football Club, Truth and Reconciliation Commission, Winnie: The Opera, Winnie Mandela

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