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The Swenkas 2004

Highly Recommended

Distributed by Seventh Art Releasing, 7551 Sunset Blvd., Suite 104, Los Angeles, CA 90046; 323-845-1455
Produced by Rasmus Thorsen & Anne Diemer
Directed by Jeppe Røndo
DVD, color, 72 min.



Sr. High - Adult
African Studies, Postcolonialism

Date Entered: 03/08/2007

Reviewed by Patricia B. McGee, Coordinator of Media Services, Volpe Library & Media Center, Tennessee Technological University

Jeppe Røndo’s engrossing documentary follows the lives of a group of urban Zulu men living and working in Johannesburg, South Africa, who on the weekends dress in their finest outfits and compete for recognition and prizes. The Swenkas focuses on two men, Mr. Zulu, a longtime member of the club, and Sabelo, a young man whose recently deceased father was the club leader and a longtime swenka. Sabelo, who is grieving for his father, is uncertain whether he wants to carry on swanking. Mr. Zulu, who had promised to looked look after the younger man, is determined to see that he does. Sabelo’s father was the leader of the group; members fear that without his leadership the organization may disintegrate.

Røndo vividly contrasts the squalid living conditions of the men in their rat-infested workingmen’s hostels and their difficult and dirty work with their exquisite costumes for the Saturday night contests. Their outfits are perfectly coordinated from shoes and socks up to their hats, evoking a memory of the zoot suits of the 1940s that is underscored by the music of Tommy Dorsey and Henry Mancini. For the swenkas, however, the point of swanking is self-respect, cleanliness and hope.

At Christmas time the men take the train to return to the Heartland to reconnect with their families. Sabelo has returned to be with his young son and to get married; Mr. Zulu is visiting with his son whom he hopes will carry on the family tradition of swanking. Sabelo’s finds his family is united in their endorsement of swanking. Sabelo’s father admired “people who dress up and respect themselves,” and as his uncle pointed out to Sabelo, “you are a continuation of your forebears.”

Røndo’s perceptive look at this small segment of Zulu life is fascinating and beautifully filmed; the characters are sensitively and sympathetically portrayed, although the film never really explains why “things are not going well” for Sabelo. Aside from this flaw, the film is gem. It is heartening to learn that the sons of both Sabelo and Mr. Zulu appear to be following in their father’s footsteps. Highly recommended for colleges and universities with African Studies programs.

A final note--the review copy was temperamental about which DVD player it would run on and would only play in Apple computers.