The Trevor Noah phenomenon
Satirists debunk stereotypes through humour, writes Lyn Snodgrass
LAST year was a tumultuous one for South Africa and the country faces an uncertain 2016. This prevailing mood does not bode well for South African society. But there are undercurrents that suggest otherwise – budding signs of a deepening democracy. One of these is the Trevor Noah comedic phenomenon.
Noah is a comic export to the American global television market as successor to the famous satiric host, Jon Stewart, on the highly rated The Daily
Show. The show draws its comedy and satirical content from trending political news, cutting-edge debates and interviews with top politicians and influencers. Noah s acclaimed hosting debut had 3.471-million viewers. In rising through the ranks he has drawn on material from his turbulent childhood and ethnic experiences.
Noah has cracked the nod with his peers, a cosmopolitan audience and influential media critics. This is no mean feat for a 31-year-old of mixed race.
The Noah phenomenon speaks to an influential comedic revolution that is happening in South Africa.
Humour as social commentary and critique
Late-night talk shows and comedy clubs are becoming popular in South Africa. This comedic revolution is dominated by young black comedians. Like their peers worldwide, they are pushing the boundaries on controversial issues.
They search for material drawing from the messy business of “real ” life, wrestling with topics relating to racism, sexism, prejudice, abuse and religion. Public and even iconic figures are considered fair game.
Comedians are not idealists. But in the single-minded pursuit of their agenda – laughter – they inadvertently provide the sociopolitical critique that has the potential to activate transformation in society.
Satirical humour may be provocative, shocking and even offensive but it is considered fundamental in a free society. Charlie Chaplin observed that:
“… the function of comedy is to sharpen our sensitivity to the perversions of justice within the society in which we live.”
Comedic culture is deeply rooted in human history. Travelling minstrels and the court jester – forerunners of the standup comic – held up a satirical mirror to the ills of their medieval societies. Satirist-comic comes to play the unintended role of activist and change agent in society.
For South Africa, a post-conflict society grappling with issues of race, inequality and a weakening economy, these factors are pronounced.
Humour is therapeutic
The country ’ s “funny men ” offer the opportunity to laugh, providing a Freudian catharsis – a release of emotional stress and tension – with therapeutic benefits such as dealing with the anxiety and insecurity of our deeply divided societies.
Research has shown that humour can be used as a form of resistance and protest as the Jews used it to take control of their lives in Nazi concentration camps.
Humorous strategies are also powerful in exposing social injustice, subverting stereotypes and challenging assumptions. And the constructive role of humour to facilitate dialogue, nonviolent resistance and reconciliation is well documented.
Humour as a social corrective
The degree to which a society allows its artists free expression is seen as a significant indicator of its democratic character and maturity. As hallmarks of a robust democracy, satire and humour have special import in postcolonial and post-conflict societies.
Governments and rulers throughout history have tried to suppress satirists and cartoonists who expose their shortcomings. They perceive this as a threat to their power as well as inviting unwanted public scrutiny.
Developing economies often struggle with freedom of expression, especially when regime abuses and dominant discourses are challenged. The current South African government is no exception. President Jacob Zuma has provided a wealth of material for comedians, artists and cartoonists such as Zapiro.
More recently, however, the governing African National Congress appears to be taking an adversarial stance against artistic expression.
A revolution comic proportions
Young black stand-up comedians such as Tumi Morake, Loyiso Gola, David Kau, Kagiso Lediga, Tats Nkonzo and many others are performing increasingly to black middle-class audiences. Kau jokes that he no longer has to rely on white patronage because black South Africans have money to attend his shows.
Research in the US shows that comedic talk show hosts are prominent sources of political information. This is especially true among 30-35-year-olds. In 2007, the Pew Research Centre listed Stewart as the fourth-most-trusted journalist in America.
Satirists can certainly help with building a vibrant democracy in South Africa by providing an alternative learning platform, offering competing narratives, subverting stereotypes and deconstructing dominant discourses.
As with the #FeesMustFall movement, it is fitting that the “comic revolution ” is driven by young South Africans who are debunking myths and challenging political correctness with a sense of humour.
Snodgrass is associate professor at the Nelson Mandela Metropolitan University. Source: https://theconversation.com