By Melissa Steyn, Mikki van Zyl
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Extra info for The Prize and the Price: Shaping Sexualities in South Africa
Sample text
In contrast to the black girls at Gandhi, the girls in this interview expressed admiration for Deevia’s hair, and two of them even started stroking it. This also was near the end of the interview when the girls were asking questions about us, the interviewers. For these black girls at Makgoba, Indian females were much more distant figures than for the girls at Gandhi. Deevia’s long hair was not seen as an expression of ‘Indian femininity’ associated with racism and everyday experiences of subordination and marginalisation but, perhaps, as symbolising her celebrity status.
These draw on long-standing discourses in which black African females are idealised as repositories of ‘culture’ and sexualised (usually) and demonised if influenced by ‘modernity’ (Ogundipe-Leslie 1994). This results in contradictory demands on black girls and women, who are subject to conflicting pressures about looking good and behaving well in line with being ‘acceptably African’ or ‘modern’ (Lewis 2005). As if identifying as ‘modern’, Lulu characterises black parents’ concerns about talking about sexuality with their children as ‘old-fashioned’ and Samantha, responding to Mapopo about the ‘shame’ of being seen standing with a boy, retorts that this is the ‘new generation’.
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