African Dystopia: South Africa's Dispositions Depicted in Selected Telenovelas
South Africa's popular television shows, such as Skeem Saam, The River, and Scandal!, are marked by the social and cultural dispositions in South Africa. These dispositions, I argue, edify what I theorise as the 'African Dystopia' complacent in African communities. In this essay, I argue how the theory of 'African Dystopia' is applicable to selected South African television shows. I signpost two popular television shows, Skeem Saam and The River to argue this theory and refer to significant scenes that edify the theory of African Dystopia.
The theory of 'African Dystopia' suggests that the selected television shows depict a bleak and rather oppressive reality within African communities. I would therefore argue that this depiction is evident with the way(s) characters such as Dimpho Mokoena (played by Matshepo Sekgopi)[before morphing into Kalashnikov 2.0], Thuso Mokoena (played by Presley Chweneyagae), Mabuto Dimba (played by Thembinkosi Mthembu) and Jacobeth Thobakgale (played by Elizabeth Serunye) struggle with poverty as a plague in their communities, the secondary ramifications corruption, and the various landscapes of violence. These, are in essence, overarching themes applicable in both Skeem Saam and The River which showcase the challenges South Africans face on a regular basis in post-apartheid South Africa.
I further advance the theory of African Dystopia by arguing that The River explores the marginalization of black South Africans; the mine and Refilwe being a site for the marginalization of black South Africans. To elaborate on this further, the establishing shots innovatively captured by the drone(s) when scenes transition to these sites are (re)presentations of the ongoing marginalization of black South Africans. At this point, one can assume that the creators of this show, Phathu Makwarela, and Gwydion Beynon will end the show by applying Slavoj Žižek's theory of Symbolic and Systematic Violence. In addition, I would also include the Cycle of Oppression as a theory applicable in the (re)presentations of marginalized black South Africans.
African Dystopia in Skeem Saam can be traced to two important scenes. First, we [the spectator] witness the challenges Leshole Mabitsela (played by) Thabo Mkhabela experiences towards his 'dream' of becoming a pilot - a site of escapism. In essence, escaping from the cycle and I would argue, the 'generational curse' of poverty. It begs one to question whether the notion of escapism suggests that it is a reality marked by Western ideology and way(s) of living that contrasts African individuality.
In a technical sense, African Dystopia is captured in the establishing shots (both in Skeem Saam and The River), as well as the close-up and medium-close-up of characters who are victims of this African Dystopia. It would be very innovative and compelling if the cinematographer or Director of Photography would make use of over-the-shoulder shots (which we only witnessed in the opening of Season 2's The Republic), single-shot sequences, especially when drama unfolds, and substituting cameras with drones when panning from angle to angle. With these techniques in place, not only would our stories look better visually, but they also might offer a new insight into the African Dystopia which is the common theme running through all these dramas. For example, the use of over-the-shoulder shots would help an audience be immersed into characters' experiences more deeply in their suffering. Additionally, single-shot sequences during high moments of drama would give a sense, of the "hurry-up and wait" feeling as it were—which then heightens what on screen comes up as an emotional impact. Last but not least: exchanging a television camera for drones means that over long and sometimes very long panoramas, a dynamic quality of imagery comes streaming in—another vibrant reminder that this place called Africa is after all indeed a huge complex place.
About the Author
Unathi Ndlelantle Ngada is a published writer and a playwright. She completed her Masters in Creative writing from Rhodes University and is currently doing her PhD in English at the University of South Africa. She has written and directed two plays in her lifetime and has since published ten books. Some of her notable books include: A South Afri(K)an Psycho, Utopia, Shame(Less): A Play, Complete Stories and Skin: Anima Vestra. She is particularly influenced by magical realism, absurd theatre and some of her personal favourite writers are Sarah Kane, Sammuel Beckett and Antonin Artaud.
