The following paragraph is taken from a relevant journal article. The order of the sentences making up the paragraph has been jumbled. Read each sentence carefully and decide on the appropriate sentence order.

Question

[Adapted for academic teaching purposes from Gunner, L. 2014. Soft Masculinities, Isicathamiya and Radio. Journal of Southern African Studies, 40(2): 343-360.]

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Deborah James has made this point in relation to kiba, the North Sotho migrant women’s genre.

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Being migrant and creating a new or half-new genre, James argues, could also be a way of imagining how to be modern and yet still within a rooted past. This dual sense of a self in process also holds true for isicathamiya.

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Isicathamiya (which goes by a number of names, including imbube, ingom’ ebusuku, cothoza) is ‘small’, an unofficial genre rather than an official one.

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This latter point is particularly relevant for understanding isicathamiya and its production of alternative masculinities outside the hegemonic mould of ritual, chiefly authority and even the colonial and postcolonial imagination of ‘tradition’, particularly ‘Zulu’ tradition.

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An unofficial genre is more free: it can redefine itself more easily and shape how it operates according to the contingencies of the time rather than the dictates of ritual and chiefly authority.

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This can be an advantage.

6 points

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Answer 1

The correct order of the sentences should be:

3 - Isicathamiya (which goes by a number of names, including imbube, ingom’ ebusuku, cothoza) is ‘small’, an unofficial genre rather than an official one.
1 - Deborah James has made this point in relation to kiba, the North Sotho migrant women’s genre.
5 - An unofficial genre is more free: it can redefine itself more easily and shape how it operates according to the contingencies of the time rather than the dictates of ritual and chiefly authority.
2 - Being migrant and creating a new or half-new genre, James argues, could also be a way of imagining how to be modern and yet still within a rooted past. This dual sense of a self in process also holds true for isicathamiya.
4 - This latter point is particularly relevant for understanding isicathamiya and its production of alternative masculinities outside the hegemonic mould of ritual, chiefly authority and even the colonial and postcolonial imagination of ‘tradition’, particularly ‘Zulu’ tradition.
6 - This can be an advantage.