This dissertation is an ethnographic study of the constructions of masculinity in soap opera, focusing specifically on how a group of isiZulu-speaking students studying at the University of KwaZulu-Natal interpret Muvhango, a Tshivenda soap opera. In summary, this thesis examines the consumption of a Tshivenda soap opera by black isiZulu-speaking students who all attend the same Christian church and who all live in Pietermaritzburg.
Project title
Background
Statistics from the South African Audience Research Foundation (SAARF 2013) show that 42.37% of the male population in South Africa watch Muvhango. This is a soap opera that caters to women and men, which is one of the reasons why both men and women were interviewed for this research.
Location of the study
I am also fascinated by the way the audience relates to the narrative constructions of the storylines of this particular production. I have chosen a soap opera that depicts diverse representations of men's lives: men who have multiple wives, men who are rich and powerful, men who are poor, and men who are sangomas, businessmen, taxi drivers, and a variety of other vocations.
The text
Profiles of key Muvhango characters
James is described as a "sweet guy" who loves his daughter, respects all the women in his life, and is hardworking and driven. Albert is one of the chief's advisers and is working hard to build Mukwevho Milling.
Objectives
Key questions
Research methodology
Broad problems and issues to be investigated
They have adopted a sociological approach and attempt to show how the social conditions of men in South Africa influence their masculine characteristics.
Theoretical framework
The socio-historical and socio-cultural context of constructions of masculinity in South Africa therefore informs my theoretical framework, as television portrays certain elements of its viewers' lived experience that reflect such contexts. Connell and Messerschmidt (2005), Morrell (2001a) and Ouzgane and Morrell (2005) argue that there is a range of constructions of masculinity, rather than a single type of masculinity.
Structure of thesis
Conclusion
LITERATURE REVIEW
Television and audiences
In this study, a certain television program and its reception are analyzed, and the medium is placed in its institutional framework — Venda culture. Viewers in this study were shown to be attentive and somewhat interactive with the text.
A brief overview of South African television history
- The history of the South African Broadcasting Corporation
SABC1 programs are aimed at the black youth of South Africa and are available in isiZulu, isiXhosa, isiNdebele, siSwati and English. SABC2 caters primarily to Afrikaans-speaking viewers with news, programmes, serials and magazines in Afrikaans.
Soap opera
- Characteristics of soap opera (narrative pattern)
- Format of soap opera
- Soap opera subject matter
- International soap operas compared with local soap operas
- Popular local soap operas: Muvhango
In this chapter I go into the details of the format, subject matter and patterns of soap operas according to Gledhill's characteristics. In her Durban-based study of The Bold and the Beautiful involving isiZulu-speaking viewers, Tager (1997) showed that students largely watched soap operas in the community.
Introduction of soap operas to South Africa
- Post-apartheid introduction of local Black soap operas
- The history of Muvhango
This excerpt from Mandela's speech serves as an example of the country's commitment to gender equality. Generations is still considered one of South Africa's most popular soap operas, along with Muvhanga.
Audiences
- Why people watch television
Loneliness is described in several studies as a characteristic of soap opera viewers in the UK and USA (Tulloch 2000). Viewers engage and feel like they are participating in the lives of their favorite actors or actresses because of the stories that continue each day.
Female audiences
Such findings challenge earlier views of soap operas as purely a women's genre, in that even male viewers can engage emotionally with soap operas. These South African findings also challenge earlier international constructions of soap as simply a women's genre.
Male audiences
- Why men watch
Brunsdon (1997) argues that men watch soap operas, but that it is still a female-driven genre. Tager's (2002) study shows that a significant number of South African males watch and enjoy soap operas.
Representations of gender roles in soap opera
- Differences in representations of men in diverse local soap operas
The telenovela is also shown in this chapter to be not a purely female genre, but to have an active male audience. Telenovelas have also gradually moved away from depicting patriarchal stories to include stronger stories about women, reflecting the influence of rising feminism.
THEORETICAL FRAMEWORK
Understanding masculinity
- Biological models
- Sociological models
- Anthropological models
First, it allows for diversity in that the study of masculine identities appears plural. Sociological models help in understanding constructions of masculinity and male roles in society.
Masculinities
- Hegemonic and emergent masculinities
- Residual masculinities
In South Africa, for example, some contemporary expressions of masculinity are characterized by a struggle between traditional male practices and men's desire to be responsible, modern and respectable, in the way Western models suggest (Walker 2005). Residual masculinities have been formed by the past and are still active in the cultural process of today.
Masculinity in South Africa
- The migrant labour system
- Apartheid and masculinity
- Circumcision and initiation
This socio-historical context of constructions of masculinities in South Africa informs my theoretical framework. This phase further deepened apartheid in South Africa and made it a brutal phase in the history of this country (Beck 2000). The violence of black liberation movements in support of universal human rights led to the abolition of the apartheid regime in South Africa.
Masculinity in soap opera
An example of this is a new male character (Dr Zwane) who was introduced to Muvhango recently. This is represented in Muvhango in the Chief's house, where his women bow before him, where he dominates and where there is inequality in the relationship. There are always women or a woman in the stories of every male representation in Muvhango.
RESEARCH METHODOLOGY
- Research methodology
- Research design
- Methodology flow chart
- Sampling
- Why students?
- Focus group interviews
- Focus groups
- Additional research
- Data collection
- Ethics and informed consent
- Data analysis
- Validity and reliability
- Validity
- Threats to internal validity
- Ways to reduce threats
- Strategies to strengthen internal validity
- Getting word-for-word statements from respondents
- Confidentiality
Using the same questions for each group helps increase the reliability of the data collected (Fazzone et al. 2000). Using open coding in the initial coding of the qualitative data allowed me to organize the data by producing preliminary analytical codes. Joppe defines reliability as “the extent to which results are consistent over time and accurately represent the total population studied,” and states that a research instrument can be considered reliable if the results of a study can be reproduced. using a similar methodology (Joppe 2000: 1).
OVERVIEW OF RESEARCH FINDINGS
Background information
- Analysis of the mixed group: background questions
- Analysis of the all-female group: background questions
- Analysis of the all-male group: background questions
- Overall analysis of the whole group (mixed, all-female, all-male)
Two out of six men enjoyed watching sports-related programs and factual programs, such as those on the Discovery Channel. Four out of six men enjoyed watching soap operas, which challenges some research findings that soap operas target women rather than men. A small percentage of men in the all-male group indicate that they watch very little television.
Background questions
- Analysis of the mixed group: background questions
- Analysis of the all-female group: introductory questions
- Analysis of the all-male group: introductory questions
- Analysis of the background questions overall
Other respondents mentioned watching because of the elements of African tradition showcased in Muvhango that they felt other soap operas did not show. All but one of the respondents seemed to watch Muvhango with family - either the whole family or siblings. The majority of male respondents believed that Muvhango was unique because thorough research had been done.
Focus groups: first round
- Positive perceptions of male characters
- Negative perceptions of male characters
- Perceptions of links between issues related to masculinity represented in
- Characters possibly to be deleted or inserted into Muvhango
- Key trends and dominant perceptions of each group
One of them thought that Sizve's character was struggling with his manhood, due to problems with women. He also felt that Sizwe should be removed because of his problems with women. This group had different perceptions of the Chief: while some thought he was a good father and husband, others felt he still struggled with his masculinity, mainly due to his indecisiveness.
Follow-up interviews
- Positive perceptions of male characters
- Negative perceptions of male characters
Two of the women believed that male characteristics were derived from several aspects, such as Two of the women (Phindie & Ginger) agreed that there is no perfect man in it. The standout story for this group was the story of the widow and her legacy.
Conclusions
- Background questions
- Positive perceptions of male characters
- Negative perceptions of male characters
A large number of the mixed group highly approved of Busani's character because he wears a suit. They also rejected KK for his violence against women and believed that the boss's character displayed an over-. The all-female group was of the opinion that the male characters in Muvhango were power-hungry and that if these characters did not have power, "they were nothing".
THEMATIC AND THEORETICAL ACCOUNT OF THE RESEARCH
Outstanding features of Muvhango
- Emotional connection
- Fantasising and projecting
- Dress code of men
If specific actors did not contribute to the drama and intrigue of the storylines, they were considered a waste of airtime. They expressed that they liked to joke about certain characters' crazy quirks, for example the way the Chief behaves and KK's shiny suits. Ginger (F) thought that black South African men could 'relate to' many of the experiences portrayed by the male characters in Muvhango.
Masculinity dynamics in Muvhango
- Women who control masculinity
- Polygamy
- Christianity and masculinity
- Responses of male versus female respondents
- Complex masculinities
Many of the stories stem from the chief's interesting marriage choices and his bickering wives. Some of the chief's marriages were arranged for him to be married into. The chief in this case negotiates hegemonic masculinity (Connell 1995; Connell & Messerschmidt 2005), which points out that the formation of gender identities is dependent on the relations between men as well as the relations between men and women (Wetherell & Edley 1999).
The overall perceptions of male characters in Muvhango
Respondents perceived Albert as very devoted to his wife and loving to his children. These characters were Chief (the indecisive man), Albert (the family man with aggression issues), James (the gentle), KK (the man in the shiny suits) and Boros (the heirloom thief). The chief was perceived as a complex character and his polygamous marriages and indecisiveness attracted the attention of the respondents.
Positive perceptions of male characters
- Successful and developing men
- Gentlemanliness
- Humility
- Humour
- Summation: acceptable masculine traits
They agreed that a "perfect man" would need a bit of every male character's characteristics. If you take all the men in Muvhang, there are pieces left that you want to take and put together to create a sort of "perfect man", like taking Azwindini's, um, strength, strength, which I like. While male respondents such as Ben say that Mulimisi is “humble”, female respondents such as Mands, Ginger and Loud Girl felt that Mulimisi is “humble because he has to be, he is a healer”.2 The female respondents are believed that Mulimisi does not choose to be modest, but his career demands it.
Negative perceptions of male characters
- Aggressive men
- Emasculated men
- Immature men
- Insecurities of Black men
- Summation: unacceptable masculine traits
Borosi angered them so much that they said that if they saw the actor himself in the real world, they would spit on him simply because of the way his character treats women. Most of the male respondents seemed to openly favor the characteristics of hegemonic masculinity, although they did not validate aggression against women. She sees Mulalo's pursuit of this woman as an expression of a lack of control over the female character's lack of mutual appreciation.
Conclusion
Respondents identified, and mostly positively approved, male characters who fit the profile of the “new man” (mentioned in Chapter 2), presenting another. Respondents also identified male characters who exhibited mixed attributes, who combined elements of the young man and the conventional man, and whom they perceived as exhibiting complex masculinity. Some of the respondents expressed an "analytical preference" for male characters who clearly displayed hegemonic or non-hegemonic masculinity.
CONCLUSION
- Addressing the main objectives of the study
- Addressing the main questions of the study
- Limitations of the study
- Positives of the study
- Recommendations for future research
- Conclusion
Respondents also often talked about how the male characters in Muvhango in some cases reflect elements of the reality of black South African men. The rise and fall of Weberian class analysis in South Africa between 1949 and the early 1970s. SOUTH AFRICAN HISTORY ONLINE.(N.D.a) The South African Broadcasting Corporation introduces its first national news service.
INFORMED CONSENT DOCUMENT
ETHICAL CLEARANCE
INTERVIEW SCHEDULE
Can you think of a time in Muvhango when a male character behaved in a bad way or a way you didn't agree with Can you think of a time in Muvhango when you liked the way a male character behaved get on. Are there any male characters in Muvhango that you would point to young boys in your family/community as good role models for them.
