Resumo

MPONTSHANE, Nhlosenhle; KGONGOANE, Obakeng  e  PATHER, Deneesher. Zoë Modiga's SINENKANI(2020): A Womanist exploration of contemporary South African Afrosurrealism and Zulu identity. IT [online]. 2025, n.39, pp.1-24. ISSN 2617-3255.  https://doi.org/10.17159/2617-3255/2025/n39a25.

Stereotypical and sexualised representations of Black women's bodies have long been scrutinised in academic literature. The presentation of Black women in hip-hop videos, in particular, in both an international and South African context, has been hypersexualised and typified. Scholars in western feminism and Black feminism have demonstrated how Black women musicians have challenged one-dimensional portrayals of Black women by taking ownership of their sexuality and rebranding stereotypical language and images with more empowered messages. Less examined in current literature on the representation of Black women in music videos is how Black African women musicians use music videos to exercise creative control in their self-expression. In this article, we use a Womanist perspective to interpret South African artist Zoë Modiga's SINENKANI (2022) music video. We argue that in SINENKANI, Modiga engages in a Womanist gaze, combining elements of Afrosurrealism and Zulu indigenous culture to create an empowered intra-communal perspective. We argue that far from just countering stereotypical representations of Black women, Modiga creatively constructs a complex identity of Zulu African womanhood which can only be fully understood intrasubjectively.

Palavras-chave : Afrosurrealism; Black feminism; feminism; music videos; Womanism; Zulu.

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