SEK Mqhayi in the 21st Century: Mzantsi youth ideologies within the African renaissance paradigm for sustainable economic and political development
- Authors: Saule, Ncedile
- Subjects: Pan-Africanism , Mqhayi, S E K , f-sa
- Language: English
- Type: text , Lectures
- Identifier: http://hdl.handle.net/10948/21011 , vital:29427
- Description: I am advancing a celebratory synopsis of Mqhayi, uMzima, uBhomoyi kaCedume at a time when the South African contemporary society is attempting to restructure itself in order to regain lost values before it can successfully and rationally embrace values of other people. In my presentation, I have mindfully taken cognisance of the plight of the so called lost generation, especially among our youth, those who have become strangers in their own land – no language, only misguided and distorted cultural values, no self, distorted history - this of course because of indoctrinations of some psycho-socio-histori-cultural and political imperatives. Strangely enough these are some of the issues that SEK Mqhayi warns us about in his creative works and has made efforts for us to see, but unfortunately no one listened or saw anything. Now that we “have the truth but denied the truth and now that we have the light, but we sit in darkness, Shivering, benighted in the bright noon-day sun,” and now that we are all blind, I think, this evening is the right time to see.
- Full Text:
- Authors: Saule, Ncedile
- Subjects: Pan-Africanism , Mqhayi, S E K , f-sa
- Language: English
- Type: text , Lectures
- Identifier: http://hdl.handle.net/10948/21011 , vital:29427
- Description: I am advancing a celebratory synopsis of Mqhayi, uMzima, uBhomoyi kaCedume at a time when the South African contemporary society is attempting to restructure itself in order to regain lost values before it can successfully and rationally embrace values of other people. In my presentation, I have mindfully taken cognisance of the plight of the so called lost generation, especially among our youth, those who have become strangers in their own land – no language, only misguided and distorted cultural values, no self, distorted history - this of course because of indoctrinations of some psycho-socio-histori-cultural and political imperatives. Strangely enough these are some of the issues that SEK Mqhayi warns us about in his creative works and has made efforts for us to see, but unfortunately no one listened or saw anything. Now that we “have the truth but denied the truth and now that we have the light, but we sit in darkness, Shivering, benighted in the bright noon-day sun,” and now that we are all blind, I think, this evening is the right time to see.
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Speaking out : Africa orality and post-colonial preoccupations in selected examples of contemporary performance poetry
- Authors: Mnensa, Mabel Thandeka
- Subjects: Oral interpretation of poetry , Poetry slams , Oral tradition -- Africa , Folk literature -- Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8455 , http://hdl.handle.net/10948/1193 , Oral interpretation of poetry , Poetry slams , Oral tradition -- Africa , Folk literature -- Africa
- Description: Contemporary performance poetry is a democratic art form that elicits dialogue and is a catalyst for social change. Yet it is an art form that is still not well understood: it is accused of unconsciously mimicking hip-hop and being a watered-down, lesser version of "real" poetry. However once its power is harnessed it may be a powerful art form that can be used to address social ills and act as a medium for memory work. The themes that are prevalent in contemporary performance poetry illustrate society‘s preoccupations. Different South African and American poets from a wide range of socio-economic, national, generational and racial backgrounds are examined to explore the collective preoccupations that keep emerging in the poetry, issues pertaining to race and class, gender, and to the politics of the past and its effect on the present. There is a long debate around the influences of contemporary performance poetry, which is negotiated in Chapter One. Though Gil Scott-Heron‘s "The Revolution will not be Televised" is identified as being a major influence, Saul Williams‘s "Black Stacey" challenges some of the arguments made by Scott-Heron. Lesego Rampolokeng lays the foundation for South African performance poetry by criticising the new black elite in the country in "Riding the Victim Train". Chapter Two examines how the poets challenge the status quo in their work. Sarah Jones‘s "Blood" illustrates how the new black middle class in America is complicit in keeping poor people on the margins, while Kgafela oa Magogodi levels his criticism against state sanctioned poets in South Africa. Mxolisi Nyezwa‘s "The Man is Gone" illustrates that the new class based hierarchal system in South Africa is potentially harsher than the apartheid one that was based on race. Chapter Three focuses on gender issues that are prevalent in South Africa. Tumi Molekane‘s "Yvonne" illustrates the danger that is embedded in the hetero-normative narrative while oa Magogodi‘s "Samson and deli(e)lah" and Sam‘s "Eve" explore how this narrative is unjustly informed by misinterpretations of the Bible. History and the impact of the past on the present is the focus of Chapter Four. "76" by Molekane illustrates how the apartheid legacy still affects many in South Africa, while Andrea Gibson‘s "Eli" explores the devastating effects of America‘s war efforts in Iraq. Dennis Brutus highlights the cathartic attributes of poetry that is community-driven in "So Neat They Were" and "Mumia". The chapter ends with an exploration of how the form of izibongo is used by Chris Thurman in "Holy City (A Jozi Praise-Poem)". The last poem illustrates how the past informs the present and suggests that despite the bleakness of the past, there is hope for South Africa because of its rich cultural heritage.
- Full Text:
- Authors: Mnensa, Mabel Thandeka
- Subjects: Oral interpretation of poetry , Poetry slams , Oral tradition -- Africa , Folk literature -- Africa
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:8455 , http://hdl.handle.net/10948/1193 , Oral interpretation of poetry , Poetry slams , Oral tradition -- Africa , Folk literature -- Africa
- Description: Contemporary performance poetry is a democratic art form that elicits dialogue and is a catalyst for social change. Yet it is an art form that is still not well understood: it is accused of unconsciously mimicking hip-hop and being a watered-down, lesser version of "real" poetry. However once its power is harnessed it may be a powerful art form that can be used to address social ills and act as a medium for memory work. The themes that are prevalent in contemporary performance poetry illustrate society‘s preoccupations. Different South African and American poets from a wide range of socio-economic, national, generational and racial backgrounds are examined to explore the collective preoccupations that keep emerging in the poetry, issues pertaining to race and class, gender, and to the politics of the past and its effect on the present. There is a long debate around the influences of contemporary performance poetry, which is negotiated in Chapter One. Though Gil Scott-Heron‘s "The Revolution will not be Televised" is identified as being a major influence, Saul Williams‘s "Black Stacey" challenges some of the arguments made by Scott-Heron. Lesego Rampolokeng lays the foundation for South African performance poetry by criticising the new black elite in the country in "Riding the Victim Train". Chapter Two examines how the poets challenge the status quo in their work. Sarah Jones‘s "Blood" illustrates how the new black middle class in America is complicit in keeping poor people on the margins, while Kgafela oa Magogodi levels his criticism against state sanctioned poets in South Africa. Mxolisi Nyezwa‘s "The Man is Gone" illustrates that the new class based hierarchal system in South Africa is potentially harsher than the apartheid one that was based on race. Chapter Three focuses on gender issues that are prevalent in South Africa. Tumi Molekane‘s "Yvonne" illustrates the danger that is embedded in the hetero-normative narrative while oa Magogodi‘s "Samson and deli(e)lah" and Sam‘s "Eve" explore how this narrative is unjustly informed by misinterpretations of the Bible. History and the impact of the past on the present is the focus of Chapter Four. "76" by Molekane illustrates how the apartheid legacy still affects many in South Africa, while Andrea Gibson‘s "Eli" explores the devastating effects of America‘s war efforts in Iraq. Dennis Brutus highlights the cathartic attributes of poetry that is community-driven in "So Neat They Were" and "Mumia". The chapter ends with an exploration of how the form of izibongo is used by Chris Thurman in "Holy City (A Jozi Praise-Poem)". The last poem illustrates how the past informs the present and suggests that despite the bleakness of the past, there is hope for South Africa because of its rich cultural heritage.
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