#inxeba

[gregor-samsung]

Inxeba [The Wound] (John Trengove - 2017)

[kmgquote]

Inxeba

Isilonda Ihlaba Iqhakuva Laziwa ngumnikazi walo – Imali iyasetyenzelwa Ubomi obutsha buya qaleka futhi Sifunda sonke, yonke lemihla Kutheni ungazovuka emaqandeni wena? – Nceda ungabuzi okugqamileyo Mayibe nomhluzi into oyivokothayo Abantu badiniwe la, ngaphandle Intlungu yaziwa ngumnikazi wayo – Ufuna kude kwenzeke ntoni ukuze uphume? Kutheni uqina enyaleni? Ufuna kude…

[somdyala]

INXEBA ELINGAFUMANI MOYA LIYABOLA, 2023

400 X 65 X 40 CM

Soil, ochre, oxide, gum arabic, hooks

Something from a recent residency at Nirox Sculpture Park, South Africa. IsiXhosa proverb referenced in the title translates to ‘a wound that does not receive air will rot’.

[saitamastamaticsoup]

I know very little about cmbyn outside of internet discourse but any movie with actual queer rep made by actual queer people did more for queer rep than a movie with zero queer rep in it. Hope that helps.

Help! Moonlight, rafiki and Inxeba run circles around that movie; tbh white man (cis and gay or straight) shouldn’t write moves w queer characters in the forefront bc they can’t do it. They/them is a perfect example of gay men not being trans Allies and the entirety of the Jeffrey dhamer situation is why gay white man cannot be trusted to handle anything bc it’s either bipoc suffer or non-binary and trans people get stepped on and if they’re feeling spicy both! Let people tell their own stories

[celluloidrainbow]

INXEBA (2017) dir. John Trengove Eastern Cape, South Africa. A lonely factory worker, Xolani, takes time off his job to assist during an annual Xhosa circumcision initiation into manhood. In a remote mountain camp that is off limits to women, young men, painted in white ochre, recuperate as they learn the masculine codes of their culture. In this environment of machismo and aggression, Xolani cares for a defiant initiate from Johannesburg, Kwanda, who quickly learns Xolani’s best kept secret: that he is in love with another man. (link in title)

[musidoro]

INXEBA (2017), directed by John Trengove.

[blackboxoffice]

Banning African films like Rafiki and Inxeba doesn’t diminish their influence

by Gibson Ncube, Associate Professor at the University of Zimbabwe

Social media and internet forums function as an important space of contestation for issues relating to queer identities. This is evident in reactions to two fairly recent queer-themed African films, one from South Africa – Inxeba/The Wound – and the other from Kenya – Rafiki.

The films were met with diverse responses, from government bannings and cultural backlash to enthusiastic viewers and international awards. On social media and internet forums, reactions differ from those of state institutions.

These various responses should be understood against the background that in many African countries, with the exception of South Africa in this case, queer sexualities are criminalised and deemed ‘unAfrican’. Many argue that homophobia itself is unAfrican and a relic of colonial laws and mores.

In my research, I have explored the fact that African queer lives are complex and don’t tell a single story. By viewing these films as popular social texts it became clear that government censorship has been unable to stop support for them or the kinds of discussions they generate, especially online.

Films as popular social texts

In Africa, films have become popular social texts. They are readily accessible and easily distributed, thanks to the internet and hand-held screen devices as well as the large-scale sale of pirated DVDs. The informality of circulation, coupled with the affordability of pirated films, has ensured that film has overtaken literary or text-based genres in influence in many parts of Africa.

Films like Inxeba (2017) and Rafiki (2018) can function as popular social texts in that they can ask questions about social issues – in this case queer lived experiences on the continent. Popular social texts appeal to large audiences. It is against such sociocultural and political backgrounds that the reception of the films Inxeba and Rafiki should be understood.

Inxeba was directed by John Trengove and was released in 2017. It tells the story of how queer sexuality is negotiated within the cultural space of ulwaluko, the Xhosa people’s rites of initiation into manhood. Two young minders engage in a gay relationship and a love triangle develops.

Rafiki was directed by Kenyan filmmaker Wanuri Kahiu. It centres on two young women who fall in love in Nairobi after meeting because their fathers are contesting the same election.

Inxeba presents picturesque images of the natural world. Rafiki offers a kaleidoscopic depiction of urban spaces. These vibrant and picturesque depictions contrast with the gloomy lived experiences of the protagonists.

State bannings

On its release, the South African Film and Publication Board banned Inxeba. The reason given, through a series of tweets, was “the perceived cultural insensibility and distortion of the Xhosa circumcision tradition (and) strong language in the film”.

Rafiki met a similar fate when it was released. The Kenya Film Classification Board said in a statement banning the film that its ending was “not remorseful enough, (making) it seem as if LBGT people can be accepted in Kenya”. The films were perceived as socially incorrect.

The reactions of these state boards highlight a reproduction of nationalist ideas that queer sexuality threatens African values. In thinking of these homophobic institutional reactions, it is important not to dismiss Africa as homophobic and primitive especially in relation to the West. In his book Kenyan, Christian, Queer, theology scholar Adriaan van Klinken explains that by considering Africa as backward and conservative there is a failure to reflect on the complex sociopolitical realities on the continent.

The upshot is that the legal measures of banning the films affected their circulation – both low budget films with seemingly limited distribution channels.

Viewers and festivals

Although Inxeba and Rafiki were banned in their home countries, they have received critical acclaim and numerous awards at film festivals the world over. In the case of Inxeba, there were vociferous threats and demonstrations, mainly by Xhosa-speaking men, who felt the film divulged the secrets of a sacrosanct ceremony.

The comments posted on social media platforms also make it possible to examine the reactions of viewers to the films. I illustrated this by focusing on the reactions expressed on Inxeba’s Facebook page. here’s a sample:

Reaction 1: “This is a disgrace to our culture…”

Reaction 2: “I didn’t like the story shame, I didn’t see the relevance. Sorry for being a party pooper.”

Reaction 3: “Thank you Lord … you have shown that you love us all regardless of what people are painting others to be, as if they do not belong or are just nothing.”

Using its YouTube page, Tuko TV Kenya interviewed Kenyans about Rafiki. Here is a sample of the diversity of views canvassed:

Reaction 1: “I think we are over exposing our children and our community … As a country, we are not ready for this.”

Reaction 2: “It’s a movie trying to include everybody into the society and bringing inclusion and diversity.”

Reaction 3: “I feel like the argument that it is influencing or promoting homosexuality to me feels ridiculous because that is not something that can be promoted.”

These reactions show that audiences are more complex than governments admit. Moreover, the reactions – and many others like them – prove that the films are popular social texts which operate to shape queer life and responses to it.

The screening of the two films (both were ‘unbanned’ on appeal – Rafiki for a brief period) has been important in initiating overdue conversations. Both films gesture towards the need for open discussion of queer sexualities and genders in Africa. They demand viewers to rethink not what it means to be queer in Africa, but what it means to be human.

Asking questions

Inxeba and Rafiki are invaluable additions to the growing corpus of African films courageously depicting queer lived experiences. Although initially banned, their reception by viewers in and outside Africa has shown that they can start conversations on diverse social issues relating to non-normative African gender and sexual identities.

Through evoking emotions of discomfort, the films compel audiences to question their own views and biases on gender and sexual identities. The films thus have the capacity to subvert homophobic tendencies embodied in state responses.

[mcqraw]

how can love destroy a nation?

↳ Inxeba // The Wound (2017)

[mediamemoirs-blog]

Black Masculinity in South African Cultures

Visual media texts such as television are one of the most widely consumed forms of media around the world. Film making has become a study across different parts of the world because a number of people consume films and other forms of visual media such as television shows or series’. 

South Africa is one of the countries where film has become a popular interest. Like other film industries around the world, the film industry in South Africa has been widely dominated by those who have the access to the tools needed to produce. Because of this, the ideologies that are distributed to the consumers can be very exclusionary and may only represent the dominant ideology instead of minorities.

Minorities in South Africa do not only apply to the population size but also to who has the access to control the narrative in film production. For example, during the apartheid government, the white population was a minority in size, but they were in control of all economic resources. Controlling the economy meant that they also controlled the means of production in every area including the film industry. 

The first film that was produced with a black South African audience in mind was African Jim and it was released in 1949 (Dovey & Impey, 2010:58). The importance of the contextualization of a film according to the audience that consumes it is important when critically analysing the film because different audiences relate differently to the same media text. A particular audience can come across what Scott refers to as “hidden transcripts” (1990). These are subtexts that can only be recognized or understood by a specific group of people. The South African film Inxeba: The Wound can be read as having hidden transcripts.

The film was directed by John Trengove and released in 2017. It follows the gay Xhosa protagonist, Xolani, who decides to help initiate the boys of his village according to the isiXhosa custom referred to as ulwaluko where boys go to the mountains for a month, get circumcised and are taught the customary ways of what it means to be a man in the Xhosa tribe. Xolani’s job title is called ikhankatha which means that he mentors the boys on “how to become men”. Even before the film was released, it garnered a lot of negative publicity from black men, specifically Xhosa men. A number of them called the movie an offense to the Xhosa man and to his culture. They claimed that the movie showed “sacred traditional customs” of the cultural initiation process. 

However, it soon became clear that this notion was unfounded as no one had seen the film, yet they had concluded that these sacred customs were being shown to the world without their permission. However, it soon became clear that the outcry was for a different reason altogether.

The film’s gay storyline was a very brave direction to move towards, even in 2017. Homophobia is very prevalent in South Africa with public figures being openly homophobic and citing it as upholding “tradition and values of African men” (Msibi 2009). 

A highly patriarchal society, South Africans are as intolerant as they come. Lesbian women are raped and murdered simply for their sexual orientation every single day due to men feeling that they threaten the ideology of masculinity that says that all women desire men (Gqola 2007). Therefore, a film showing gay black men in a setting that is the epitome of Xhosa masculinity and a place where boys go to become men caused such an outrage amongst Xhosa men that the law had to intervene. 

The outrage was not directed at supposed sacred customs being “exposed” however, it was directed at the threat that gay men imposed on the hyper masculinity of the tradition, it was a foreign concept that incited rage and violence (Posel 2005). It did not matter that the film was fiction because the media has reinforced the idea of a masculinity that does not include gay black men for a long time and this film was not conforming to that rhetoric but instead, introducing new masculinities (Sanger 2010).

The people who were against this film took to the digital space to voice out their concerns about how their culture was being disrespected. Xhosa men went to cinemas that were showing the film to protest and to try to shut the cinemas down. The cinemas shut down. The men threatened violence against the actors in the film, the protagonist, Nakhane Toure had his social media sites violated with threats of violence to the extent of murder. Xhosa men called him a sell out because as a Xhosa man, he should have known better. The fact that he is gay in real life only made the outrage even more violent. According to them, this was not something a gay man had any right to despite the fact that Nakhane had gone through initiation in real life too, just as they had. This is an acute example of men going as far as policing other men to conform to normative displays of masculinity in order to maintain their privilege as a collective (Msibi 2009).

Due to the overwhelming social media traffic that people against the movie caused that got Xhosa traditional leaders to pay attention to the film, the High Court ruled the film Inxeba: The Wound as hardcore porn due to a sex scene that would be overlooked had it been between people of the opposite sex. The producers of the film contested this until the decision was overruled and the film was allowed to go back to cinemas across the country. 

This kind of censorship saw people watching the film online where it was available. The digital space had a platform for the film to still be seen even though it had been banned at cinemas.

[personligcinematek]

Inxeba / The Wound (2017) – dir. John Trengove 

Country: South Africa  Language: Xhosa 

Underrated foreign films: ☞ 5/?

[gregor-samsung]

Inxeba [The Wound] (John Trengove - 2017)

[teleclub]

Nakhane Touré can’t go home. He left Johannesburg last year in the midst of controversy, after starring in the intimate movie Inxeba, known in English as The Wound.

[get-into-film]

African Male Masculinity and Tradition - The Wound Interview

[queerafricans]

Even more lgbtq african films