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LitNet Akademies Jaargang 9(2), Augustus 2012 The authors argue that it must be recognised that such a debate around the meaning and effect of The Spear occurs within a specific South African post-apartheid (and thus post-colonial) context. As Achille Mbembe points out, the post-colonial critique of society derives, on one hand, from the anti-colonial and anti-imperialist struggle and on the other hand from aspects of the Western philosophical tradition. It aims at exposing the inherent violence underlying a specific conceptualisation of Reason. In the context of his post-colonial analysis Mbembe warns all South Africans against the dangers that arise for the polis when individuals are no longer capable of thinking for themselves and severely constricted space remains for meaningful debate, resistance and (artistic) expression in a country when this has the potential to be potentially hurtful to others. This danger emerges especially in situations where the intellectual space is closed off in the name of perverse notions of racial solidarity which in effect disregards respect for human dignity in the name of consolidating political power for post-colonial elites. Against this complex post-colonial background the question arises as to how to engage meaningfully with a work of art like The Spear, especially given the atmosphere of very real anger and fear created by the exhibition of the painting, an atmosphere within which absolute loyalty is demanded from the group in order to advance the narrow, self-serving notion of solidarity of those still being haunted by the effects of colonial exploitation and oppression. In this context Mbembe refers to the re-emergence of “official culture”, warning that “[o]fficial culture is the name for the process by which a ruling elite seeks to tame and domesticate its population by establishing official distinctions between the accepted and the unacceptable, the permitted and the forbidden, the normal and the abnormal. It is the process by which it coerces its subjects into internalising and reproducing truths not of their own making.” The authors argue that the start of any meaningful debate about The Spear cannot ignore this context. Nevertheless it must also be founded on a sober analysis of the constitutionally protected value of human dignity, a value that runs like a golden thread throughout the (postcolonial) South African Constitution. The authors analyse the meaning of this value against the background of a more detailed discussion of the protection afforded in South African law to the right to an individual person’s human dignity. They point out that in the South African constitutional context the protection of the dignity of all individuals must be balanced against the protection of the right to freedom of expression, which includes the right to artistic expression. The authors argue, through a detailed analysis of the South African law of defamation, that the legal consequences of a work of art which provides political commentary on one of the most powerful individuals in South Africa must (at least in the legal sense) be assessed differently from those of a picture manufactured by schoolboys as part of a schoolboy prank. Regardless of the ethical and aesthetic criticism that could be levelled against the work of art, legally, the depiction of a country’s president in a bona fide work of art with his genitals showing would not normally be regarded as unlawful in South African law. Although South African courts have not provided a definitive answer to this legal question, the authors contend that in a case like the one raised by The Spear the right to artistic expression and the right to provide political commentary on the moral and political character of a sitting president should weigh more heavily with a court than the important right of the individual to have his or her dignity respected and protected. Striking the balance in this manner is necessary to advance a culture of openness and the constitutional culture of pluralism and respect for diversity. 177
LitNet Akademies Jaargang 9(2), Augustus 2012 Despite this conclusion about the legal right to produce the painting, the authors nevertheless engage in further critical reflection on the aesthetic and ethical questions relating to the creation and reception of The Spear, asking questions about the manner in which the painting depicts and appropriates the Other. Pointing to the fact that in the work of Emmanuel Levinas the inability of Western ontology to imagine ethical relationships is critiqued, the authors endorse the view expressed by Levinas that in the attempt by Western discourse to imagine the Other, that discourse claims the Other as an incidence of the Self. This claiming or possession of the Other can be viewed as a form of violence, because totalising thought inevitably depicts the Other in terms of the Self or of what is known. Relying on this idea of violence the authors analyse The Spear and argue that its mere creation and exhibition could be depicted as ethically violent. This is, first, because it is a depiction of another and because it represents an external intervention in the South African political milieu. They also follow and endorse Mbembe's argument that the painting is violent and unsuccessful as political commentary because it constitutes an unimaginative perpetuation of colonial representative categories. The authors conclude by pointing out the inevitable tension that will arise in a case like this between the ethical and the legal responsibilities of those involved, noting the inevitable complexity that will always arise in trying to understand the meaning and the effects of a work of art as controversial as The Spear and to try and respond in an ethically responsible manner to it. Keywords: Brett Murray; aesthetics; ethics; colonialism; freedom of expression; human dignity; Emmanuel Levinas; Achille Mbembe; Jean-Luc Nancy; political; postcolonial critique; representation; The Spear; violence; Jacob Zuma. 1. Inleiding [A] battle fought yesterday over the promises of emancipation and the illusions and disillusions of history continues today on aesthetic terrain.* Brett Murray se skildery The Spear, 1 waarin president Jacob Zuma uitgebeeld word met ontblote genitalieë, handel oor veel meer as die vraag of die skildery verban moet word, omdat dit (en die publikasie daarvan in die dagblad City Press) Zuma, sy meerdere eggenote en sy kinders verneder. Dit gaan ook oor meer as die vraag of dit die waardigheid van alle swart mans (selfs dié wat nie teen die skildery beswaar aanteken nie) en selfs die waardigheid van swart vroue aantas. Aan die ander kant gaan dit ook om meer as die vraag of die skildery, as ’n kunstenaar se artistieke uitdrukking, ten alle koste beskerm behoort te word – selfs al word dit in sommige kringe as ’n platvloerse, onaandoenlike en afgeleide kunswerk beskou. Die vraag behoort ook gevra te word of die werk Zuma verkleineer het (en dus sy goeie naam, eergevoel en reputasie beskadig het), gegewe die agtergrond van sy openbare en patriargale vertoon van sy seksualiteit. Behoort die vernedering van ’n politikus aan die hand van ’n kunswerk ooit gevier te word, of moet dit te alle tye verwerp word? Maak dit ’n verskil wie die politikus is? In welke mate behoort die grondwetlike reg op die vryheid van uitdrukking afgeweeg te word teen die reg op menswaardigheid? Teen die agtergrond van Suid-Afrika se koloniale en apartheidsgeskiedenis, sal die uitbeelding van ’n swart man met ontblote geslagsdele nodeloos gevoelens van vernedering en woede by sommige mense 178
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