Black Consciousness - Revision history

Satj: /* Black Consciousness as international movement */

2014-05-15T10:25:46Z

Black Consciousness as international movement

Satj: /* Black Consciousness in South Africa */

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Black Consciousness in South Africa

Satj at 06:02, 10 May 2014

2014-05-10T06:02:42Z

Satj: /* Black Consciousness in South Africa */

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Black Consciousness in South Africa

Satj: /* Black Consciousness and theatre */

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Black Consciousness and theatre

Satj: /* The Black Consciousness Movement (BCM) */

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The Black Consciousness Movement (BCM)

Satj: /* Black Consciousness and theatre */

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Black Consciousness and theatre

Satj: /* Black Consciousness and theatre */

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Black Consciousness and theatre

Satj: /* Return to */

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Return to

Satj: /* Black Consciousness and theatre */

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Black Consciousness and theatre

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 The notion of black consciousness as a means of identity, pride and self-empowerment gradually developed into an enormously influential imperative in the cultural struggle of the 1970’s and 1980’s in South Africa – yet it is exceedingly difficult to define and explain.
-Besides being a direct response to centuries' long  privations and frustrations and a rejection of hard-line white attitudes and actions, it clearly it derives from a wide range of sources and an international movement dating as far back as the 1880's. These include such diverse matters as  the writings of Frantz Fanon (an analysis of the colonial mentality) and Paolo Freire (the notion of the pedagogy of the oppressed); concepts of ''Négritude'' as outlined by Léopold Senghor, Aimé Césaire and Léon Damas;  the Pan-Africanist ideas of African leaders such as Ahmed Sekou Toure, Kwame Nkrumah and Muammar Gaddafi,  and various writers and academics; as well as the various concepts of black consciousness, black empowerment, black theology and black power generated by the American racial struggles. The names of individuals such as Stokely Carmichael, Malcolm X,  Maya Angelou, Leroi Jones, and Mae Mallory are particularly significant of course, as are the writings of Ngugi wa Thiongo, Wole Soyinka,  and others.
+Besides being a direct response to centuries' long  privations and frustrations and a rejection of hard-line white attitudes and actions, it clearly it derives from a wide range of sources and an international movement dating as far back as the 1880's. These include such diverse matters as  the writings of Frantz Fanon (an analysis of the colonial mentality) and Paolo Freire (the notion of the pedagogy of the oppressed); concepts of ''Négritude'' as outlined by Léopold Senghor, Aimé Césaire and Léon Damas;  the Pan-Africanist ideas of African leaders such as Ahmed Sekou Toure, Kwame Nkrumah and Muammar Gaddafi,  and various writers and academics; as well as the various concepts of black consciousness, black empowerment, black theology and black power generated by the American racial struggles. The names of individuals such as Stokely Carmichael, Malcolm X,  Maya Angelou, Leroi Jones, and Mae Mallory are particularly significant of course, as are the writings of Ngugi wa Thiongo, Chinua Achebe, Wole Soyinka,  and others.
 == Black Consciousness in South Africa ==

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 In South Africa many of these ideas were drawn together in a specific action programme,  generally referred to as the [[Black Consciousness Movement]] (or [[BCM]]) in the 1960s. Specific interpretation of the notions "black" and "the community" were defined by this movement, with the most prominent spokesman, Steve Biko, arguing for an inclusive definition of "blackness", based not on pigmentation so much as mental attitude and thus a defining characteristic of a large and widely spread "community" with shared needs and ideals. The [[BCM]] stressed black independence of white collusion and  conscientization became a central tenet of their cultural political programme.
-'''For the role of Black Consciousness in South African theatre, see  the [[Black Consciousness Movement]]'''
+'''For the role of Black Consciousness in South African theatre, see  the entry on the [[Black Consciousness Movement]]'''
 == Sources ==

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 == Black Consciousness in South Africa ==
-== The Black Consciousness Movement  (BCM) ==
+In South Africa many of these ideas were drawn together in a specific action programme,  generally referred to as the [[Black Consciousness Movement]] (or [[BCM]]) in the 1960s. Specific interpretation of the notions "black" and "the community" were defined by this movement, with the most prominent spokesman, Steve Biko, arguing for an inclusive definition of "blackness", based not on pigmentation so much as mental attitude and thus a defining characteristic of a large and widely spread "community" with shared needs and ideals. The [[BCM]] stressed black independence of white collusion and  conscientization became a central tenet of their cultural political programme.
 == Sources ==
 Boonzaier and Sharp, 1988: 35

← Older revision		Revision as of 05:57, 10 May 2014
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	== Black Consciousness in South Africa ==		== Black Consciousness in South Africa ==
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−
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	== The Black Consciousness Movement (BCM) ==		== The Black Consciousness Movement (BCM) ==

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−	Much of the more “radical” and influential theatre produced between 1976 and 1986 ~~thus~~ relied heavily on the ideas of such activist writers as Bertold Brecht, Paolo Freire and Augusto Boal, and appeared to respond to and/or be in accord with the tenets of the BCM. A great deal of the critical writing of the time also utilized the BCM ideology as a basis for its classification, analysis and criticism. The impact of the BCM and the intellectuals who articulated it on theatre was strongly felt in the late 1960’s and 1970’s with the founding of [[PET]], [[TECON]], [[MDALI]], [[FUBA]], [[SASO]], [[Mihloti]], the [[Soweto Ensemble]], and other organisations, as well as journals such as [[Black Review]] and [[S'ketsh']]. Among the influential cultural leaders and artists involved were [[Mafika Gwala]], [[Lewis Nkosi]], [[Sipho Sepamla]], [[Mthuli Shezi]], and [[Molefe Pheto]]. Among the more prominent BCM playwrights of the time were [[Lewis Nkosi]], [[Matsemela Manaka]],[[Maishe Maponya]], [[Mthuli Shezi]], [[Zakes Mda]], [[Barney Simon]].	+	Much of the more “radical” and influential theatre produced between 1976 and 1986 relied heavily on the ideas of such activist writers as Bertold Brecht, Paolo Freire and Augusto Boal, and appeared to respond to and/or be in accord with the tenets of the [[BCM]]. A great deal of the critical writing of the time also utilized the BCM ideology as a basis for its classification, analysis and criticism. The impact of the BCM and the intellectuals who articulated it on theatre was strongly felt in the late 1960’s and 1970’s with the founding of [[PET]], [[TECON]], [[MDALI]], [[FUBA]], [[SASO]], [[Mihloti]], the [[Soweto Ensemble]], and other organisations, as well as journals such as [[Black Review]] and [[S'ketsh']]. Among the influential cultural leaders and artists involved were [[Mafika Gwala]], [[Lewis Nkosi]], [[Sipho Sepamla]], [[Mthuli Shezi]], and [[Molefe Pheto]]. Among the more prominent BCM playwrights of the time were [[Lewis Nkosi]], [[Matsemela Manaka]],[[Maishe Maponya]], [[Mthuli Shezi]], [[Zakes Mda]], [[Barney Simon]].

	== Sources ==		== Sources ==

← Older revision		Revision as of 05:50, 10 May 2014
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−	As a movement in South Africa much of this was drawn together in a specific programme generally referred to as the ~~'''~~Black Consciousness Movement~~'''~~ (or [[BCM]]), formed by Steve Biko as its charismatic leader and prominent spokesman in the 1960’s, and gaining concrete manifestation in such ~~Organisations~~ as the Black Community Programmes (late 1960’s), the [[Black People's Convention]] (BPC – founded 1972) and the [[Black Allied Workers Union]], which were all intended to co-ordinate the movement on the political, social and cultural fronts. Specific interpretation of the notions "black" and "the community" were defined by this movement, where Biko argued for an inclusive definition of "blackness", based not on pigmentation so much as mental attitude and thus a defining characteristic of a large and widely spread "community" with shared needs and ideals. The BCM stressed black independence of white collusion and conscientization became a central tenet of their cultural political programme.	+	As a movement in South Africa much of this was drawn together in a specific programme generally referred to as the [[Black Consciousness Movement]] (or [[BCM]]), formed by Steve Biko as its charismatic leader and prominent spokesman in the 1960’s, and gaining concrete manifestation in such organisations as the [[Black Community Programmes]] (late 1960’s), the [[Black People's Convention]] (BPC – founded 1972) and the [[Black Allied Workers Union]], which were all intended to co-ordinate the movement on the political, social and cultural fronts. Specific interpretation of the notions "black" and "the community" were defined by this movement, where Biko argued for an inclusive definition of "blackness", based not on pigmentation so much as mental attitude and thus a defining characteristic of a large and widely spread "community" with shared needs and ideals. The BCM stressed black independence of white collusion and conscientization became a central tenet of their cultural political programme.

	== Black Consciousness and theatre ==		== Black Consciousness and theatre ==

← Older revision		Revision as of 05:48, 10 May 2014
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−	Much of the more “radical” and influential theatre produced between 1976 and 1986 thus relied heavily on the ideas of such activist writers as Bertold Brecht, Paolo Freire and Augusto Boal, and appeared to respond to and/or be in accord with the tenets of the BCM. A great deal of the critical writing of the time also utilized the BCM ideology as a basis for its classification, analysis and criticism. The impact of the BCM and the intellectuals who articulated it on theatre was strongly felt in the late 1960’s and 1970’s with the founding of [[PET]], [[TECON]], [[MDALI]], [[FUBA]], [[SASO]], [[Mihloti]], the [[Soweto Ensemble]], and other organisations, as well as journals such as [[Black Review]] and [[S'ketsh']]. Among the influential cultural leaders and artists involved were [[Mafika Gwala]], [[Lewis Nkosi]], [[Sipho Sepamla]], [[Mthuli Shezi]], and [[Molefe Pheto]]. Among the more prominent BCM playwrights of the time were [[Lewis Nkosi]], [[Matsemela Manaka]],[[Maishe Maponya]], [[Mthuli Shezi]] [[Zakes Mda]], [[Barney Simon]].	+	Much of the more “radical” and influential theatre produced between 1976 and 1986 thus relied heavily on the ideas of such activist writers as Bertold Brecht, Paolo Freire and Augusto Boal, and appeared to respond to and/or be in accord with the tenets of the BCM. A great deal of the critical writing of the time also utilized the BCM ideology as a basis for its classification, analysis and criticism. The impact of the BCM and the intellectuals who articulated it on theatre was strongly felt in the late 1960’s and 1970’s with the founding of [[PET]], [[TECON]], [[MDALI]], [[FUBA]], [[SASO]], [[Mihloti]], the [[Soweto Ensemble]], and other organisations, as well as journals such as [[Black Review]] and [[S'ketsh']]. Among the influential cultural leaders and artists involved were [[Mafika Gwala]], [[Lewis Nkosi]], [[Sipho Sepamla]], [[Mthuli Shezi]], and [[Molefe Pheto]]. Among the more prominent BCM playwrights of the time were [[Lewis Nkosi]], [[Matsemela Manaka]],[[Maishe Maponya]], [[Mthuli Shezi]], [[Zakes Mda]], [[Barney Simon]].

	== Sources ==		== Sources ==

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 == Return to ==
-[[South_African_Theatre/Themes|South African Theatre Terminology and Thematic Entries]]
+Return to [[The South African Context/General Terminology and Thematic Entries]]
 Return to [[The ESAT Entries]]
 Return to [[Main Page]]

← Older revision		Revision as of 03:57, 9 May 2014
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−	Much of the more “radical” and influential theatre produced between 1976 and 1986 thus relied heavily on the ideas of such activist writers as Bertold Brecht, Paolo Freire and Augusto Boal, and appeared to respond to and/or be in accord with the tenets of the BCM. A great deal of the critical writing of the time also utilized the BCM ideology as a basis for its classification, analysis and criticism. The impact of the BCM and the intellectuals who articulated it on theatre was ~~storngly~~ felt in the late 1960’s and 1970’s with the founding of [[PET]], [[TECON]], [[MDALI]], [[FUBA]], [[SASO]], [[Mihloti]], the [[Soweto Ensemble]], and other organisations, as well as journals such as [[Black Review]] and [[S'ketsh']]. Among the influential cultural leaders and artists involved were [[Mafika Gwala]], [[Lewis Nkosi]], [[Sipho Sepamla]], [[Mthuli Shezi]], and [[Molefe Pheto]]. Among the more prominent BCM playwrights of the time were [[Lewis Nkosi]], [[Matsemela Manaka]],[[Maishe Maponya]], [[Mthuli ka Shezi]] [[Zakes Mda]], [[Barney Simon]].	+	Much of the more “radical” and influential theatre produced between 1976 and 1986 thus relied heavily on the ideas of such activist writers as Bertold Brecht, Paolo Freire and Augusto Boal, and appeared to respond to and/or be in accord with the tenets of the BCM. A great deal of the critical writing of the time also utilized the BCM ideology as a basis for its classification, analysis and criticism. The impact of the BCM and the intellectuals who articulated it on theatre was strongly felt in the late 1960’s and 1970’s with the founding of [[PET]], [[TECON]], [[MDALI]], [[FUBA]], [[SASO]], [[Mihloti]], the [[Soweto Ensemble]], and other organisations, as well as journals such as [[Black Review]] and [[S'ketsh']]. Among the influential cultural leaders and artists involved were [[Mafika Gwala]], [[Lewis Nkosi]], [[Sipho Sepamla]], [[Mthuli Shezi]], and [[Molefe Pheto]]. Among the more prominent BCM playwrights of the time were [[Lewis Nkosi]], [[Matsemela Manaka]],[[Maishe Maponya]], [[Mthuli ka Shezi]] [[Zakes Mda]], [[Barney Simon]].

	== Sources ==		== Sources ==