Sexuality and embodiment in South African women's poetry.
In the intricate dance between language, impact and experience, poetry emerges as a singular vessel, transcending the ordinary to delve into the profound complexities of human sexuality. This essay embarks on a journey into the realm where poetry becomes a dynamic force, uniquely capable of vividly portraying intimate experiences. It argues that poetry dismantles the stereotypical, male-dominated positions of women's sexuality as a transgressive medium and introduces a discomfiting yet potent element of objectification into representation (Powell, 2021). The goal is not only to analyse but also to illuminate and broaden the scope of discourse, contributing to a richer understanding of the intersection of poetry, sexuality, and embodiment within the unique socio-cultural context of the South African experience.
Globally, women navigate societal narratives that often confine them to predefined roles. The lens sharpens when focused on South Africa, a nation etched with the indelible marks of a tumultuous history entrenched in the web of male-dominated societal structures. Against this backdrop, the quest for self-representation becomes a nuanced exploration and an act of subversion. “A woman who assumes the pen is rebelling against the male-centred literary canon, where only men are empowered to speak and (so the assumption goes) to write ‘great’ poetry.” (Byrne 2014:54).
Beyond its rebellious allure, poetry is a conduit for firsthand experiences, propelling writers from passive observers to active agents and definers of their narratives. In this exploration, the observer-reader dynamic undergoes a fundamental shift, eroding the 'observer' wall that traditionally separates the reader and the speaker. The reader becomes integral to the experience, immersed in the intimate tapestry of South African women's sexuality and embodiment.
At the heart of this discourse lies a central thesis: the specific use of poetry as a conduit for dismantling the ‘reader wall’ from objectification into representation of South African women's exploration of sexuality and embodiment. This thesis posits that poetry, with its unique linguistic arsenal, obliterates the traditional boundaries, allowing for direct, unfiltered immersion into the subjective experiences of the poets. As we navigate the landscape of selected poems by South African poets – Ingrid de Kok, Ingrid Jonker, Lebogang Mashile, and Vangi Gantsho – we unravel the linguistic devices employed, witnessing how poetry becomes the melting pot for the intimate, personal, and collective expressions of South African women's sexuality. For space limitations, only these four poets and their poems respectively will be explored. The first poem that will be analysed is Autumn Morning written by Ingrid Jonker in 1988, it offers a subtle yet stifled view of sexuality, speaking with a sense of certain uncertainty. The second poem explored, is written by Vangi Gantsho in 2015, titled Her Secret with the Moon which in stark contrast to the other poems analysed, deconstructs South African women's sexuality through the journey of sexual abuse. Third, a poem by Ingrid De Kok, Inner Note dated 1997, references and resists feminine identities as prescribed by the masculine gaze by ironically using predominantly nature/bird imagery - often associated with men's fun past-times, especially in South Africa. Lastly, Cake, written by Lebogang Mashile in 2008, which stands as a celebration for the vagina.
Significant literature has been explored concerning African American women's sexuality and embodiment however, few within the milieu of South African women exist. Contributors of literature around South African women's sexuality are scholars such as Deirdre Byrne, Ross Truscott, Colleen O’Brien, and Cecily Lockett to name a few. Their works are invaluable and offer unprecedented insight into feminism, sexuality and the politics surrounding being a woman within the South African context, a direct and unfiltered discussion on sexuality and embodiment through poetry is limited.
Within the South African context, the quest for self-representation is often hindered by a male-dominated history, society and culture. It is only very recently that female poets began publishing their poetry in South Africa, as Lockett states, “in South Africa, the poetry of all women, black and white, has been suppressed and their voices largely silenced” (1992:52). Reason being is that women, throughout most historical contexts, are seen as reproductive bodies void of individual decision making about their sexual desires. For African women in particular, “African women have for a long time been undervalued, exploited and reduced to sexual objects through Objectification and Sexualization.” (Acen, 2020). One well-known, if not the most well-known case of tragic objectification of an African woman is Sarah Baartman. Removed from South Africa in 1810 by an English doctor, who persuaded Baartman to England, she became an anthropological freak to Europeans. Put on display in a cage for paid onlookers, Baaartman became an objectified form of African female sexuality. Baatman’s story also illuminates the notion that “women's bodies [are] subjected to moral as well as patriarchal interventions'' (Woodward, 2015:77).
Hence, it would be an unfair representation and exploration of sexuality in South African women's poetry to omit the political and socio-economic realities, predominantly defined by men, faced by South African women and women in general. “An overall picture emerges of women being subordinated in both economic and intellectual terms. They are also denied any influence over the major intellectual and media resources of their communities.” (Krog, 2001:17). The evolution of South African women’s sexuality is political and one's representation thereof cannot be discussed without acknowledging this counterpart. Poetry is a form of political expression, subversion and resistance. The dominance of the male voice in modern society seeps and dissolves the female voice into the mere act of cutting an onion for a pot of food. In a male and often conservative society sexuality is automatically ascribed to females by men in favour of the man. Thus denying the female any right to express her embodiment of sexuality.
The role poetry holds in dissolving this automatic ascription is removing the interventions and weightings on females and positing the female voice as the only thing speaking. Within the lines of poetry, the female voice is the only speaker. The role poetry holds in dissolving this automatic ascription is removing the interventions and weightings on females and positing the female voice as the only thing speaking. Within the lines of poetry, the female voice is the only speaker. This singular focus serves as a transformative act, challenging and dismantling societal preconceptions that often relegate women to passive roles or objectify them. Poetry becomes a realm where the female voice emerges with unfiltered authenticity, reclaiming agency over narratives that have historically been shaped by external perspectives. By centering the female voice as the sole speaker, poetry becomes a medium of empowerment, allowing women to define and articulate their own experiences on their terms.
This exclusive vocalization within poetry not only challenges societal norms but also disrupts the traditional power dynamics inherent in linguistic and cultural structures. The female voice, unencumbered by external influences, navigates its narrative course, inviting readers to engage directly with the lived experiences and perspectives of women. In doing so, poetry becomes a catalyst for reshaping perceptions, fostering empathy, and contributing to a more inclusive understanding of diverse voices within the discourse of sexuality and embodiment.
Furthermore, the poetic space, where the female voice stands alone, creates a sense of intimacy and authenticity that resonates profoundly with readers. It invites them to step into the subjective world of the poet, breaking down the 'observer' wall and facilitating a direct connection between the speaker and the audience. This intimacy enhances the impact of the exploration of sexuality, allowing readers to empathise with the complexities and nuances presented in the verses.
Four South African poets: Ingrid de Kok, Ingrid Jonker, Lebogang Mashile, and Vangi Gantsho, have dissolved the observer wall opposing the heteronormative order and this is why she troubles the neat categories of such a regime, blurring its well-defined boundaries” (Eagleton, 1996:190).
Sexuality within these poems is not overt in any measure. Through this covert portrayal of sexuality, these poems disrupt the social norm even only within the milieu of its text. These poems through using abstract metaphors become subversive. They employ menial portrayals allowing their sexuality to creep up. Using certain analogies to convey their embodied sexuality and desires. As Krog details, “These transgressions generally survive only until the end of the story … Nonetheless, in upsetting the social order and dissolving the dominant ways of seeing, if only temporarily, these stories have manifestly subversive potential.” (Krog, A. 2001:18).
The first poem, written by Jonker Autumn Morning (1988:21) is imbibed through visual referrals of comforting natural phenomena - Jonker's intensive use of the environment to portray the emotions and embodiment of her sexuality becomes a double entendre. She is nature and her pleasure is found through it by aligning the woman's body with powerful, natural elements, the poem challenges traditional objectification empowering the female figure, and emphasising her strength and vitality. In the beginning lines of the poem the metaphor of a penis entering a vagina is made clear through the following lines:
Spear of the horizon that pierces the sea and the sky
morning kisses on my breast like rising suns
through the waters you will come
Following this genius of understated sexual intercourse it becomes clear that the woman is taking part in the enjoyment and positioning her physical body as the subject through which the penis enters. Actively engaging in sexual intercourse transgresses the notion that the woman's body is only but an object there for men's desire and use, dismantling the objectification of the female body. Paradoxically strong reference is made to male symbols or phallic symbology (lines 1-9): ‘spear’, ‘rising’,’ forests’, ‘pierces’, ‘pathways’, ‘plunging’, ‘golden squirrels’ (whose tales are always erect) and ‘morning radiance’ (a reference to morning glory). The referencing of both the female body and the male body emphasises that Jonker places the experience of sex as a symbiotic process - a statement not often uttered by a woman in public society/discourse. “Like their labour of agriculture, women's labour of culture is also less valued - the bedtime story of women could never match the prestige and glamour of praise-singing and clan tales told about the forefathers at the public place” (Krog, 2001:17).
Furthermore, Jonker uses images of nature that are closely linked to the rebirth of the body, ‘sky’, ‘sea’, ‘rising sun’, ‘horizon’, ‘virgin’, ‘morning’, and ‘through all waters, you will come’. Here, a reference to Moses parting the sea and leading people to their new beginnings can be interpreted as Jonker being the voice transgressing from the objective into the represented and representative voice.
In comparison to Jonker’s poem which paints a wholesome exciting and safe embodiment of sexual pleasure and an embodiment of female sexuality, Vangile Gantsho’s poem, Her Secret with the Moon (2015: 33-34) explicitly depicts the rape of the vagina. Drawing on Adrienne Rich’s essay, “Compulsory Heterosexuality and Lesbian Existence”, this poem explicates male power in contemporary South Africa over women by, “forcing it [male sexuality] upon them” (1980:638). The title itself speaks multitudes in that it perpetuates the notion that rape and rape culture is treated as a selective fantasy: Her Secret with the Moon, if taken outside of the context of the horrific details of the poem, ironically can translate into a fantasy tale of exploration and a close, safe relationship with the moon and stars. The moon being a guiding symbol to ‘Her’ instead it is a depressing reminder to ‘Her’ as she is now “afraid of the dark” (line 47).
From the outset, the poem has vivid imagery of rape, sexual abuse and women-body-violation:
My vagina likes it rough
straight up in there
no playing games
because that’s all she knows
like a little girl
whose uncle used to sneak into her room
shared a secret with the moon
now she thinks Shhh
means I love you
and
Ouch means I want more
Interestingly, although it is the most vivid out of them all, it still does not speak of sexuality and embodiment as a stand-alone to the female however it focuses on the forced masculine sexuality the female body endures further perpetuating the narrative that female bodies are mere toys for men's pleasure and who cannot experience their pleasure as it is impossible for women to want sexual pleasure. The poem highlights one, that the physical female body holds an inferior position in society and two that although there are women aware of their sexuality and taking full agency of their embodiment of sexuality, there are women who believe in the interventions of patriarchy which place them as inferior objects. It is not a realisation to women that once they are of age, this realisation suddenly dawns upon them, they have “been taught from their childhood, that they are inferior to men” (Baloyi, 2008:49) it is taught through various institutions as well as the home.
The beginning of each stanza starts with “My vagina” (Lines 1,12,23,35,43) and is followed by a negative description of the memory the vagina holds about what has been done to the vagina:
My vagina likes it rough
…
My vagina likes to be
pumped into swelling
torn into shreds …
…
My vagina screams
…
My vagina remembers
when they broke in …
…
My vagina can’t forget …
…
Gantsho’s personification of the vagina and the use of present tense becomes a metaphor for the physical female body both holding the negative memory of abuse and rape and also experiencing it as an ongoing act. According to Herland, “The physical body is seen as a valid site of knowledge production…” (Herland, 2023: 1143). This posits the reader inside the walls of the poem having to actively engage with the vagina/the physical female body and the acts it endures, eroding the 'observer' wall that traditionally separates the reader and the speaker.
Moreover, the poem portrays the rapist as a somewhat caring figure and never refers to the rapist as the perpetrator, instead, it is the act of sex that becomes the perpetrator of rape perpetuating the view that men aren’t rapists. “For feminists, rape culture is underwritten by myths that construct men as agents and women as the “objects of violence”. These myths “deny or reduce perceived injury” while blaming “victims for their own victimization” (Frost, 2018:180). Essentially, it is the female who asks for it. The poem demonstrates that (lines 8-11, 15, 17, 24-26, 38, 40-42):
… Shhh
means I love you
and
Ouch means I want more
…
knows no to mean yes
…
mouth wide open
always ready for more
because that’s all she knows
…
how they didn’t knock
because the policeman said
she had let them in
it was her fault
…
Within the South African landscape, particularly in the context of gender-based violence, rape emerges as a deeply entrenched and pervasive issue, reflecting a complex interplay of socio-cultural, historical, and systemic factors. This phenomenon has far-reaching implications that extend beyond individual incidents, shaping the broader societal fabric. Gender-based violence in South Africa is deeply intertwined with issues of race, class, and other intersecting factors. Women from marginalised communities often face compounded vulnerabilities, and the impact of violence is often exacerbated for those who are already marginalised. In this context, “rape culture” refers to the conditions of a society that tacitly accepts rape. Such conditions, in the support they give to gender violence, potentially limit women’s actions while structuring masculinity as the agency that exerts … domination. (Frost, 2018:181).
Similar to Gantsho’s use of personification, Ingrid De Kok’s poem Inner Note (1997:49) refers to the inner embodiment of sexuality bringing the reader into the experience; however, in contrast, it uniquely makes note of the partialities of the experience introducing a separation. Sexuality is hidden within the experiences of embodiment:
Like a wishbone
or the instep of your foot
this parabolic love curves,
wings stirring
in the neck nerves of a crane
…
The half-open door
…
an olive thrush
through the hibiscus bush
…
fugitive grace,
and the deep body as our penumbral space
De Kok makes use of imagery which references and simultaneously resists feminine identities as prescribed by the masculine gaze by ironically using predominantly nature/bird imagery - often associated with men's fun past-times, especially in South Africa. One of the most significant similes employed by De Kok to reference women's sexuality and embodiment is the following:
in the neck nerves of a crane
at marsh’s edge
…
You breathe me out
I breathe you in
The poignancy of the line “at marsh’s edge” and subsequently what follows reverberates how women get to embody their sexuality. “A marsh is a type of wetland, an area of land where water covers ground for long periods of time” (Evers, 2023). The marsh’s edge here can be linked to women's sexuality being covered by water and within this context, water refers to male dominance, for most of their experience on earth suggesting a metaphorical connection between the marsh, characterised by water-covered ground, and the discreet or submerged nature of women's sexuality. The use of the metaphor of a marsh, defined as a wetland where water covers the ground for extended periods, sets the tone for the analogy. Marshes are known for their richness and biodiversity but are also often associated with hidden or submerged elements beneath the water's surface. Marshes are ecologically complex and rich in diversity, suggesting that despite being covered or hidden, there is depth and intricacy to women's sexuality. The metaphor may subtly challenge the idea that discreteness equates to simplicity or lack of substance, highlighting the multifaceted nature of women's experiences.
Additionally, by associating women's sexuality with a marsh, the metaphor implies that there is a subtlety or hidden quality to feminine sexual experiences. This could be interpreted as a commentary on the societal expectations for women to maintain a certain level of modesty or discretion when it comes to their sexuality, echoing historical and cultural norms that have often prescribed a more reserved attitude towards women's sexual expression. The metaphorical connection between the marsh and women's sexuality suggests a nuanced exploration of the discreet, complex, and submerged nature of feminine sexual experiences, potentially commenting on societal expectations and the need for subtlety in the expression of women's sexuality.
In a less subtle verse, Lebogang Mashile’s poem Cake (2008:33-36), echoes a more commemoratory tune, “forcefully, and in a wholly South African register, insists on and celebrates women’s sexuality, flying in the face of assumptions about women having no sexuality” (Byrne, 2014:62). The poem takes on, at first, a lyrical and spoken approach to sexuality and the physical embodiment thereof. It begins:
Kuku
Pussy
Cake
Coochie
Twat
Mkhekhesu
Coconut
Nappy dugout
Gwede
Nywana
Sekhwama sa boya
Qwet
Mapetlepetle
The repetition and variety of definitions for ‘vagina’ from the outset of the poem in a way shove the reality in the reader's face in such a way that it destabilises the taboo often associated with women not speaking about their genitalia or often feeling too ashamed to. This approach is a deliberate effort to challenge the historical, cultural, and societal contexts that have perpetuated silence and shame around women's sexuality. Belief in a taboo surrounding the subject of the vagina is deeply ingrained in various cultural, historical, and societal contexts. The poet disrupts the traditional silence and discomfort surrounding the topic. The act of repeatedly stating the word 'vagina' challenges the invisibility and taboo that often shrouds discussions about female anatomy. This mirrors the feminist objective of breaking the silence and reclaiming agency over one's own body.
This taboo has been a pervasive aspect of many societies, constraining open and honest discussions about women's bodies, particularly their reproductive and sexual anatomy. Examining this belief reveals its profound impact on shaping perceptions, reinforcing gender norms, and influencing how women's bodies are perceived and discussed, as Frost states, “a kind of ‘visible invisibility,’ a public secret and an object of taboo” (2018:189).
The poem, however, transgresses into a more sombre reality far from its commemorative departure:
I have never felt at home
In my pussy
I have never felt at home
In my home
The subsequent lines, albeit the rest of the poem, reveal a shift to a more sombre reality, where the speaker expresses a sense of not feeling at home in both their own body and their physical dwelling. This shift introduces a layer of complexity to the narrative, indicating that despite the initial celebration of breaking taboos, there are deeper emotional and personal struggles related to embodiment. Hence, Frost's statement is particularly apt in the context of the poem. The poet is making the vagina, a typically hidden and silenced part of the female body, visible through the act of repetition and varied definitions. This visibility disrupts the societal norm of keeping discussions about the vagina in the shadows and brings it to the forefront, making it an object of discussion rather than a hidden secret.
In conclusion, the exploration of South African women's sexuality and embodiment through the lens of poetry reveals a multifaceted landscape shaped by historical, cultural, and societal dynamics. The central thesis of this essay asserts that poetry, with its unique linguistic arsenal, serves as a powerful conduit for dismantling the 'reader wall' and transitioning from objectification to representation. The selected poems by Ingrid de Kok, Ingrid Jonker, Lebogang Mashile, and Vangi Gantsho illustrate the diverse ways in which these poets navigate and redefine the discourse on women's sexuality within the South African context.
The analysis of Ingrid Jonker's "Autumn Morning" highlights the poem's celebration of sexual pleasure, challenging traditional objectification and empowering the female figure. The use of metaphors aligning the woman's body with natural elements disrupts societal norms and emphasises the symbiotic nature of sexual experiences.
Vangi Gantsho's "Her Secret with the Moon" takes a starkly different approach, vividly depicting the trauma of sexual abuse. The poem serves as a poignant commentary on the pervasive issue of gender-based violence in South Africa, exposing the harsh realities faced by women and challenging societal perceptions that often blame victims for their victimisation.
Ingrid De Kok's "Inner Note" utilises nature and bird imagery to reference and resist feminine identities prescribed by the masculine gaze. The metaphor of a marsh subtly challenges societal expectations, presenting a nuanced exploration of the discreet, complex, and submerged nature of feminine sexual experiences.
Lebogang Mashile's "Cake" stands out as a celebratory proclamation of women's sexuality, forcefully challenging taboos associated with discussing the vagina. The repetition and variety of definitions for 'vagina' confront societal norms, making it an object of discussion rather than a hidden secret. However, the poem takes a turn towards a sombre reality, revealing the speaker's struggle with a sense of displacement within their own body and dwelling.
Throughout this exploration, it becomes evident that South African women's poetry serves as a transformative force, dissolving automatic ascriptions and providing a platform for the unfiltered expression of the female voice. Poetry becomes a political act, challenging societal preconceptions and reshaping perceptions. By centering the female voice as the sole speaker, poetry becomes a medium of empowerment, allowing women to define and articulate their experiences on their terms.
The selected poems, each offering a unique perspective, collectively contribute to a richer understanding of the complexities surrounding South African women's sexuality. While celebrating the strides made in breaking taboos, these poems also shed light on the ongoing struggles and traumas faced by women within a society marked by a history of male domination. The nuanced exploration presented in this essay aims to contribute to a broader discourse on the intersection of poetry, sexuality, and embodiment within the unique socio-cultural context of South Africa.
Reference List:
Acen, C., 2020. WOMEN POETRY: REVEALING UNSPOKEN STRUGGLES. [online] Available at: http://www.atlasoftransitions.eu/indepth/women-poetry-revealing-unspoken-struggles/ [Accessed 9 January 2024].
Baloyi, M.E., 2008. Patriarchal structures, a hindrance to women's rights (Doctoral dissertation, University of Pretoria).
Byrne, D., 2014. “New myths, new scripts: revisionist mythopoesis in contemporary South African women's poetry”. Gender Questions, 2(1), pp.52-66.
De Kok, I. 1997. "Inner Note." Transfer. Cape Town: Snailpress, p. 49.
Eagleton, T., 1996. Literary Theory. Oxford: Blackwell.
Evers, J. 2023. Marsh. [online] Available at: https://education.nationalgeographic.org/resource/marsh/ [Accessed 10 January 2024].
Frost, H., 2018. “There's Plenty of Rapists Here”: “Rape Culture” and the Representation of Anene Booysen's Rape in the International and South African Press. Cultural Critique, 100, pp.176-198.
Gantsho, V. 2015. "Her Secret with the Moon." Undressing in Front of the Window. Tshwane: Vangi Gantsho Pty., pp. 33-34
Herland, M.D., 2023. “The body as a site of knowledge: Tacit and embodied narratives of child sexual abuse”. Qualitative Social Work, 22(6), pp.1141-1156.
Jonker, I. 1988. "Autumn Morning." Ingrid Jonker: Selected Poems. Translated by Jack Cope and William Plomer. Cape Town: Human & Rousseau, p. 21.
Krog, A., 2001. “Women's Voices: African Poetry in Motion. Journal for the Study of Religion”, 14(2), pp.15-24.
Lockett, C., 1992. South African Women's Poetry: A Gynocritical Perspective. Tulsa Studies in Women's Literature, 11(1), pp.51-61.
Mashile, L. 2008. "Cake." Flying Above the Sky. Johannesburg: Lebogang Mashile, pp. 33-36.
Powell, R.J. 2021. “Black Art. A Cultural History”. Thames & Hudson: London.
Rich, A.C., 2003. Compulsory heterosexuality and lesbian existence (1980). Journal of women's history, 15(3), pp.11-48.
Woodward, K., 2008. Gendered bodies: Gendered lives. Introducing Gender and Women’s Studies, pp.75-91.