n Commonwealth Youth and Development - The creative visions of Natalia Molebatsi in post-1994 South Africa, in Sardo Dance (2009)
|Article Title||The creative visions of Natalia Molebatsi in post-1994 South Africa, in Sardo Dance (2009)|
|© Publisher:||UNISA Press|
|Journal||Commonwealth Youth and Development|
|Affiliations||1 University of South Africa|
|Publication Date||Jan 2013|
|Pages||87 - 101|
|Keyword(s)||Black, Natalia Molebatsi, Performer, Poet, Sardo Dance, We are, White, Womanist and Young writers|
In a powerful essay titled The Ideology of reconciliation: its effects on South African culture (2008), the late South African writer Lewis Nkosi perceptively noted that under apartheid a numerical minority took over literary production and transformed itself into a numerical majority. The effect of this takeover on South African cultural space was that a numerical majority (blacks) were then relegated to a position of a numerical minority in the power equation of cultural production. Although the racialised nature of literary production has continued in the post-1994 period, its new modes of expression are manifest within the black communities. Here, one notes that there are more black male writers than black woman writers. To compound the problem caused by literary imbalances among black communities, the works of the older generation of black South African writers' continue to dominate in universities. This has left the majority of the South Africa's youth without a recognised literary voice outside their communities. One young South African poet performer and cultural critic is Natalia Molebatsi, whose work has begun to be recognised nationally. The aim of this article is to explain the reasons for this recognition, and then analyse some works that appear in her poetry anthology, Sardo Dance (2009). In this article it is argued that Molebatsi's increasing creative visibility expands the cultural space within which previously, mainly, literary voices of old white and black writers were dominant.
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