Winnie, Opera, and South African Artistic Nationhood
Winnie, Opera, and South African Artistic Nationhood
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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