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      "body": "Congratulations @marcia! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@marcia/birthday2.png</td><td>Happy Birthday! - You are on the Steem blockchain for 2 years!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@marcia) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=marcia)_</sub>\n\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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      "body": "@@ -1,24 +1,25 @@\n+T\n he new age slave celebra\n",
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      "body": "he new age slave celebrates democracy and freedom on the basis that he can now sit on the same seat and share the bathroom with a white person. He does not know that he is oppressed and he will damn you to hell if you dare tell him that we are not yet uhuru.To him you blacks are just lazy and expect everything on a silver platter; “ if you come from a poor background you should just work hard and stop complaining” he says. He will go through lengths to name a couple of ‘rich’ black people he knows to contest the idea of black people being economically excluded and systematically oppressed. The new slave is blind, for he cannot see how the majority of black people are suffering. How our mothers and fathers work for long hours for peanuts. How people carry suffering from their great grandparents and are still trapped in poverty even though they work hard. I will tell you a  story of Musa, a young black man who deserves all the riches the world has to offer but struggles to put together enough cents to feed himself and his entire family . He is smart and had dreams of becoming a pilot when he was growing up but he had to leave school and work in the mines like his father after he died in order to support his family , He is suffering not because he is lazy but simply because he is black in a nation whose scares have not yet healed from its violent apartheid history.\nThe are many people whose story is similar to that of Musa, who had to sacrifice their dreams and are living lives that they had not imaged for themselves because they had to think of their circumstances at home and take up minimum paying jobs in order to sustain themselves and their families. Tell me what democracy and freedom you are talking about if there many people are still living like this under this new 'black’ government and so-called rainbow nation?\nFurthermore we find that the minority which has managed to get into varsity and suffer through it , tend to get mis-educated and indirectly become agents of the very system that oppresses their brothers and sisters but because a human being is selfish; one finds comfort in that at least his own family can be liberated from poverty. The greater issue in this scenario is then taking your success story and using it as a basis of an argument against the existence of systematic oppression of black people. I personally fail to see freedom when there are a few black puppets of the oppressive and anti-black system who are as good as the white racist oppressors in government positions, while the land still belongs to the white minority and the greater black  majority are slaving away to exist in it. I personally fail to see economic freedom when parents of households are still getting paid around two thousand rand per month and are expected to feed their families and have children with  bright futures.\nI cannot understand this freedom that allows our black fathers to be killed like flies in Marikana for asking for the money that they have worked hard for.I do not understand the freedom that allows armless black students to be shot at and teargassed by policemen for fighting for the free education that was promised to their parents when they voted for the ruling party. \nThe problem with new slaves is that they become so entrenched in the idea of them being liberated that they become the oppressors to those that try and fight against the system. Although they may be in black bodies; they are no different from the white racist people and the apartheid government during the apartheid era. That is why they will not hesitate to shoot you when you are fighting for your dignity as a black worker or student. That is why they will let a paraplegic white man walk after having murdered but imprison a black man for twenty five years for being involved in an accident that killed school children. Please do not get confused, the black man should be sentenced for his crime and so should the white man. Justice should not only apply to those whose skin is darker in shade. \nBlack people are still suffocating and the worst part of it is that most of our people’s minds have been colonized by the oppressor in such a way that some do not see their oppression while others have become the oppressor. So we are not only being suffocated by the white man but his black professional butt kisser is as viscous. He is the new age slave because he feels as though he is not explicitly oppressed as he is well off and does not suffer from poverty. But he is enslaved in the mind because he is mentally blinded by the shackles of  'privilege’ and ignorance and cannot understand that true freedom  is when ALL black people can finally breathe.",
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      "author": "manisha",
      "body": "country that is characterized by a history of violence and the marginalization of a black person we find that black voices were always being silenced in many communities and as a solution this particular group of people within society moved towards finding a voice through various art forms such as through drama, ritual and performance. This essay analyses and compares the two South African plays called “Egoli” and “Hungry Earth” in terms of traditional performance elements such as dance, storytelling,mimicry, poetry as well as song and shows how these elements have been used in order to tell their stories as well as covers recurring issues or themes in South Africa . Thus a claim is made which postulates that these traditional performance elements have major effects on the thematic considerations of the texts.\n\nGreat post\nThanks for sharin",
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      "body": "n a country that is characterized by a history of violence and the marginalization of a black person we find that black voices were always being silenced in many communities  and as a solution this particular group of people within society moved towards finding a voice through various art forms such as through drama, ritual and performance. This essay analyses and compares the two South African plays called “Egoli” and “Hungry Earth” in terms of traditional performance elements such as dance, storytelling,mimicry, poetry as well as song and shows how these elements have been used in order to tell their stories as well as covers recurring issues or themes in South Africa . Thus a claim is made which postulates that these traditional performance elements have major effects on the thematic considerations of the texts. \n\nThe concept of traditional performance includes concepts of music, art, poetry and dance which have been part of African theatre for generations. These elements are very crucial in theatrical productions and function as tools for conscientising, entertaining, informing and challenging the system . Throughout history many theatrical plays have been produced in South Africa; plays that not only served as a form of entertainment for the people but were used as escapism from the harsh conditions of life during that particular time, they were used as a means of protest against the oppressive system and many of these plays were banned, however they continued to spread awareness and consciousness about the lives of black people in South Africa .  Africa is highly respected and treasured for its voiced and auditory arts and it is also the home of oral literature, orature and orality. These themes refer to the extensive use of the spoken words which include; proverbs, folktales, puns, poetry, song and metaphors . In the plays analysed in this paper; the Hungry Earth as well as Egoli it is evident how traditional performance elements such as dance, songs and poetry are used to relay  themes that were prevalent during that era such as racism, crime, poverty, inequality, migration and death in such a way that they appeal to the South African audience. Moreover the fact that the themes evident in both plays are constantly emerging issues in society and the two plays speak to the same issues in different ways can be understood as generatative materialism \nThe Hungry Earth is a Postcolonial play by Maishe Maponya which was first workshopped and conceived in 1978, the play raised political issues that were facing South Africa at the time and it critiqued the apartheid government . In the play we see evidence of various themes such as migrant labour, poverty, exploitation, marginalization, prostitution, infidelity alcoholism and racism .  These themes are not explicitly and simply relayed but rather expressed through traditional performance elements such as dance, song and poetry.\n\nThe play consists of song where in several parts of the theatrical play; the actors sing in order to convey a particular message for example in the beginning the actors come together and sing “Wake up mother Africa. Time has run out. And all opportunity is wasted. Wake up mother Africa. Before the white man rapes you. Wake up” . This verse not only speaks to the theme of colonization and exploitation of Africa’s resources but it speaks of the greater theme of apartheid whereby; the white man who came to Africa as a visitor has now taken advantage of the kind ‘Mother Africa’ by victimizing her for his own pleasure. In contrast to the play; Egoli by Matsemela Manaka, it is evident that in most cases the songs sang by the actors are for entertainment purposes and not to convey a serious message for example John sings a song by Black Mambazo as he prepares to spend the night with Madinka who is one of the prostitutes living in Johannesburg . However there is one incident in the play where song is used to convey a message and that is John reflects on his imprisonment and they sing; “Thina sibanjelwe amahala” meaning that they have been convicted for nothing . In this song the theme of inequality and injustice to black people is reflected.\n\nThe play Egoli uses a lot of mimicry, where the actors reflect on their experiences by playing them out physically as though that particular incident is recurring.  There are several examples of this, the most significant case is one where Hamilton mimics what happened between himself and Madinka who is a beautiful prostitute that John had purchased for Hamilton’s pleasure. This scene brings to light a greater issue which is the oppression of a black women during that time in South Africa as Hamilton also reflects on the many women he has raped and killed. He seems to be regretful at first but a careful analysis of his reflection reveals a deep misogyny because his concerns are not of the women but the sons and husbands of the women who he killed. He also continues to swear at the women by calling her “iShberesche” .\nSimilar to Egoli, we find that even in the play by Maponya (1978) women were present in the cities to serve as objects of pleasure for men and often worked as prostitutes selling their bodies to the men working in the mines. An example of this is when a woman called Chirango states that she had lost contact with her husband and in order to survive and feed her fatherless children she had to sell beers and if they do not sell, she “becomes every man’s women” . \n\nThe traditional element of dance is present in the play; Egoli and it brings to the surface a great issue of alcoholism due to the fact that in most scenes when dancing was involved it was often induced by indulging in alcohol and music for example John was drinking and he played a record and he and Hamilton began to dance . However, although there is no evidence of dance in the play; The Hungry Earth, scene two speaks of Beshwana  going to the biggest shebeen the previous day. A shebeen is a place where people go to drink alcohol, dance and listen to music. Thus the same theme of alcoholism can be deduced from The Hungry Earth and various reasons can be given for this major social problem that was highly prevalent around the city such as escapism from the harsh conditions of the mines and injustice, Trauma caused by what they have witnessed, loneliness, feeling empty and also wanting to have a good time and belonging to this popular culture characterised by music, dance and alcohol .\n\nMoreover the issue of conflict caused by internalised racism is raised in the play The Hungry Earth by the use of poetic language. In the incident where Usiviko and Beshwana are having an argument and Beshwana states that he will kill the white man together with the black man who supports him and stating that the tombstone will read; “ In memory of the oppressor and his oppressed spy. And to their love-hate they were inseparable. In life and in death. Find no peace” . However in contrast to this play, Egoli does not use poetry in speaking of the issue of internalised racism but it is evident where John speaks of a Baasboy called Zwelabo Mkhize as another Meneer Tumbull (a white man) in black skin .\n\nLastly, one may state that the pressing issues of a black body being displaced through the process of migration to the cities and the pain as well as the suffering that results from this is expressed through storytelling monologues in both plays. For example in Egoli John tells his story of his experience coming to Egoli and also reflects on witnessing the experience of initial hopefulness and excitement  of many others when first coming to Johannesburg. He speaks of how that changes as those hopes diminish as life in Johannesburg is horrible . In The Hungry Earth the same kind of storytelling is evident where Matlhoko speaks of how black people are currently living in their land “ ...as puppets on a string unable to control their own lives” .\n\nIn conclusion, a critical analysis of both these South African plays indicates that although the people living in oppression in the mines of Johannesburg were systematically oppressed and silenced, art forms such as theatre were able to echo their voices. Through art one is able to effectively educate and inform the masses. And through knowledge comes change.\n\n\nstay strong my brothers and sisters and do not refrain from expressing yourselves through Art\nwhich is part of your identity as Umuntu Omnyama.",
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      "body": "Thank you :) i really appreciate you feedback.  I just started this account and i hope i get more ratings. Please stay  tuned for more posts.",
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      "body": "This is a beautiful writing, i don't understand why your rating is so low...  \nWhat you write is kind of funny to me as i always notice a certain proud in black women that i admire a lot.  Being raised as a woman to please a man is also very present in white circles.\nAnyway, although it may all be very present in your surroundings, the art is to be with your total self.  What other people might think should not be in your thinking, much love",
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      "body": "Over the past couple of years i have come to realise how society has almost made it impossible for black women to believe that they are beautiful, this is an issue that many young black woman face from a very tender age. It is clear that we live in a society that breeds beautiful women with low self esteem and confidence issues. There is so much pressure for women to be perfect when there is no such thing as perfection, it as though they are taught to aspire to be a kind of women that does not even exist.\n\nThese teachings manifest in various ways; from our parents, society, media and various things we come across and interact with in our daily lives. For example As young girls many of  us played with ‘barbie’; a skinny white doll with straight hair. Although we might not have been aware at the time, playing with such a doll may have subconsciously altered or shaped our perceptions of beauty. \n\nFurthermore, there are various issues within many black families that can challenge a young girl’s self-love and self- esteem. In many traditional black households; girls are raised with the hope that they would one day get married. Thus they are taught to take care of themselves, learn how to cook and clean not only for themselves but for the man they would one day marry. This is problematic because in this case the young girl learns to take care of herself and do all those other things not because of self love but to get love. Essentially birthing the troublesome notion that we need to look outside ourselves for validation, fulfilment and love.\n\nWe cannot speak of the self-love struggle that many black women face without touching on the subject of race. Racism has not only othered black bodies but has deemed them undesirable and ugly which is why to this day features such as ‘big lips’ and ‘big bums’ are seen as ugly on black women, yet when white women have surgeries to get big lips and other features that are genetically predisposed to black people; they are seen as beautiful. Black women are often seen as beautiful if they are closer to whiteness, for instance when they are coloured or light skinned. We have seen changes in social media movements such as #blackgirlmagic and #melaninonfleek, where black dark skinned women are appreciated and encouraged to love themselves and be confident in their own skin. However this can be problematized in that; the kind of love and appreciation shown on social media is not reflected in reality. Black dark skinned women are still not loved and fully appreciated on the streets. Also a lot of black women do not have access to these social media platform that are currently preaching self-love to black women and they are still consuming mainstream media which is largely owned by white heterosexual males and still portrays black women in an ugly light. They are left in a society which perpetuates the idea of beauty being white or anything close to whiteness.\n\nNow when i come across a black woman who is unapologetically confident and filled with self love, my heart smiles because that act in itself is radical. It is hard to love yourself fully and be confident in your own skin in a world that constantly tells you that you are not enough. \n\n- Mbali Monareng",
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