7 The new black revolution: the black consciousness movement and the black church

2020 ◽  
pp. 164-195
Keyword(s):  
Black Church ◽  
Black Consciousness ◽  
Black Revolution ◽  
Black Consciousness Movement

Itumeleng Mosala: Giving Theology Its World, Feet and Hands

2019 ◽  
Vol 6 (2) ◽  
Author(s):  
Takatso Mofokeng
Keyword(s):  
Old Testament ◽  
Southern Africa ◽  
Black People ◽  
Black Consciousness ◽  
History Of ◽  
Black Consciousness Movement

Worthy of celebration is the contribution made by Itumeleng Mosala (hereafter Mosala) to the Black Methodist Consultation, the theological community in Southern Africa, and the Black Consciousness Movement. This article attempts to give theology its world, feet and hands in the person of Mosala. The article departs from the narration of the history of Mosala. It locates Mosala within township life and Old Testament scholarship. Furthermore, the article searches for suitable and effective weapons of intellectual struggle in light of Mosala’s life. The aim of this article is to celebrate the indelible footprints that Mosala made as he communed with black people.

The Market Theatre of Johannesburg in the New South Africa

2002 ◽  
Vol 18 (4) ◽  
pp. 359-374
Author(s):  
Hilary Burns
Keyword(s):  
South Africa ◽  
New South ◽  
Black Consciousness ◽  
Black Artists ◽  
The Past ◽  
Form Part ◽  
Incumbent Regime ◽  
Apartheid Regime ◽  
Black Consciousness Movement

The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.

scholarly journals Movement intellectuals engaging the grassroots: A strategy perspective on the Black Consciousness Movement

2020 ◽  
Vol 68 (5) ◽  
pp. 1124-1142 ◽  
Author(s):  
Marcus Morgan
Keyword(s):  
Social Movements ◽  
Middle Class ◽  
Collective Identity ◽  
Framing Theory ◽  
Black Consciousness ◽  
Political Message ◽  
Philosophy Of Liberation ◽  
Black Consciousness Movement

Drawing upon activist interviews and framing theory this article proposes that the Black Consciousness Movement (BCM) is better understood not by focusing on the objective status of its leadership as middle-class intellectuals, but by instead looking at what these ‘movement intellectuals’ subjectively did to link their philosophy of liberation to the lifeworlds of those they sought to engage. It argues that this shift reveals three important features of social movements and movement intellectuals more generally. Firstly, it uncovers the meaningful, value-driven, emotional and collective-identity bases for action, alongside the more familiar instrumental motivations. Secondly, given the inevitable clash between movement intent and the contingent constraints under which movements invariably operate, it argues that movement success is better judged not by external criteria that are assumed to hold universally, but instead by reference to the unique strategic intentions articulated by movements themselves. Finally, it shows how, given heterogeneous audiences, the deployment of a diversity of grounded intellectual strategies can help augment the resonance of a movement’s core political message.

Equality or unity? Black Consciousness, white solidarity, and the new South Africa in Nadine Gordimer’s Burger’s Daughter and July’s People

2017 ◽  
Vol 54 (2) ◽  
pp. 225-242 ◽  
Author(s):  
Edward Powell
Keyword(s):  
South Africa ◽  
New South ◽  
Black Consciousness ◽  
Black Liberation ◽  
South Africans ◽  
Common Culture ◽  
Black Consciousness Movement

In the early 1970s, the Black Consciousness movement called on black radicals to dissociate themselves from dissident white South Africans, who were accused of frustrating the anti-apartheid cause in order to safeguard their ill-gotten privileges. In turn, liberal whites condemned this separatism as a capitulation to apartheid’s vision of “separate development”, despite the movement’s avowed aspiration towards a nonracial South Africa. This article considers how black separatism affected Nadine Gordimer’s own perspective on the prospect of achieving this aspiration. For Gordimer, Black Consciousness was necessary for black liberation, and she sought ways of reconciling white dissidents with black separatism. Still, these efforts didn’t always sit well together with her continuing belief that if there were to be a place for whites in a majority-ruled South Africa, then they needed to join blacks in a “common culture”. I consider how this tension marks Gordimer’s portraits of whites responding to being rejected by blacks in Burger’s Daughter and July’s People. In both novels, white efforts to resist apartheid’s racial segregations appear to be at odds with black self-liberation, with the effect that whites must find a way of doing without the as-yet deferred prospect of establishing a “common culture” in South Africa.

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