Wayward Feeling—Audio-visual Culture and Aesthetic Activism in Post-Rainbow South Africa, is about the audio-visual mediation and aesthetic activism in South Africa in “post-rainbow” times, by Helene Strauss of the University of the Free State. The book was awarded the 2022 UFS Book Prize for Distinguished Scholarship by the University of the Free State.
The book consists mainly of three parts: introduction, body, and conclusion. And the body part is composed of five chapters.
The Introduction part provides an overview of the book. It acknowledges the contributions of filmmakers, artists, audio-visual activists, and critical cultural theorists who have supported the author’s work. With emphasis on the emotional upheaval resulting from historical injustices and the current global climate crisis, it also discusses the pioneering work of feminist, decolonial, and queer cultural workers in understanding and addressing injustice.
Chapter One, Troubling the Rainbow Promise, explores the concept of spectacles of promise and disappointment in post-apartheid South Africa. As the ongoing issues of gender-based violence, xenophobia, and social inequality continue to affect the country, artists such as Searle and Muholi use aesthetics and visual culture to challenge dominant perceptions and bring attention to marginalised experiences. Therefore, the importance of alternative forms of politics and cultural interventions in expanding the boundaries of social engagement is highlighted.
Chapter Two, Moody, Expectant Teens, explores the importance of adolescent emotions and expectations in contemporary South Africa. In the process of growing up, young people need to adapt to societal expectations and pressures and find a sense of belonging. This process involves the complex fusion of private emotions and public culture, especially the emotions related to the expectations of success. The chapter also discusses the contradictions and challenges faced by teenagers as they strive for success but often experience failure.
Chapter Three, Managing Public Feeling, discusses the challenges posed by the history of social injustice to post-colonial societies and political relations. Despite national apologies made by countries like Canada and Australia, their commitment is still unfulfilled. In the South African context, the chapter argues that the TRC hearings allowed for the processing of loss and provided a unique example of counter-affective labour.
Chapter Four, Feeling the Fall, examines the impact of historical conditions on the rise of Black pain in post-colonial South Africa. It is argued that Black pain is primarily a consequence of white privilege and that the two are two sides of the same coin. White privilege needs to be actively dismantled to address Black pain, as failure to do so will result in the continued pathologization and questioning of Black pain, as well as the perpetuation of psychic injuries sustained under colonialism and apartheid.
Chapter Five, Feminist Resonance, explores the psycho-social precursors that resonate through contemporary feminist popular protests and aesthetic activism in South Africa. Drawing inspiration from inventive forms of South African feminist organising and the artistic work of Gabrielle Goliath, it examines how feelings historically subjected to patriarchal restraint have been mediated in recent activism and aesthetics.
The Conclusion part summarises key issues in aesthetic activism and audio-visual culture in post-rainbow South Africa, with an analysis of various forms of loss. The chapter also discusses the concept of deceleration as a mode of shutting down, such as a method for regeneration and repair following periods of heightened tension, and as a disruption of the “survival time” described by Berlant. In this way, shutting down can also be a refusal to be shut down.
One of the book’s standout strengths lies in its multifaceted perspective. Strauss deftly incorporates insights from cultural workers, artists, filmmakers, and critical cultural theorists, presenting a diverse array of viewpoints that enrich the narrative and deepen our understanding of the complex social dynamics at play.
Moreover, the book is underpinned by rigorous research into the social, political, and cultural fabric of South Africa. By grounding her arguments in robust theoretical frameworks, including feminist, decolonial, and queer cultural theories, Strauss elevates the discourse, enabling readers to engage with the material at a deeper level and interrogate prevailing norms and power structures.
The book’s clear structure further enhances its readability. Divided into well-defined sections, the narrative unfolds logically, guiding readers through a series of thought-provoking chapters. Each chapter is meticulously crafted, with a clear thematic focus and compelling arguments that underscore the author’s overarching thesis.
Despite its many strengths, Wayward Feeling is not without its limitations. One notable drawback is its specialised nature, which may pose challenges for general readers. Additionally, while Strauss admirably covers a wide range of topics, some areas may not receive the depth of exploration they deserve. Furthermore, the author’s perspectives and biases may influence the narrative, impacting its objectivity and neutrality.
In conclusion, Wayward Feeling—Audio-visual Culture and Aesthetic Activism in Post-Rainbow South Africa stands as a commendable contribution to the discourse on contemporary South African society and culture. Its intellectual rigour, insightful analysis, and theoretical richness make it a valuable resource for scholars, activists, and anyone interested in understanding the complexities of South Africa’s sociocultural milieu.