Mourning Mandela: sacred drama and digital visuality in Cape Town

The world united in unprecedented ways in mourning the global icon Nelson Mandela, an emotionally charged historical event in which digital visuality played an influential role. The memorial service for Nelson Mandela on Tuesday, 10 December 2013, gathered dignitaries and celebrities from around the...

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Published in:Journal of aesthetics & culture Vol. 7; no. 1; pp. 28178 - 11
Main Author: Uimonen, Paula
Format: Journal Article
Language:English
Published: Abingdon Routledge 01.01.2015
Taylor & Francis Ltd
Taylor & Francis Group
Subjects:
African studies
Anthropology
Celebrities
co-presence
Cultural anthropology
Cultural identity
digital visuality
Emotions
friction
Globalization
Historical text analysis
International organizations
Madiba
Mandela, Nelson
Mass media
media
Memorial services
Music
Nkrumah, Kwame (1909-72)
Parades
public screens
ritual
Rituals
sacred drama
Social Anthropology
socialantropologi
South Africa
Transnationalism
virtual immortality
Websites
South Africa
Africa
ISSN:2000-4214, 2000-4214
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Abstract The world united in unprecedented ways in mourning the global icon Nelson Mandela, an emotionally charged historical event in which digital visuality played an influential role. The memorial service for Nelson Mandela on Tuesday, 10 December 2013, gathered dignitaries and celebrities from around the world at the First National Bank Stadium in Johannesburg, to mourn the passing of Madiba and to celebrate his life work. At the Grand Parade in Cape Town, the event was broadcast on large public screens, followed by live music performances and narrowcast interaction with the audience. Building on recent research on public screens during global media events, this article addresses the mediated mourning rituals at the Grand Parade in terms of a sacred drama. Focusing on social relationality, the article discusses how digital visuality mediated a sense of global communitas, thus momentarily overcoming historical frictions between the global north and the global south, while expanding the fame of Madiba. Paying attention to the public display of visual memory objects and the emotional agency of images, it argues that digital visuality mediated social frictions between the living and the dead, while recasting a historical subject as a historical object. The article further discusses how digital visuality mediated cultural frictions of apartheid and xenophobia, through the positioning of Mandela in the pantheon of Pan-African icons, thus underlining the African origin of this global icon. The analysis is based on ethnographic observations and experiences in Cape Town.
AbstractList The world united in unprecedented ways in mourning the global icon Nelson Mandela, an emotionally charged historical event in which digital visuality played an influential role. The memorial service for Nelson Mandela on Tuesday, 10 December 2013, gathered dignitaries and celebrities from around the world at the First National Bank Stadium in Johannesburg, to mourn the passing of Madiba and to celebrate his life work. At the Grand Parade in Cape Town, the event was broadcast on large public screens, followed by live music performances and narrowcast interaction with the audience. Building on recent research on public screens during global media events, this article addresses the mediated mourning rituals at the Grand Parade in terms of a sacred drama. Focusing on social relationality, the article discusses how digital visuality mediated a sense of global communitas, thus momentarily overcoming historical frictions between the global north and the global south, while expanding the fame of Madiba. Paying attention to the public display of visual memory objects and the emotional agency of images, it argues that digital visuality mediated social frictions between the living and the dead, while recasting a historical subject as a historical object. The article further discusses how digital visuality mediated cultural frictions of apartheid and xenophobia, through the positioning of Mandela in the pantheon of Pan-African icons, thus underlining the African origin of this global icon. The analysis is based on ethnographic observations and experiences in Cape Town.
The world united in unprecedented ways in mourning the global icon Nelson Mandela, an emotionally charged historical event in which digital visuality played an influential role. The memorial service for Nelson Mandela on Tuesday, 10 December 2013, gathered dignitaries and celebrities from around the world at the First National Bank Stadium in Johannesburg, to mourn the passing of Madiba and to celebrate his life work. At the Grand Parade in Cape Town, the event was broadcast on large public screens, followed by live music performances and narrowcast interaction with the audience. Building on recent research on public screens during global media events, this article addresses the mediated mourning rituals at the Grand Parade in terms of a sacred drama. Focusing on social relationality, the article discusses how digital visuality mediated a sense of global communitas, thus momentarily overcoming historical frictions between the global north and the global south, while expanding the fame of Madiba. Paying attention to the public display of visual memory objects and the emotional agency of images, it argues that digital visuality mediated social frictions between the living and the dead, while recasting a historical subject as a historical object. The article further discusses how digital visuality mediated cultural frictions of apartheid and xenophobia, through the positioning of Mandela in the pantheon of Pan-African icons, thus underlining the African origin of this global icon. The analysis is based on ethnographic observations and experiences in Cape Town. 28178_UF0001.jpg Paula Uimonen specializes in digital anthropology and anthropology of art, media, and globalization. Her research on digital media and intercultural interaction at an arts college in Tanzania was published in the monograph Digital Drama (Uimonen 2012), with accompanying web site at www.innovativeethnographies.net/digitaldrama. Paula has also done research on a music campaign against corruption in Tanzania, presented in an ethnographic movie Chanjo ya Rushwa (2013) online at www.vimeo.com/paulauimonen. Her most recent publications focus on visual identity in Facebook (2013), mobile photography in Tanzania (in press) and mobile infrastructure in Africa (2015). Paula is currently conducting research on African women writers as well as Pan-African icons.
Author Uimonen, Paula
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SubjectTerms African studies
Anthropology
Celebrities
co-presence
Cultural anthropology
Cultural identity
digital visuality
Emotions
friction
Globalization
Historical text analysis
International organizations
Madiba
Mandela, Nelson
Mass media
media
Memorial services
Music
Nkrumah, Kwame (1909-72)
Parades
public screens
ritual
Rituals
sacred drama
Social Anthropology
socialantropologi
South Africa
Transnationalism
virtual immortality
Websites
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Title Mourning Mandela: sacred drama and digital visuality in Cape Town
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