ABSTRACT This article assesses some recurrent criticisms based on respect for traditional culture levelled at artworks that thematise non-heteronormative gender positionalities in South Africa. More specifically, it reconsiders the stormy, local reception of the South African movie Inxeba (The Wound), a queer love story set in the context of the male initiation rites of the Xhosa community. The article focuses on criticisms of the movie based on the alleged misrepresentation and misappropriation of indigenous cultural practices. It aims to reflect on the complicated knot of problems that queer artists and activists have to navigate in South Africa, including entrenched heteronormative traditions, but also multiculturality and racial privilege. New ways of negotiating these problems are proposed through the development of a more complex topographical account of the intersections of multiple forms of marginality, as well as through the application of multiculturalist theories regarding ways to assist oppressed minorities in traditional cultures.

中文翻译：

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酷儿艺术与非洲土著文化的交汇点：因克斯巴（伤口）

摘要本文基于对传统文化的尊重，评估了一些经常性的批评，这些批评是针对以南非非异性恋性别立场为主题的艺术品进行的。更具体地说，它重新考虑了南非电影Inxeba（The Wound）在当地的风雨如磐，这是一部奇异的爱情故事，背景是科萨族男性的入会仪式。这篇文章着重于对电影的批评，基于对土著文化习俗的虚假陈述和盗用。它旨在反映出酷儿艺术家和激进主义者必须在南非解决的各种复杂问题，包括根深蒂固的异规范传统，以及多元文化和种族特权。