Cultural politics: Black Performing Arts in Johannesburg
Date
1976-07
Authors
Coplan, David
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
Max Weber (1964 ed.) was perhaps the first social theorist of power to
note that activity in virtually any domain can serve as a basis of power, and
that once established, such power can become available for use in other domains
as well (Cohen 1966). Bertrand Russell (Cohen, 1969, p. 213) has most clearly
expressed the implications of this notion for the study of power: "Power, like
energy, must be regarded as continually passing from any one of its forms into any
other, and it should be the business of social science to seek the laws of such
transformation."
It is my contention that the study of Johannesburg's black performing arts
within the framework of a theory of social power can contribute to the formulation
of such "laws". Though he does not concern himself with the arts specifically,
Richard N Adams (1970, 1975) has developed a theory which can be of considerable
value in understanding the role of expressive culture in the transformation of
power in complexly structured situations.
Description
African Studies Seminar series. Paper presented September, 1976
Keywords
Performing arts. South Africa. Johannesburg, Arts, Black. South Africa. Johannesburg, Art and state. South Africa. Johannesburg