ABSTRACTThe opera of black America and opera Indigene of settler-invaded continents initiated a trend in opera criticism that introduces new insights into the role of this classical genre in modern times. The treatment of black and indigenes operatic subjects in all of these operas signals that operas inevitably draw on historicities and other contemporary social variables in explaining the personal or national country's unfolding narratives. In both the black American tradition and opera of the indigenous people, grammars and vocabularies which share continuities with the indigenous world and further speak to complex intricacies of contemporary life, feature significantly. Profound in these registers are congealed indigenous or emerging idioms and vernaculars embodied as texts which function as signifying practices in the operas. A similar stylistic is noticeable in a South African opera by Ndodana-Breen, Vundla and Wilensky's Winnie (2011). This opera not only draws on these isiXhosa-coded oral texts but further juxtaposes them to the western world to play on the tensions and contrasting worldviews embedded in them. The plurality of consciousnesses refracted by the unstable interaction of the co-existence of these worlds brought about by these languages as well as the status of the latter in the South African linguistic terrain invites a reading that foregrounds polyphony, dialogism and dialecticism. The cultural scripts suggested by isiXhosa disrupt the autonomy of interpreting Winnie Madikizela-Mandela's political image which owing to the nature of South Africa's media politics has been the preserve of the dominant language worldview. This discussion investigates these hidden scripts and draws from tenets of Brecht's dialectical theatre by demonstrating (a) the extent to which they upset dominant iconographies of Winnie Madikizela-Mandela; and (b) how the typology of her iconisation is located and historicised within the context of the time that shaped it. This makes her iconisation to be a commentary on issues of justice both before and after 1994.
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