Abstract:
Inxeba revived debates on ulwaluko and its attendant social discourses in South
Africa. Elided by these debates, which saw the film censored from public view
by the Film and Publication Board of South Africa, were formulations of ‘Manhood’
which we maintain are rooted in culture, tradition and custom; formulations that
frame homosexuality as abject in our context. Through delineating Manhood
from manhood proper, we argue that Inxeba reveals the nexus between Manhood,
policed sexualities and cultural identity. In detailing the status of manhood
proper, we critically unpack masculinity and challenge the ‘factual’ position of
Manhood. The problematics which arise out of Manhood are informed by a (mis)
conceptualised notion of this identity as stable and unchanging, creating
dichotomous bifurcations of what constitutes being a man; a framework that is
depicted and contested by the narrative of the film. Using feminist theory to
interrogate culture, custom and tradition and its imposed silences on feminised
bodies in contemporary South Africa, we explore how Inxeba subverts and
contests Manhood through a propositioning of manhood proper.
