Sizwe Bansi is Dead: Athol Fugard
A Discussion on the Theme of Oppression and Racial Discrimination.
Abstract
The ideology of apartheid was first introduced in South Africa by Hendrick Verwoerd under his National Party. Apartheid is a system which was used to enact strict racial laws that separates the white race from the black race. This was achieved by segregation of the country’s resources where preference was issued in favour of the minority white population. The black majority was subject to exploitation prohibitive laws. This paper will discuss the theme of oppression and racial discrimination in the play Sizwe Bansi is Dead by Athol Fugard
Theme of oppression
Oppression is a situation in which people are governed in an unfair and cruel way and prevented from having opportunities and freedom. (McIntosh, 2013). Oppression in Sizwe Bansi is Dead takes place in two forms, the psychological which is mental and the visible physical depravation (which is political, economic, social and labour exploitation which reflects in the life of Outa Jacob) using strict passbook laws. From the beginning of the play, upon reading a newspaper, Styles “shakes his head ruefully at the memory” (Fugard, 1972. p. 150). He is reminded of the work conditions that he suffered at Ford Motor Company. The system of apartheid was designed to break and discourage hopes for a brighter future of all the black people living under white rule. In the same context, Styles was also oppressed with listening to his fellow black people addressed as lesser human beings called “boys” in exchange for the superior salutation “baas” (p. 150).
The general symbol of the letter which the illiterate Sizwe writes to Nowetu back home in King Williams Town, shows so much fear of an oppressed person in Sizwe’s expressions. He tells Nowetu about the tough oppressive situations he encountered before he finds a job in Port Elizabeth. “Dear Nowetu…Sizwe Bansi, in a manner of speaking, is dead!” (p. 169). In this letter, Sizwe narrates to Nowetu that he was caught in a raid by the “headman” (p. 170). without a valid passbook and nearly deported back home. This situation is confusing and tormenting to Siswe, therefore it is a psychological form of mental oppression. Sizwe is stresses by mental oppression when he assumes a dead man’s identity to become Robert Nwelinzima, which means abandoning his own. Denigration from the pass laws causes Sizwe to question: . At first, Sizwe finds it difficult to answer to this name and later to memorise the new Native Identification number. “N. I. Number” (p. 187) He does not believe in broken moral values, but under these circumstances, he is forced to lie. His quotients oppresses him.
Theme of discrimination
Racial discrimination is treating a person or particular group of people differently, especially in a worse way from the way in which you treat other people, because of their skin colour. (McIntosh, 2013). It is a form of oppression. Racial laws prohibited interracial marriages between black and white people which was meant to segregate blacks and white races. The racial segregation, as seen in South Africa under Apartheid leads to frustration and anger which “ultimately destroys the self-worth” (Fisher, 2014) of a person. The courage that Styles, Sizwe and Buntu, rather than living under a false identity to make their existence more bearable, they still think that they should fight against oppression and strive to overthrow the foreign rule.In the play Sizwe Bansi is Dead, the “Group areas act” as a form of racial discrimination, restricted Sizwe to King William’s town only where they are no job opportunities. His passbook identification did not permit him working freely in Port Elizabeth. Black people were only allowed to stay in a town designated for white people on condition that they provide labour for the white race. Buntu tells Sizwe about the effects of the oppressive passbook laws, “Who is going to lend money to a somebody endorsed to hell and gone out in the bush” (p. 173).
Black people were discriminated against land, political freedom, education and labour inequality. Under the labour inequality laws, specific job reservation of occupations were made for ethnic groups with whites got the best jobs. This law protected poor whites as a way of racial discrimination. In the play Sizwe Bansi is Dead, Sizwe had an option to go and work at the mines where a job seekers permit was not required, but he feels that, “I don't want to work on the mines. There is no money there. And it's dangerous, under the ground. Many black men get killed when the rocks fall. You can die there.” (p.174 ). In another event, Outa Jacob worked on farms from this district down to the coast and north as far as Pretoria. I knew him. He was a friend. Many people knew Outa Jacob. For a long time he worked for Baas van der Walt. But when the old man died his young son Hendrik said: 'I don't like you. Go!' Outa Jacob picked up his load and put it on his shoulders. His wife followed. He went to the next farm . . . through the fence, up to the house ... : 'Work, please, Baas.' Baas Potgieter took him. He stayed a long time there too, until one day there was trouble between the Madam and his wife. Jacob and his wife were walking again. (p. 175).
The passbook experience was also meant to eliminate black people because most of them could not read. Sizwe is troubled about his misunderstanding of the message in the passbook he carries everyday. Sizwe shows this when he speaks to Buntu: “…My passbook talks good English too….big words that Sizwe can’t read and doesn’t understand” (p. 180)
Conclusion
Oppression and racial discrimination of black people in South Africa was meant to annihilate and exploit. It was a symbol of fear and weakness by white Afrikanner minority. The gains made by these white oppressors coasted them a reputation that will last forever. It was a lesson for the World to learn. However, now that black people are free from racial and mental oppression, this past still haunts us because a majority of black people in Africa live in abject poverty. Unless black people strive to become like Styles, who starts his own business. Then we can be empowered.
References
Fisher, I. (2014). Athol Fugard Statements. Retrieved from: www.ianfisher.com/fugard/athol-fugard.html.
Fugard, A. (1972). Township Plays: Sizwe Bansi is Dead. Oxford: Oxford University Press.
McIntosh, C. (2013). Cambridge Advanced Learner’s Dictionary. Cambridge: Cambridge University Press.
Lazarus Gawazah
Lazarus Gawazah
