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"Fragments of surfing pasts" art nstallation, Casa Labia

“Fragments of Surfing Pasts” art installation, Casa Labia Gallery, Muizenberg, 21 September 2014. Photo: Cobus Joubert

The Beyond the Beach Exhibition opened opposite from the waves at Muizenberg’s Surfer’s Corner at the Casa Labia Gallery on Sunday, 21 September and ran to 21 October 2014. Curated by Paul Weinberg, the exhibition features several photographers whose work re-imagined the beach and shoreline of False Bay as space for ways of seeing the fluidity of identities, emotions, spaces and aesthetics associated, evoked or juxtaposed to the “beach” as place and concept. I was invited to participate in the exhibition and create an art installation that critically explored South African surfing histories (see note below for more details).

Exhibition summary

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Paul Weinberg talks to the exhibition themes at the Walkabout on 12 October 2014

Paul Weinberg talks to the exhibition themes at the Walkabout on 12 October 2014. Photo: Casa Labia

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Exhibitors on display: HUMA hosted panel discussion on the Beyond the Beach Exhibition, Muizenberg and the raising questions about the beach as a space opening the possibility of inclusivity and belonging in post-apartheid South Africa. Held in at the Casa Labia ballroom, 12 October 2014. (L to R: Rodger Bosch, Sean Wilson, Paul Weinberg, Robert Hamblin, Jenny Altschuler and Glen Thompson. Not pictured, Sandy Worm, who is based in Germany). Photo: Casa Labia.

A note on the “Fragments of Surfing Pasts” art installation

Surfing pasts becomes somewhat knowable through traces, found fragments providing a view of what happens beyond the beach in the waves. This art installation was a reflexive review of my place within my studies of South African surfing history. Part summation of my doctoral dissertation in History (the exhibition run during the final month of my writing up of my dissertation), part visual representation of some of the key sources and themes informing that historical study, this installation was a becoming for me as a surfer and historian, a space for me to speak as a cultural practitioner to my interpretations of the beach and surfing’s historical place therein. The selections from the magazines on display come from independent South African surfing magazines no longer in print, South African Surfer (1965-68), Offshore (1987-89), and Liquid Girls (2005-6), or in the case of Amaza (2012 – ), currently in print but not widely available. All found a publishing home in Cape Town; South African Surfer moved from Durban for its last issue. The earlier magazines folded due to market pressures, Amaza is published by Waves for Change, a local non-profit organisation that uses surfing for leadership training and social development for at-risk youth from Masiphumelele and Khayelitsha townships in Cape Town. Each magazine reflects turning points in South African surfing history and points to the shaping of the diversity of surfing identities in the present. South African Surfer provides a record of the Sixties surf boom in the longboard era, Offshore reported on non-racial surfing under apartheid, Liquid Girls made girl and women surfers visible in a market over-determined as youthful males, and Amaza brings to the fore the lives of black surfers and emergence of township surfing. Framing the surf magazines, the broken surfboard speaks of the how the shortboard is no longer the only way of finding pleasure when riding waves. It was provided by Share the Stoke Foundation South Africa, which repairs and re-deploys surfboards into local surfing development programmes. This surfboard was beyond repair and was last used at the Surfshack Surf Outreach Project in Muizenberg.  The wooden Alaia Needle surfboard, shaped by Muizenberg based WAWA Wooden Surfboards, guides the chronology of the installation, from the Sixties to the present. It also references surfing’s precolonial Hawaiian past, that surfing has traveled the globe in the modern era, and gestures to the future of surfboard shaping in seeking alternative and environmentally-friendly materials to surfboards made out of petrochemical based epoxy, polystyrene, polyester and polyurethane products. The UCT documentary film, Berg Boys (2013), brings Muizenberg into focus as a space for passing on surfing styles and know-how from a surf coach to a young grom in keeping the surfing stoke alive. The film brings to the fore the role of surf tourism in providing employment to black surfers and provides a view of how surfing keeps youth off the streets and in the waves.

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Reading surfing histories during the exhibition Walkabout. Photo: Paul Weinberg

My installation shared a room with Sandy Worm’s portraits of some of Muizenberg’s black surfers, titled: Black People Don’t Surf. The details of this photographic project, and the others that were on display at the Beyond the Beach Exhibition are detailed in the catalogue archived on the Casa Labia Gallery website.

Sandy Worm's portraits

Black surfers at Muizenberg: some of Sandy Worm’s portraits. Photo: Paul Weinberg

 

In August 2013, cjac20.v026.i03.coverMeg Samuelson and I collaborated on an interdisciplinary project that considered the contemporary politics, shifting poetics and invoked pasts in the film Otelo Burning (2011), an isiZulu language film that uses surfing to pose questions about personal and political freedom during the demise of apartheid (1988-1990).

An outcome of the project was the publication of several essays and an interview with Sara Blecher (producer, director) and Sihle Xaba (actor, surfer) in the Contemporary Conversations section of the Journal of African Cultural Studies, Volume 26, Number 3, September 2014.

Contemporary Conversations: Otelo Burning 

Meg Samuelson and Glen Thompson, “Introduction.” (Free Access to the article, which includes audio-visual supplementary material relating to the film and its reception).

Meg Samuelson, “Re-telling freedom in Otelo Burning: the beach, surf noir, and Bildung at the Lamontville pool.” (Free Access to the article).

Glen Thompson, “Otelo Burning and Zulu surfing histories.” (Open Access to the article).

Bhekizizwe Peterson, “Otelo Burning (dir. Sara Blecher, 2011).

Litheko Modisane, “Otelo Burning: On the turbulence of freedom.”

David Johnson, “Beyond tragedy: Otelo Burning and the limits of post-apartheid nationalism.”

Meg Samuelson and Glen Thompson, “Interview with Sara Blecher and Sihle Xaba: the making and meanings of Otelo Burning.”

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I presented a research in progress paper entitled “Transforming Surfer Boys: A Cultural History of Zulu Surfers in South Africa, 1965 to 2013” in the panel on Conflict and Leisure at the Historical Association of South Africa (HASA) Biennial Conference in Durban on Friday, 27 June 2014. This working paper on black surfing histories in South African forms part of my doctoral study on gender and politics in the history of South African surfing culture.

Surf film: Zulu Surf Riders (2008)

Surf film: Zulu Surf Riders (2008)

Summary of the paper

A cultural history of black surfing disrupts the whiteness, but not the masculine ethos, of surfing in South Africa. For Durban, two films have foregrounded Zulu surfers, the feature film Otelo Burning (2011) and documentary film Kushaya Igagasi (2013), translated as “Hitting the Waves”. In seeking to contextualise these contemporary formations of youthful black, male surfing subjectivities, this paper sets out a genealogy of Zulu surfers in surfing magazines, surf industry advertising and films featuring surfing (surf films, documentaries and feature films) from 1965 to the present. These sources provide an archive for a postcolonial reading of established (mediated, commercialised and organised) surfing culture’s appropriation of Zuluness during years of beach apartheid to affirm white surfing’s cultural distinction and difference in terms of race, class and gender. In the post-apartheid era, a discourse of surfing development and national sports transformation re-shaped views of Zulu surfers from that of athletic tokenism to social inclusion in the waves. Nevertheless, race trouble (the presistance of racial inequality in the everyday despite a discourse of tolerance) and contested masculinities at the beach have remained a persistence of the past. From the early 1990s, the voices of Zulu surfers in KwaZulu Natal can also be found in the surfing archive. A changing cultural politics has made possible an agency for Zulu surfers to accommodate, subvert or re-appropriate established surfing’s representations of “the surfer”. While this self-fashioning may be driven by a desire for social mobility, they have emerged, especially in the 2000s, out of clubs or social development programmes, inclusion within surf teams, brand sponsorship and media attention. The Africanisation of South African surfing culture, expressed at times as township surfing culture, is addressed by exploring the local and global processes of surfing lifestyle consumption among Zulu surfers in Mzansi (the South).

I presented a research in progress paper entitled “From Femlins to Saltwater Girls: Sport, Lifestyle and Femininities in South African Surfing Culture, c.1965 to the present” at the Stellenbosch History Department Seminar Series on Wednesday, 24 April 2013. This paper was then presented on Saturday, 29 June 2013 at the 2013 Southern African Historical Society Conference held in Gaborone, Botswana. This working paper forms part of my doctoral study on gender and politics in the history of South African surfing culture.

A further iteration of this paper was presented at the Institute for Humanities in Africa (HUMA) at the University of Cape on Thursday, 28 August 2014. This work in progress paper was titled: From Femlins to Saltwater Girls: Surfer Girls and Lifestyle Sport Consumption in South African surfing magazines, 1965 – present.

Summary of the paper

Liquid Girls Surfing magazine, cover of March 2006 issue.

Liquid Girls Surfing Magazine, cover of March 2006 issue.

This paper seeks to make visible the histories of women’s surfing in South Africa as a counterpoint to the persistent discourse that the sport of surfing is a male activity. It attempts a pro-feminist, new cultural history reading of the surfing archive taking into consideration both textual and visual sources to recover the representations, voices, experiences and agency of girls and women who surfed or continue to surf in Cape Town, Durban or elsewhere along the South African coastline from the mid-1960s to the present. This paper seeks to document how South African surfing femininities negotiated complicity within the gender order or, through a surfing identity, challenged the gendered nature of power in society and within surfing culture itself. It explores both the local and global iterations of surfing femininities as shaped by or shaping cultural, social and commercial processes. In particular, the role of surf magazine advertising is examined for how it maintained a youthful, sexy, athletic yet objectified heterosexual image of the “surfer girl” over several decades. In locating this study within the study of hegemonic femininities in southern Africa this paper explores the complexities of gender relations in the social construction of femininities: how these femininities were themselves historically contingent, fluid and contested by girls and women who surfed, constructed in relation to men in the surf and on the beach, located in relation to a discourse of a femininised ocean, and socially differentiated based on the culture of beach leisure and access to leisure time, sporting prowess, the nature of sportisation through organised sport, and the consumptive ethic of a beauty culture associated with the emergence and consolidation of surfwear as mainstream fashion. In short, in reflecting on the role of gender and lifestyle in South African surfing history, the conditions for the emergence in South Africa in the 1990s of the global phenomenon of the “Surfer Girl”, with its Californian and Australian roots, is considered within the context of the democractisation of South African society. Yet, this history also illustrates some of the limits of social and cultural change at the beach as women’s surfing in South Africa has largely remained a white sporting activity, despite the promise of change in the prominent roles of black girl surfers in the Hollywood DVD Blue Crush 2 (2011), set in KwaZulu-Natal and the eastern coastline, and the locally produced Amaza (2013) television series filmed in Muizenberg, Cape Town.

I presenting a paper on how black surfers have been represented in South Africa’s surfing print magazines since 1990 at the Work/Force: South African Masculinities in the Media Conference  held at Stellenbosch University on 13th & 14th September 2012.

Summary of the paper
The idea of the “surfer boy” in the South African surfing imaginary is no longer primarily white, male and youthful although Zigzag (since 1976) and thebombsurf (since 2008) surf magazines continue to maintain that white, heterosexual hegemony within their textual and visual representations supported by surf industry advertising expenditure. Nor is surfing nostalgically looking back to the halcyon days of the Californian inspired Sixties and Seventies. Rather, through grassroots initiatives, surfing development programmes linked to organised surfing, and pressure from the national sport ministry, that same surf media and several surf movies are constructing the idea of surfing in Mzansi (the South) at established and emergent surfing centres along the South African coastline, such as at Durban, Mzumbe, Port St Johns Jeffreys Bay and Muizenberg, where black male surfers and white girl surfers are visible. In many ways it is the new possibility of these postcolonial surfing sites that have provided the greatest challenge to the historically white and male South African surfing imaginary and opens up possibilities for new male identities and gender relations on the post-apartheid beach and, through sporting and recreational practices, in the surf. This does not mean that the surf media is not without producing social tensions in what is said and not said (and what is seen and unseen) about race and gender. The former surfaces as race trouble in negotiating new identities that attempt to masked social fractures within surf culture. The latter shows fissures in the production of a white South African surfing masculinity historically used to supporting its dominance in society through a sporting practice. In these ways, the South African surf media provides a useful lens to critically explore competing masculinities within a marginal aquatic sporting tradition that point to social transformations on the beach in the years after apartheid.

For more information on the conference: Work/Force: South African Masculinities in the Media Conference.

This paper is part of my ongoing work for my doctoral studies focusing on gender and politics in the history of South African surfing culture.

One of my waves. Photo by Ben Day

A posting on making snap judgments about selecting waves (i.e.  a surf blink) while competing in a SUP surfing contest which prompts ponderings on research methods and the history of the surfing’s present.

It’s Easter long weekend and I ended up doing embedded research on the SUP scene up in Plettenberg Bay in the Southern Cape and taking time out from thesis writing on South African surfing and the Sixties which will go toward a paper on the “Californication” of South African surfing culture for a forthcoming history conference. This is not a posting about those themes; rather I’m in search of methods for thinking about the past in the present and how to translate subjective experiences while surfing waves into a phenomenology of social acts which emerge from a consciousness of being in the surf. Put simply, why did I chose that wave rather than another during a SUP surfing heat which just happened to take place at Lookout Beach in Plettenberg Bay.

Mindful of the switch between historian and playing part of the making of a new sport of stand-up paddle boarding (called SUP) in the country, I was a participant observer to the inaugural Off The Hoek SUP Classic, a contest with lagoon and sea paddle races and a wave-riding event. For my surf journalistic take on the event, and visual evidence of the happenings over 22nd  to 23rd April 2011, read my article on SUPHQ.com, a locally based web portal for SUP community. This frames some context for what follows.

On route to the contest, driving my board laden car, I was listening to Malcolm Galdwell’s audio book version of his 2005 book, Blink. The book is about rapid cognition and covers examples from knowing from a glance when a ancient statue is a fake to making snap decisions about a person, a couple or a situation. It is about how we “thin-slice” encounters and contexts, a psychological process whereby a person uses limited amounts of information to seemingly use intuition (which developed as experience or expertise) to make sense of something or someone.

I was intrigued: how would Gladwell’s ideas translate into a situation that I was most familiar with – such as selecting waves when surfing in a contest or, for that matter, wave-selection when free surfing outside of the contest rules of an event, as the one does inform the other through the skill gained through hours of spending time surfing and “reading” waves – what I’ll call “surf blink”.

Surf blink is informed by three things: an understanding of one’s board and body in the waves. Spending time on one or more different types of boards (for example, bodyboard, shortboard, longboard or SUP) also plays a role in what surfing proficiency is developed, as each board type is designed to allow for differing wave-riding experiences and styles across a range of surf conditions. The surfing act then could be defined as a process of embodiment, the experience by which a living female or male body dances on a wave mediated by the technology of a board (and in the case of a SUP, a paddle is included in the act of the glide).

Taken together then, the following factors play a part in wave-selection: board type, proficiency as a surfer (which may be determined by age and agility), and surf conditions. In a contest environment there are several other considerations: time (how long is the heat – usually 20 minutes in the initial rounds, and 30 minutes for a final), contenders (how many other competitors are in the heat with you), the judges’ gaze (the objective and subjective criteria used to judge your surfing against the other surfers in the heat), the shouts and clapping of spectators on the beach, and how the surf media represents the event in narratives published online or in print as story, photograph or video. Add “contest nerves” and adrenalin into the mix and you get a charged psychological moment that closes in on one’s personal performance in the waves. These factors would generally apply to a world-title contender and a novice to the contest scene (although their expectations and experiences of a heat would be vastly different).

These considerations start to engage with a discussion of the “surfing body-self” and non-representational theory pertaining to peak experiences in Nick Ford and David Brown’s Surfing and Social Theory (2006) – a seminal reader in locating surfing studies within academic practices of knowledge production. Ford and Brown’s points in Chapters 6 and 7 direct me to consider “surf blink” further as “kinaesthetic performance” and “expanded awareness” that enables a surfer to act through “non-cognitive dimensions of embodiment”. Here the interest is in surfing as experience and how the surfing body acts, not as set of signs representing social or cultural dimensions. In looking to research embodied practices in surfing, I am steering toward the idea that the instinct of riding a wave is learned bodily skills performed on the canvas of a wave (yet these skills have been developed in social and historical contexts). So too, if this non-cognitive surf blink applies to surfing the wave (making snap judgements of what move to perform), then it should also apply to wave-selection as a the precursor to anticipating the dream glide.

But this is the realm of social theory rather than historical studies. Maybe I should start to consider a surf contest heat as a ritual of non-cognitive embodiment. This ritualised space is the commodification of surfing’s transcendent experience and what can best be told as a history of the outcomes of one surfing body against another. I still feel there is something missing here. That is part of my quandary with surfing studies: my own practices in the present may cloud my understanding of surfing’s past – especially when it comes to thinking of surfing experiences in the waves over time. How then to write a history of surfing stoke in relation to politics, society and culture? This question may find some answers in where my interest in the historical and psycho-social dynamics of surf contests began?

Before embarking on my doctoral studies I had started studying the institutional contexts of power in which of surf contents, as part of organised surfing culture, were gendered as masculine. In one study, “Judging Surf Culture” published in the Journal of Natal and Zulu History, I focused on the judges’ gaze and the criteria for defining good surfing as part of a process of creating a hegemonic surfing masculinity during the first South African surfing championships held in Durban in July 1966 – which was a founding moment in the making of competitive surfing in South Africa. In another study, in Rob Morrell’s Changing Men in Southern Africa (2001), I provided a social contest for the emergence of professional surfing in South Africa as a white, male sport.

A back story to these studies was my antipathy for surf contests during the 1980s and 1990s. This stance had developed during my school years as a grom surfing along Durban’s beachfront as my initial thoughts of surfing stardom faded through middling showings during school inter-house surf contests and an attempt at a Natal development contest in the late 1980s. This was informed by a further desire simply to surf unfettered by any constraint – possibly why I made the following statement in my final year at high school in an English oral: “It is in this watery playground that I have found a place to escape from all the tensions of everyday life.” Leaving the question aside of what those everyday tensions were for another thesis chapter, my surfing experiences into my twenties tended toward that of a soul surfer rather than the competitive in so far that I even stopped reading Zigzag surf magazine and preferred the short run of African Soul Surfer, took little interest in news of the world titles, and avoided watching the annual world professional surfing contests held in Durban and Jeffreys Bay.

Disengaged from organised surfing at an aesthetic level, I entered into a study of South African surfing’s history where most of the records available were (and still remain so) on surfing contests and the surfers who gained recognition in that arena. I was interested in the silences, the histories between the surf contests, the history of surfing’s everyday in South Africa marred by beach apartheid and how gender relations were shaped within surf culture. These themes continue to inform my research although I started from what knowledge was available in the “surf archive” and I am now slowly filling in the gaps through my current research programme.

Since starting on my doctoral research in 2009 I have also plunged myself into surf contests – longboard and SUP surf events at regional and national levels as well as one local event where I entered three divisions: SUP, longboard and retro. In the former two the boards are over 9 feet in length, while the retro was on 5’8″ Fish twin-shape from a 1970s template. In all, I’ve surprised myself with my placings at these events, which have at times has been a top three or four placing in a board category or age division. Mostly I would say I am erratic in surf contests – winning a first round heat and then dropping out in the next. That is embodied performance based on results which ,in their own way, enter the annuals of surfing’s records.

Part of me qualifies this as embedded research in surf culture, another part has come to enjoy the thrill of being judged on surfing performance within a heat to gauge my level of proficiency in the sport of surfing. In many ways, I am now on the receiving end of the judges’ gaze that I was so critical about in my paper on “Judging Surf Culture”. I have moved from seeking to understand surfing as representation to thinking and acting within surfing in a more non-representational (embodied) manner. The challenge to see how to bring the two back into an historical perspective.

One way that non-representational practices and experiences could be historicised in riding surfboards that emerged from earlier eras of surfing’s history; such as a longboard or SUP – albeit these shapes have become influenced by modern materials and aesthetics, so the “pure” essence of the board is lost. Nevertheless, there is a kind of historical memory located in these boards which is remembered in films like The Endless Summer (1964) or photographs that are displayed of surfing’s Golden Years. I have also taken up the practice of riding boards shaped for prior generations of surfers to attempt to get a feel of how one’s surfing must change in relation to how the board fits with the wave and what manoeuvres one can do. A question I ask myself here is: am I seeking nostalgically for a surfing past that is different to my present? Or do these old designs help me imagine the past as I write South African surfing’s history?

Yet I have digressed, well not exactly. Surf blink has a personal history for each surfer; the above are some of mine which came into play during the SUP surfing contest during the Off The Hoek Classic in Plettenberg Bay. I recall the twenty minute first heat going passed at a steady pace – I was surfing against five others in my peer-group. I too up a position at backline, facing my SUP out to sea and waited for waves to come to me. The one thing with a SUP is that you can see what swell is coming more easily than from the lower vantage point of a prone paddling surfboard. Also, on a SUP you can cover more distance than on a surfboard to an approaching wave due to the advantage of a paddle. I usually like to take a wave soon after the heat starts so as to get rid of any contest nerves and take a psychological lead in knowing that I was one wave up on the others in the rotation of getting back out to backline after the wave. This time I received a beating from a set that broke further out than usual, so I was in catch-up mode for the remainder of the heat against contenders, some of whom have beaten me during previous surf events. I saw them catching great rides. But I took off on five or six waves; and felt surfed then well in getting moves in and a length of ride. Most of these waves were the set waves, the bigger ones. Even during the dying moments of the heat, with five minutes and less to spare, I still waited and let smaller waves go by before selecting the wave I wanted. My overall sense was that in that heat I was calm, having fun, and was making turns on the waves with less effort than usual, despite riding a new Naish Hokau 9’0″ SUP, with less volume and length than my other board. In short, I felt confident and the results showed it; by very narrow scores, two of the three judges placed me first over Gary Van Rooyen.

In my next heat I came unglued and took a fourth placing, and so missed the opportunity to go through to the final round. The primary difference in this heat was that I had to swim for my board after the leash came undone (or rather I had not tied it to the board properly before paddling out). This threw me off; the swim was long,  I lost time and felt physically exhausted. In trying to catch-up I made selected waves that were not the best in just trying to get my wave count up. In that rush I fell off a wave and then misjudged the arrival of a set before the end of the heat. I had entered the heat with high expectations and washed back in with those hopes dashed. That is the nature of a heat – it can go your way or not. In this second heat, after the swim, I felt frustrated and rushed and out of rhythm; in stark contrast to the first heat despite only an hour or so separating them.

So, what does this mean for an understanding of surf blink in a contest?  I know that my best contest strategy is to look for the set (the biggest) wave available, and am prepared to wait for this wave. I am aware that I have some proficiency on the wave but I am not a surf or SUP champion. I rely on my wave selection to boost my placing in the judges’ eyes during a heat. If I take the biggest wave and surf it well enough, in relation to the other surfers in the water during the heat, I will advance to the next round. And sometimes it is not winning the heat that matters in advancing, getting a second place in a heat also puts you into the next round – aiming for first is not always a good psychological advantage if you place more pressure on yourself to perform better, or on par, in a next heat after winning the previous one. Of course, once you have demonstrated a placing into the next heat, then the crowd on the beach is watching you more intently with expectations of your advancing to the next round, dependent on who is in your heat. These psycho-social factors play there part with the rapid cognition of wave selection during a heat. In that contest space, I am fully aware of the moment in the surf, what my competitors are doing, the judges’ gaze, the need to perform well, the crowd watching, and the adrenal rush. I am also aware that things have slowed down. A ride on a wave is maybe 20 seconds on average but it rushes by in screen grabs of turns off the bottom and the top of the wave.

Then when back at backline in the take off zone, waiting for the next wave, I am shifting my vision from the horizon to where are my competitors sitting. I am looking for that spot where the next swell will rise up out of the depths and offer a dream glide. I am imagining it coming but not what I will perform on it. I wait. I have a sense of the water temperature, a seagull flying by, the sound of the waves breaking inshore, the feeling of the contest vest over my chest, the current swirling below as I balance standing with paddle in hand on my SUP. A three wave set approaches and I am in position. The first goes by under my board as I paddle over it (its too small), as does the second (its going to break too fast), but for the third I turn and paddle – I know this wave will unfold and allow me to flow. That begins another surf blink, on surf blink, on surf blink, during the instinctual ride along the wave selected.

It’s a sad state of affairs when the one’s thoughts has continued through many months not to document a word. Does that lessen the fact that I have been studying surfing’s history at all as participant and observer? I hope not but I do feel that “the writing interregum” as a period within a research process is now shifting from contemplation to thesis writing output.

Coming later in life to this doctoral study with my own sense of nostalgia for a youth surfing past, I’ve pondered why – and been asked the same question by others on numerous occasions – this historical project on gender and politics in South African surfing culture.  A short answer would be: an interrogation of my past as a surfer and an attempt to understand, over time, the agency of other surfers in periods structured by the experience of apartheid and interwoven by the gender order to frame social relations and identities.

If I look at my published writings to date on surfing, only the latest of these on how the international sports boycott against apartheid shaped competition surfing in South Africa begins to take a broader time period into account. My other pieces have been more focused on key founding moment in South African surfing’s sports history – the inaugural South Africa National Surfriding Championships in 1966 and the emergence of Shaun Tomson as an exemplar male surf icon in the late 1970s. Both pieces analysed how a hegemonic masculinity around competitive surfing was constructed and maintained. The writing on gender and surfing however goes far beyond its masculinist pretenses, and as I work through material from the 1950s through to the 1990s I am finding evidence for shifting masculine and feminine identites over time, and even with periods.

Here the 1960s have become a fascination for me and I am currently working on conference paper, for the forthcoming Southern African Historical Society Conference in Durban, to think through how global surfing can provide a lens to look at how local black and white surfers could turn to California and Hawai’i for new configurations of social identity under apartheid. This brings the theme of gender and politics together in a manner that I have only hinted at in past papers.

Pondering this theme has also been much of the reason (beside other distractions, including spending time in the water surfing for leisure or sport) why the interregnum has dragged on for some months. Looking at the surf studies forecast, there’s a swell of writing to come …

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