HONORS

The Literature of South Africa

Ms. Ward, 10th Grade English, May 2013 Learning to Read Critically Facts v. Interpretation Critical reading is not simply close and careful reading. To To non -critical readers, texts provide facts. Readers gain read critically, one must actively recognize and analyze knowledge by memorizing the statements within a text. evidence upon the page.

To the critical reader, any single text provides but one Implications For Reading portrayal of the facts, one individual’s “take” on the To non-critical readers, texts provide facts. Knowledge subject matter. Critical readers thus recognize not only comes from memorizing the statements within a text. To what a text says, but also how that text portrays the the critical reader, any single text provides but one subject matter. They recognize the various ways in which portrayal of the facts, one individual's “take” on the each and every text is the unique creation of a unique subject. The content of a text reflects what an author takes author. as “the facts of the matter.” By examining these choices, readers recognize not only what a text says, but also how A non-critical reader might read a history book to learn the the text portrays the subject matter. facts of the situation or to discover an accepted interpretation of those events. A critical reader might read The first step in an analysis of a text, then, must be to look the same work to appreciate how a particular perspective at the content, at the evidence for an argument, the on the events and a particular selection of facts can lead to illustrations used to explain ideas, and the details particular understanding. presented within a description. Not that any particular author/text is necessarily wrong. We simply recognize the What a Text Says, Does, and Means: degree to which each and every text is the unique creation Reaching for an Interpretation of a unique author. That uniqueness is defined by choices of content, language and structure. Non-critical reading is satisfied with recognizing what a text says and restating the key remarks. Critical reading thus relies on an analysis of choices of content, language, and structure. Critical reading goes two steps further. Having recognized what a text says , it reflects on what the text does by What to Look For? making such remarks. Is it offering examples? Arguing? Critical readers are consciously aware of the choice of Appealing for sympathy? Making a contrast to clarify a content. They look at the content, at the evidence for an point? Finally, critical readers then infer what the text, as a argument, the illustrations used to explain ideas, and the whole, means, based on the earlier analysis. details presented within a description. That uniqueness is defined by choices of content, language and structure. . These three steps or modes of analysis are reflected in They distinguish between assertions of fact, opinion, and three types of reading and discussion: belief. They are aware whether evidence consists of  What a text says – restatement references to published data, anecdotes, or speculation,  What a text does – description and they evaluate the persuasiveness of a text accordingly.  What a text means – interpretation . Critical readers are aware of how language is being used. You can distinguish each mode of analysis by the subject They notice whether a text refers to someone as a "bean matter of the discussion: counter" (no respect) or "an academic statistician"  What a text says – restatement – talks about the same (suggesting professionalism), whether some is said to have topic as the original text "asserted a claim" (with confidence, and no need for proof)  What a text does – description – discusses aspects of or "floated a claim" (without backing, as a trial balloon). the discussion itself And they draw inferences from the choice of language they  What a text means – interpretation — analyzes the text observe. and asserts a meaning for the text as a whole Critical readers are aware of the structure of a discussion, Goals of Critical Reading both in terms of the movement of ideas from beginning to end and in terms of the relationship of ideas throughout the Textbooks on critical reading commonly ask students to discussion. They distinguish between assertions offered as accomplish certain goals: reason or conclusion, cause or effect, evidence or  to recognize an author’s purpose illustration. They recognize patterns of contrast and  to understand tone and persuasive elements distinguish whether contrasting ideas are shown to be  to recognize bias dissimilar, competing, or contradictory.

Notice that none of these goals actually refers to something All authors confront three areas of choice: on the page. Each requires inferences from evidence within  the choice of content the text:  the choice of language  recognizing purpose involves inferring a basis for  the choice of structure choices of content and language  recognizing tone and persuasive elements involves Choices must be made in each of these areas, and each classifying the nature of language choices choice contributes to the thought of the text as a whole.  recognizing bias involves classifying the nature of patterns of choice of content and language SOURCE: Dan Kurland's www.criticalreading.com These are a just a few of the many possible literary subjects and thematic ideas. The point to remember is that a subject is not a theme: a subject is some dimension of the human condition examined by the work; a theme is a statement, direct or implied, about the subject. The thematic ideas about the subjects on the list are still fairly general. As a critical writer discussing a particular literary work, you'll need to bring your observations about theme closer to the work. Universal Themes in Literature Abandonment Communication Fear and Anxiety Innocence and Experience Abuse Community Fear and Courage Intergenerational Acceptance Cooperation Feelings Loyalty Acceptance of a Handicap Cooperation/Teamwork Forgiveness Making Choices Accepting change Coping with loss Freedom Media Adjusting to a new life Courage Friendship Memories Adoption Courage and Honor Gender Issues Morals & Values Anger Cultural Diversity Genealogy Patriotism Appearances Customs and Traditions Getting Along Peace Appreciation of nature Dealing with handicaps Good vs. Evil Peer Pressure Poverty Being gifted Death and Dying Gratitude Self-esteem Brotherhood Denial Grief Sense of community Bullies Determination Growing Up Sense of self Belonging Discrimination Guilt Separation and Loss Betrayal Faith Heroes Social Change Bondage Diversity Heroism Survival Bravery Doubt History Taking a stand Caring for the environment Dreams Honesty Teamwork Censorship Effects of War Hope Trust Challenges Emotions Humor Values Change Ethical Dilemmas Immigrants Violence Coming of Age Euthanasia Initiation Commitment Family & Relationships Injustice

1. The Individual in Nature  Nature is at war with each of us and proves our vulnerability.  People are out of place in nature and need technology to survive.  People are destroying nature and themselves with uncontrolled technology.

2. The Individual in Society  Society and a person's inner nature are always at war.  Societal influences determine a person's final destiny.  Social influences can only complete inclinations formed by nature.  A person's identity is determined by place in society.  In spite of the pressure to be among people, an individual is essentially alone and frightened.

3. Growth and Initiation  Manhood or womanhood is often established by an abrupt, random crisis, sometimes at an unusually early age.  Aspects of childhood are retained in all of us, sometimes hindering growth, sometimes providing the only joy in later life.  A person grows only in so far as he or she must face a crisis of confidence or identity.

4. Death  Death is part of living, giving life its final meaning. What other themes have we discovered  Without love, death often appears to be the only through our reading this semester? alternative to life.  What have we learned about the  By the time people understand life, there is too little left nature of evil? to live.  What have we learned about power?  What have we learned about human 5. Change behavior in times of conflict?  Change generates additional change.  What have we learned about the way  Change is inevitable. the individual acts alone versus in a  Change is necessary for growth. group?  Change can be evolutionary or revolutionary.

Literary Devices

Allusion: An allusion is an implied or indirect, brief reference to a famous historical or literary figure or event. This is usually used as an analogy to help explain something that may be difficult to comprehend. Examples: 1. If you take his parking place, you can expect World War II all over again. 2. “Will history repeat itself? Will David once again defeat Goliath?” (91).

Euphemism: The substitution of a mild or less negative word or phrase for a harsh or blunt one. The goal is to put something bad or embarrassing in a positive or neutral light. Many terms referring to death, sex, crime, and excremental functions are euphemisms. Examples: 1. “pass away” instead of “die” 2. “hatless snake” instead of “circumcised genitalia” 3. “relieve oneself” etc. instead of “sh*t”

Motif: A recurring/dominant element, theme, image, idea, or pattern in a work of art.

Litotes: A kind of understatement, where the speaker or writer uses a negative of a word ironically, to mean the opposite. Examples: 1. She's not the friendliest person I know. (= she's an unfriendly person), 2. not a bad singer (= pretty good singer) 3. “she asked, not unkindly” (33). (=nicely –Mevrou -almost concerned?)

Bildungsroman: A German term for a genre of literature that concentrates on the metaphysical, moral, psychological, or social development and growth of the protagonist usually from childhood to maturity. Sometimes it is referred to as a "Coming of Age Story."

Juxtaposition: The arrangement of two or more ideas, characters, actions, settings, phrases, or words side-by-side or in similar narrative moments for the purpose of comparison, contrast, effect, suspense, or character development.

Microcosm: A small, representative system having analogies to a larger system in constitution, configuration, or development.

Diction: The writer’s choice of words and ways of arranging the words Example: Courtenay’s use of music terminology, boxing parlance, and litotes.

M X O L I S I NYEZWA

THE POET’S FAILURE

we had words in us that we never said. we could stand in these waterless alleys and march into the wet rain. we smelled like starved rogues, we stank like dying corpses sailing the warm winds of our silence, searching in reckless shelters to cool our lips. we struggled begging conciliation down the trodden tracks of cold hurricanes seeking out lost igloos, we had words within these day-long blues – driven by cold emotions into the shades and shadows of a dying land, we had words that choked to be said – and we never said them.

© 2000, Mxolisi Nyezwa From: Song Trials Publisher: University of Natal Press (Gecko Poetry), South Africa ISBN: 0 86980 9768

(South Africa, 1967– )

Mxolisi Nyezwa is the editor of Kotaz, a truly multilingual South African journal. He was born in 1967, New Brighton, Port Elizabeth, South Africa.

This poem was taken from his highly acclaimed debut collection Song Trials (Poetry Gecko 2000). Mxolisi Nyezwa shifts South African lyrical poetry into powerful and strange landscapes.

His works are associative poems which move rapidly through multiple dimensions. They encompass the spiritual, the political and bleakness of the everyday with the fluency of language and a compelling “deftness of image”. “Nothing’s Changed” by Tatamkhulu Afrika

Small round hard stones click I back from the under my heels, glass, seeding grasses thrust boy again, bearded seeds leaving small mean O into trouser cuffs, cans, of small mean mouth. trodden on, crunch Hands burn in tall, purple-flowering, for a stone, a bomb, amiable weeds. to shiver down the glass. Nothing's changed. District Six. No board says it is: but my feet know, and my hands, and the skin about my bones, and the soft labouring of my lungs, and the hot, white, inwards turning anger of my eyes.

Brash with glass, name flaring like a flag, it squats in the grass and weeds, incipient Port Jackson trees: new, up-market, haute cuisine, guard at the gatepost, whites only inn.

No sign says it is: Tatamkhulu Afrika was brought up in Cape Town, South Africa, but we know where we belong. as a white South African. When he was a teenager he found out that he was actually Egyptian-born, the child of an Arab I press my nose father and a Turkish mother. to the clear panes, know, The South African government began to classify every citizen by color - white, black and coloured. Afrika turned down the before I see them, there will be chance to be classed as “white,” and chose instead to crushed ice white glass, become a Muslim and be classified as “coloured.” linen falls, In 1984 the poet joined the ANC (the African National the single rose. Congress - the organization leading the struggle against apartheid). Arrested in 1987, for 'terrorism', he was banned from writing or speaking in public for five years. This was the point at Down the road, which he adopted the name he now uses, “Tatamkhulu Afrika” working man's cafe sells which had previously been his ANC code name. This enabled bunny chows. him to carry on writing despite the ban. Take it with you, eat it at a plastic table's top, Vocabulary wipe your fingers on your jeans, Port Jackson spit a little on the floor: trees imported from Australia trees it's in the bone. bread stuffed with pilchards or similar - bunny chow a poor man's hamburger

MAZISI KUNENE (South Africa, 1930 - 2006)

Mazisi Raymond Fakazi Mngoni Kunene served as South Africa’s Poet Laureate, an avid anti-apartheid activist, and professor. His literary achievements of Mazisi Raymond Fakazi Mngoni Kunene (1930-2006) were among the most remarkable to have come from Africa in the twentieth century. Although his death at the age of 75 seems to have signified the closing of an extraordinary literary tradition in South Africa, that of African Literature in the African Languages, his practice of it in five decades, throughout the political tribulations of the country in the second half of the century, brought about its greatest efflorescence.

THEY ALSO ARE CHILDREN OF THE EARTH Cursed shall be the one whose passage in this world Evades humaneness, engenders greed and hoarding Cursed is he wallowing alone in caskets of wealth and Counting rosary beads of accumulated cars To be human is to humbly cherish the sweat of your toil In measured style of decency and appreciation To be human is to consider the plight of the needy As they also are children of the earth Yes, men and women of this blessed land

NABO BANGABALO MHLABA IN ZULU Akayena umuntu lowo onganananelani nabantu Yena ogodle lokho akugodlileyo Yena osenqohe phakathi kwemikhulu imithangala Esenguye ngokubalisa izimoto zakhe Umuntu ngumuntu ngoba ebusebenzele ubuntu bakhe Ngokuba ebubekele imihla ngemihla Waze wabenzela nalabo ababusweleyo Ngokuba nabo bangabomhlaba Nabo bangabafazi namadoda alelizwe DENNIS BRUTUS

Nightsong: City

Sleep well, my love, sleep well: the habour lights glaze over restless docks, police cars cockroach through the tunnel streets from shanties creaking iron-sheets violence like a bug-infested rag is tossed and fear is immanent as sound in the wind-swung bell; the long day's anger pants from sand and rocks; but for this breathing night at least, my land, my love, sleep well.

Dennis Vincent Brutus (28 November 1924 – 26 December 2009) was a South African activist, educator, journalist and poet. Brutus, imprisoned along with Nelson Mandela in the cell next to his, was an opponent of the apartheid South African regime.

Born in Harare, Zimbabwe to South African parents, Brutus was of African, French and Italian ancestry. His parents moved back home to Port Elizabeth when he was 4, and young Brutus was classified under South Africa’s apartheid racial code as "colored." In 2008, Brutus was awarded the Lifetime Honourary Award by the South African Department of Arts and Culture for his lifelong dedication to African and world poetry and literary arts.

KEORAPETSE KGOSITSILE

From a selection of poems titled: The Present is a Dangerous Place to Live

I. In the Mourning

And at the door of the eye is the still voice of the land.

My father before my father knew the uses of fire Born in 1938, Keorapetse ‘Willie’ My father before my father, Kgositsile left South Africa in 1961 as with his multiple godhead, one of the first young ANC members instructed to do so by the leadership sat on his circular stool of the liberation movement. He was a founding member of the ANC after the day was done. At times even Department of Education as well as between the rednesses of two suns, that of Arts and Culture. The recipient of many poetry awards, he has also knowing that time was not born yesterday. studied and taught Literature and Creative Writing at a number of The circle continues universities in the United States and in Time will always be Africa. in spite of minutes that know no life. Willie Kgositsile’s poetry ranges from Lives change in life the unambiguously political and public to the lyric and confessional. At times even rot In addition to his unique poetic voice, he is also a gifted teacher. or be trampled underfoot Among his publications is an as the back of a slave. excellent book on teaching the craft of poetry – not the ‘what’ but the There are cycles in the circle ‘how’. I may even moan my deadness or mourn your death, in this sterile moment asking: Where is the life we came to live?

Time will always be

Pastpresentfuture is always now Where then is the life we came to live? KEORAPETSE KGOSITSILE

From a selection of poems titled: The Present is a Dangerous Place to Live

IV. Mirrors, Without Song

Do not tell me, my brother, to reach out and touch my soul. My soul is Do you see now inside and thin another day, like a slave, and knows your death too shows its face to be nothing,

nothing but a mirror of the death of another? Does it matter then how often my teeth are seen When I laugh, my brother, less and less when I laugh less and less? do not tell me to reach

Morning does not wake up out and touch my soul. My with my eye out the window soul is inside and thin moaning, or mourning, and knows your death too. a thing or day gone to waste

I die in the world and live my deadness in my head, laughing less and less.

Poetry Analysis T.P.C.A.S.T.T. is an abbreviation for a style of poetry analysis. Each of the letters stands for a step in the analysis process. You will use this format and our discussion of critical reading strategies to analyze a South African poem. Plan to write between 3-4 sentences on each particular element using the TPCASTT method.

. TITLE -- Examine the title before reading the poem. Is the title significant? How does the title prepare readers for what is to come in the poem? What might the poem be about? ______. PARAPHRASE -- Translate the poem into your own words. Resist the urge to jump to interpretation. A failure to understand what happens literally inevitably leads to an interpretive misunderstanding. In the space below, rewrite each line in your own words. You are paraphrasing, not summarizing. Your paraphrase should look like the original poem (not in paragraph form). If you need more space, please use a separate sheet of paper. ______. CONNOTATION – Connotations are the associations that a word or phrase implies other than simply the dictionary definition. Examine the poem for meaning beyond the literal. Look for: imagery, symbolism, irony, understatement, oxymoron, allusions, effect of sound devices (alliteration, onomatopoeia, rhyme). What specific devices are used in the poem and what effect do they have on the meaning? ______. ATTITUDE -- Tone: Examine both the speaker’s attitude. Look for: speaker’s attitude toward self, other characters, and the subject. Poet’s attitude toward speaker, other characters, subject and finally toward the reader. Is the speaker angered, passionate, melancholic? Why? How do you know? ______

. SHIFTS -- Note shifts in speaker, attitudes. Look for: occasion of poem (time and place), key words (ex. but, yet), punctuation (dashes, periods, colons), stanza divisions, changes in line and/or stanza length, irony (sometimes irony hides shifts), effect of structure on meaning. Where does the narrator’s voice change or shift? Why? ______

. TITLE -- Examine the title again, this time on an interpretive level. How does the title of the poem enhance the meaning of the poem? Does it mean something different than what you originally thought? ______

. THEME -- First list what the poem is about (subjects); then determine what the poet is saying about each of those subjects (theme). Remember, theme must be expressed as a complete sentence. ______Poetry Analysis Use your T.P.C.A.S.T.T. analysis to craft a well-written analysis of your assigned poem.

PROMPT: Reread your poem carefully. Then write a well-developed essay in which you analyze how poetic devices help to convey the speaker’s attitude toward his subject matter.

GRADING: Essays that are successful offer a persuasive analysis of the poet’s use of literary devices to convey the speaker’s attitude toward his subject matter. The essay provides a convincing reading of both the complex attitude of the poet and his use of poetic devices. The essay demonstrates consistent and effective control over the elements of composition in language appropriate to the analysis of poetry. The textual references are apt and specific. The student is perceptive in his/her analysis and demonstrates writing that is clear and sophisticated.

______

by Bryce Courtenay

Reading Schedule: Chapters 1-3 pages 3-51 Due: Monday, May 6th Chapters 4-6 pages 52-101 Due: Friday, May 10th Chapters 7-10 pages 102-206 Due: Thursday, May 16th Chapters 11-15 (end of Book 1) pages 207-320 Due: Monday, May 20th Book 2 pages 323-457 Due: Wednesday, May 29th Book 3 pages 461-end Due: Wednesday, June 5th

Assignments: For each of the six assigned sections, you will post reactions and reflections to our website. For some of the reading sections you will be asked to develop your responses into blog posts. For others, you will be asked to respond to questions posted on the "Discussion Forum" portion of the site. Follow the directions and schedule on the next page. For both types of responses you will focus on the questions, connections, and interpretations that the reading raised for you. This online component is not only a place for you to interact with the text and start to develop your interpretations, but it is also a space to collaborate with your classmates, helping all of us better understand the intricacies of the text.

The Power of One BACKGROUND NOTES FROM INTRODUCTORY PRESENTATION: http://tinyurl.com/poprezi

Apartheid in South Africa Translated from Afrikaans, apartheid means 'apartness'. The term is used to describe the legalized racist policy of the National Party (NP) between 1948 and (officially) 1994. Its roots can be found in South Africa's earlier policies of segregation. Apartheid went further than segregation in formally regulating racial classification, relations, and divisions. It saw black people as backward and uncivilized, and needed to be kept apart from white people. The only relationship that black people were allowed to have with white people was one in which they served them. Black people were discriminated against in almost every sphere of life. Racist laws dictated where and how they could live, travel, work, go to school, marry and socialize.

The basic philosophy of apartheid was simple. Although South Africa was a unitary state, the Nationalists argued that the people did not constitute a single nation but was made up of four race groups, namely white, black, Coloured and Indian. These races were further divided into 13 'nations’. White people comprised English and Afrikaans language groups. The black population was divided into 10 ethnic groups. This made the white race the largest one in the country. The NP justified the racism as necessary, supporting its view with evidence of conflicts between races and cultures around the world. It justified the discrimination using Christian theology and racist theories of white superiority and black inferiority. How did it Apartheid affect peoples' lives? Apartheid law was divided into two main groups, namely petty apartheid and grand apartheid. The first petty laws aimed to regulate everyday life in racist ways, to create a racially divided and unequal way of life for South Africans. Examples of petty apartheid laws are the Prohibition of Mixed Marriages Act 55 of 1949, which made marriages between whites and people of other races illegal. The Immorality Amendment Act 21 of 1950 went even further to forbid sex between a white and a black, Indian or Coloured person.

Grand apartheid separated races on a large scale, by forcing people to live in different places according to their race. This required race classification and was achieved through the Population Registration Act 30 of 1950. According to this law, all South Africans had to be classified as white, black, Coloured (mixed race) or Indian, and their race was then recorded in their identity passes. Official teams or Boards were set up to decide the fate of those people whose race was considered uncertain. This caused much heartache especially for Coloured people whose unique mixed race features often led to families being split up after members were assigned different to races. Every year, people were reclassified racially. In 1984, for example: . 518 Coloured people were defined as White . 2 whites were called Chinese . 1 white was reclassified Indian . 1 white became Coloured . 89 Coloured people became African

Interestingly the word 'African' was never used by the authorities. The problem was it translated back in the Boer language into the word Afrikaner, which was the very name the white Dutch descendants called themselves. Africans were referred to by white officialdom as black or Bantu.

The second element of grand apartheid was the Group Areas Act 21 of 1950. Until then, different races coexisted in most towns. This Act ended racially mixed residential areas. It defined where people had to live and work and each race was allocated its own area. People had no choice but to move, and this Act provided the base for forced removals in later years. Apartheid and Education

The Bantu Education Act of 1953 created a separate educational system for black students under the management of the Department of 'Bantu' Education. According to H.F Verwoed, who was the Education Minister at the time, the purpose of 'Bantu' Education was to prepare African people for a subordinate role under white minority rule. According to a report in the Afrikaans newspaper Die Burger , Verwoerd had the following to say on equality in 1953:

An anti-Bantu education protest, 1955. (Photograph by Drum Photographer © BAHA) "When I have control of ‘Native’ education, I will reform it so that the "Natives" will be taught from childhood to realize that equality with Europeans is not for them." (H F Verwoerd South African Prime Minister from 1958-1966)

Pass laws The movement of black people was severely limited. Black people could only stay in 'white' South Africa if they possessed documents proving they had permission to do so. Indian people were barred from being in the Orange Free State province. The laws restricting the movement of people were known as 'Pass Laws'.

The first pass laws were introduced in 1760 when slaves in the Cape were made to carry them. The Urban Areas Consolidation Act of 1945 together An example of a passbook. (Source: http://www.ms- with the Natives (Abolition of Passes and Coordination of Documents) Act of starship.com/journal/jan01/27.htm ) 1952 were key legislation. The Urban Areas Act outlined requirements for African people to 'qualify' to live 'legally' in urban areas in White South Africa. In order to do so they had to have Section 10 rights. These rights were based on whether: a. The person had been born there and resided there continuously since birth; b. The person had worked continuously for ten years in any prescribed area for any employer; or lived continuously in any such area for a period not less than 10 years; c. The person was the wife, unmarried daughter, or son under 18 years of age of an African falling into classes (a) or (b), and ordinarily resided with him, and initially entered the area lawfully; or d. The person had been granted a permit to remain by a labor bureau. Divide and Rule. The Role of the Bantustans or Homelands When the NP came into power in 1948, its aim was to achieve a white supremacist Christian National State and to enforce racial segregation. The key elements of enforcing racial segregation were:  The classification of the population into African, Coloured, Indian and white racial groups;  Strict racial segregation in the urban areas;  Restricted African urbanization;  A tightly controlled and more restricted system of migrant labor;  A stronger emphasis on tribalism and traditionalism in African administration than in the past; and  A drastic strengthening of security legislation and control. These ideas were to form the foundation on which the 'Homelands' policy was developed. Territorial segregation was not new. There existed the 'reserves' that had been created under the British administration in the 19th century. But under H.F. Verwoerd's rule, land was seen as a way to control the increasing movement of black people into the city. Black people could work in the cities but were to live in their own separate areas. The plan was to create 10 national states out of these homelands. Bantu Authorities Act of 1951 and the Bantu Self-Government Act of 1959 The Bantu Authorities Act of 1951 was the first piece of legislation introduced to support the government's policy of separate development with respect to the 'Bantustans'. It made provision for the establishment of Tribal, Regional and Territorial Authorities in the 'reserves'. Tribal Authorities were set up and positions were given to Chiefs and Headman who became responsible for the allocation of land, the welfare and pension system and the development of money that trickled down to their areas. However, uncooperative traditional leaders were faced with harsh penalties and were often deposed, as was the case with Chief Albert Luthuli when he was dismissed from his position as Chief when he refused to resign from the African National Congress.

The Bantu Self-Government Act entrenched the government's policy of separate development as it provided the political and geographic shape of South Africa. This map saw South Africa as a white center with a cluster of black states along its borders. The principle of ethnicity became established in law. This law paved the way for the government to forcibly remove blacks from their long-time homes and forced them to resettle in assigned areas. The introduction to the Act read:

"The bantu people of the Union of South Africa do not constitute a homogenous people but form separate national units on the basis of language and culture."

Instead the government broke down the assigning of people to specific areas based on their tribal/culture heritage and language: Kwa Zulu Zulu speaking and Nguni people Lebowa Northern Sotho speaking and Pedi Gazankulu Si Tsonga speaking "Shangaan" Qwaqwa South Sotho speaking "Ba Shoesoe" KaNgwane Swati speaking and Nguni people Kwa Ndebele Ndebele speaking and Pedi Transkei Xhosa speaking Bophuthatswana Tswana speaking Venda Tshi Venda speaking Ciskei Xhosa speaking The government justified its policy on the grounds that South Africa was made up of different 'nations':

"The government's policy is, therefore, not a policy of discrimination on the grounds of race or colour, but a policy of differentiation on the ground of nationhood, of different nations, granting to each self-determination within the borders of their homelands - hence this policy of separate development" (Chairperson of the Bantu Affairs Commission, 1968

Learning Literary Devices:

Imagery: Definition – ______Tone: Definition – ______Example from The Power of One - ______Example from The Power of One - ______What is the effect?______What is the effect? ______

Irony: Definition – ______Archetype: ______Definition – ______Example from The Power of One - ______Example from The Power of One - ______What is the effect? ______What is the effect?______

Are people products of their environment? “And, after all, our surroundings influence our lives and characters as much as fate, destiny or any supernatural agency,” writes Pauline Hopkins. Do the cultural, physical, and geographical surroundings shape the psychological and moral traits a character? Or are people born with something essential, something innate?

To prepare for our upcoming class discussion, spend some time thinking about the characters in The Power of One. Do the characters believe what they do, behave how they do because of the environment they are in, or instead, are the characters more than the beliefs of their culture? Use the space below to write a brief, text-rooted paragraph arguing your assigned position. Use examples to develop a position on whether or not a character is the product of his environment.

What does a text-rooted paragraph look like? 1. Thesis Statement  EXAMPLE THESIS: It is evident from Power of One that people’s actions, behaviors, and beliefs are determined by their environment as evidenced by Hoppie when he…

2. First example/quotation 3. Inferences that can be drawn from the first example to support your thesis. 4. Second example/quotation 5. Inferences that can be drawn from the second example to support your thesis. 6. Third example/quotation 7. Inferences that can be drawn from the third example to support your thesis. 8. Conclusion statement (restating your thesis in a new way)

______Are people products of their environment? Discussion Guidelines:

Your job is to participate substantively in today's discussion. How do you do that?

1. INDIVIDUAL PREPARATION: Be ready to discuss: did you prepare by finishing your group's assignment, reflecting on your reading, and writing the required text-rooted paragraph? Use ideas from your small group discussion during the large class discussion to further assist you. 2. USE OF EVIDENCE: Use direct quotations, paraphrases, and specific evidence from the text to support your comments. 3. MOVE DISCUSSION FORWARD: Discussion involves challenging fellow students, asking others to clarify their assertions, and asking questions of your fellow students - this enriches the discussion and illustrates your knowledge of the material as well. Do not simply restate what others before you have already said. 4. RESPONSE AND REFLECTION NOTES: Take notes during the discussion to use in responding to elements with which you agree and/or disagree.

Your participation today is worth 20 points.

Response and Reflection Notes:

Take note on the points and ideas that others bring up. What questions do you have about the ideas discussed? Keep track of who makes points you agree and disagree with so that you can respond directly to that person.

Microcosm Analogy - Compares two things, which are alike in several respects, for the purpose of explaining or clarifying some unfamiliar or difficult idea or object by showing how the idea or object is similar to some familiar one.

Dichotomy- A division between two especially mutually exclusive or contradictory groups or ways of thinking; extreme opposites.

Microcosm - A small representative system having analogies to a larger system in constitution, configuration, or development.

Prison as Microcosm - Prison as a symbol of South African apartheid

Prison South African apartheid

THE PRISONERS:

African Tribes in the prison  Represent blacks in South Africa who are  make up a majority of the prison pop. considered lessers in culture; kaffirs  treated as lesser  Make up a majority of the population with  separated in the prison no rights or power  hints at fighting between groups - Tribes are separated  fighting  Separated by into townships by the Bantu Homeland Acts  Segregated and isolated – breaks down communication (black vs. white entrances/access to education/access to housing and water and tribe vs. tribe)

Doc = German  Represents those in South Africa who support Allies  Plays piano, educated = arts and culture  Dutch support Hitler, want him to kick  Flawed = alcoholic English out of S. Africa  Outsider = only white prisoner we read of  Conflict that whites in SA feel about Germany  Few whites in prison

Geel Piet = Coloured – mixed racial background  Coloured group in South Africa  Ran prison black market (sugar, tobacco)  This group has a little bit of power over  Spent majority of his life in prison blacks but hated by both blacks and whites  Beaten, not respected by other prisoners  Tries to use its power to rise about the  Hated by both whites and blacks black/white segregation  “Limbo man of Africa”  abuse the system in order to gain power,  Rare that he is a boxing coach only power in a small arena/system  rare exceptions of people in this group that have real power

Prison South African apartheid

GUARDS - Afrikaans  Represent the Afrikaans - Boers in roles of power as Authority figures – controlling this group instituted apartheid; rule specific areas they have control of.

Lt. Borman 

Captain Smit 

Klipkop 

______OUTSIDERS: Peekay 

Children boxers  Responding to the Power of One

SECTION ASSIGNMENT RESPONSE OF TEXT TYPE BLOG PROMPT: Why do the Judge and jury hate Pisskop? Where does this hatred come from? How does Pisskop deal with this cruelty? What is the lesson or theme that the author most likely wants readers to learn about the nature of human cruelty and prejudice?

Chapters RESPONSE CRITERIA: Blog 1-3  Completed before class on the assigned date – Monday, May 6th  The student responds to all parts of the prompt using clear, relevant details, examples, elaborations, and/or quotations to develop and support the central focus (thesis) of the blog response. The blog response is rooted in the text.  The blog response be at least two well-developed paragraphs. SAMPLE DISCUSSION QUESTIONS: What is it that Peekay has learned about camouflage so far? How are the ideas of camouflage and adapting to change related to related to the “power of one”? What is the “power of one”?

RESPONSE CRITERIA: Chapters  Completed before class on the assigned date – Friday, May 10th Discussion 4-6  Clear, relevant details, examples, elaborations, and/or quotations are Forum used to develop the central focus (thesis) of the response. The examples and details prove the thesis.  The student responds in a way that does not just answer the question, but moves the specific discussion forward.  The student will need to respond to at least two questions but may respond to more. BLOG PROMPT AND CLASS DISCUSSION: Are people merely products of their environment?

RESPONSE CRITERIA: Chapters  Completed before class on the assigned date –Due: Thursday, May 16th Blog and 7-10  The student responds to all parts of the prompt using clear, relevant Discussion details, examples, elaborations, and/or quotations to develop and support the central focus (thesis) of the blog response. The blog response is rooted in the text.  The blog response be one well-developed paragraphs. SAMPLE DISCUSSION QUESTIONS: What’s in a name? By the close of chapter 15, what names has the main character been called by? Is it significant that we still do not know his real name?

Chapters RESPONSE CRITERIA: th Discussion 11-15  Completed before class on the assigned date – Monday, May 20 Forum (end of  Clear, relevant details, examples, elaborations, and/or quotations are used to develop the central focus (thesis) of the response. The examples Book One) and details prove the thesis.  The student responds in a way that does not just answer the question, but moves the specific discussion forward.

 The student will need to respond to at least two questions but may respond to more. SECTION ASSIGNMENT RESPONSE OF TEXT TYPE SAMPLE DISCUSSION QUESTIONS: Do aspects of Peekay’s story fit our definition for myth and hero? If we think of Peekay as a modern hero, what is the lesson that he teachers readers?

RESPONSE CRITERIA: th Reflect on  Completed before class on the assigned date – Wednesday, May 29 Discussion reading  Clear, relevant details, examples, elaborations, and/or quotations are used to develop the central focus (thesis) of the response. The examples Forum Book Two and details prove the thesis.  The student responds in a way that does not just answer the question, but moves the specific discussion forward.  The student will need to respond to at least two questions but may respond to more.

ESSAY PROMPT: Throughout The Power of One, Bryce Courtenay raises the question of how much power people have over themselves and others. Peekay grows up with a number of influences on his life, but the mantra he continues to rely on is “the power of one: one heart, one mind, one body.” Is the Power of One a valid title? Was Peekay’s life constructed around this spirit of individualism, or was his life formed through the power and influence of others? Your task in this essay is to prove whether individuality and the power people have over themselves is more important than the influence and power others have over us. You will use specific examples (quotations) Reflect on from The Power of One to prove your “big idea.” Literary reading Analysis Book Essay Three CRITERIA:  The student will turn in a typed, double-spaced essay on the assigned date – Wednesday, June 5th  The student responds to all parts of the prompt using clear, relevant details, examples, elaborations, and/or quotations to develop and support the central focus (thesis) of the blog response. The blog response is rooted in the text.  The essay will be at least 5 well developed paragraphs.  The essay will be set up using MLA formatting standards.  The essay is worth 60 points.

ESSAY GRADING: Your essay will be graded holistically using criteria from the Keystone Expository Composition Rubric. The writing rubric contains five grading areas that you will need to think about when constructing and revising your essay. You can earn a score of between a 1-4 in each area (focus, content, organization, style, and conventions), with 4 being the highest score.

Scoring Domain Score Point 4 Score Point 3 Score Point 2 Score Point 1 Score point 0 At this score point, the writer - At this score point, the writer - At this score point, the writer - At this score point, the writer - At this score point, the writer - Thesis/Focus  establishes and  establishes a  provides an  provides a vague  provides no sustains a precise controlling inconsistent or indistinct evidence of controlling idea/thesis idea/thesis controlling idea a controlling idea/thesis  displays an  displays a limited  displays a idea/thesis  displays a clear understanding understanding of minimal  displays no understanding of of task, purpose, task, purpose, understanding of understanding task, purpose, and audience and audience task, purpose, of task, purpose, and audience and audience and audience OR  does not respond to prompt Content  provides relevant  provides relevant  provides  provides  provides little to content content and insufficient minimal content no content and specific and effective content and  uses few or no  does not use effective supporting ineffective transitional transitional supporting details details supporting details expressions to expressions to that demonstrate  uses transitional  may use link ideas link ideas a clear words, phrases, simplistic and/or OR understanding of and clauses to illogical  does not respond purpose link ideas transitional to prompt  uses expressions sophisticated transitional words, phrases, and clauses to link ideas and create cohesion Organization  chooses  chooses  displays some  displays little  displays no sophisticated appropriate evidence of evidence of evidence of organizational organizational organizational organizational organizational strategies strategies for strategies strategies strategies appropriate for task, purpose,  may not include  may not include  does not include task, purpose, and audience an introduction, an identifiable an identifiable and audience  includes a clear body, and/or introduction, introduction,  includes a clear introduction, conclusion body, and/or body, and/or and well defined body, and conclusion conclusion introduction, conclusion OR body, and  does not respond conclusion to prompt Style  uses consistently  uses precise  uses imprecise  uses simplistic  uses repetitious precise language language and a language and a or repetitious language and and a wide variety of limited variety of language and simple sentence variety of sentence sentence sentence  structures sentence structures structures structures  demonstrates no structures  chooses an  may choose an  demonstrates  understanding of  chooses an appropriate inappropriate little or no style, tone, or effective style style, tone, and style or tone and understanding of point of view and tone and point of view may shift point of style, tone, or OR maintains a view point of view  does not respond consistent point to prompt of view Grammar/  demonstrates  demonstrates  demonstrates  demonstrates  demonstrates command of control of limited or minimal control little or no Conventions standard English standard English inconsistent of standard control of grammar and grammar and control of English grammar standard English usage usage standard English and usage grammar and  demonstrates  demonstrates grammar and  demonstrates usage command of control of usage minimal control  demonstrates standard English standard English  demonstrates of standard little or no capitalization, capitalization, limited or English control of punctuation, and punctuation, and inconsistent capitalization, standard English spelling spelling control of punctuation, capitalization,  demonstrates  demonstrates standard English and spelling punctuation, and command of control of capitalization,  demonstrates spelling sentence sentence punctuation, and minimal control  demonstrates formation formation spelling of sentence little or no formation control of sentence formation

Extra Credit Opportunities: There is so much history and so many personal stories to learn about as we study South Africa and its history of apartheid. To help you become better acquainted with the people and history of this time, you'll have an opportunity to do some independent exploring. Additionally, you can choose to read a book on mythology as we will be talking about the hero’s cycle more during our reading of The Power of One. Below you will find a movie and book recommendation list. Select one book or movie, either from this list or one you discover on your own, have both Ms.Ward and a parent/guardian sign the attached permission form, and start reading (or watching). Once you've finished, write a 2-3 page report on your selected piece. Your written report should NOT be a book report. Instead it is a narrative reflection that incorporates a THEME from the movie or text and connects it to what we have been studying. Finish this assignment by JUNE 7th, and you can earn up to 10 extra credit points!

MOVIES:  Amandla!: A Revolution in Four-Part Harmony is a 2002 documentary film depicting the struggles of black South Africans against the injustices of Apartheid through the use of music.  Confronting the Truth is a 73 minute documentary about the work of commissions in Peru, South Africa, and East Timor in telling the truth about what has happened and working towards reconciliation.  Cry Freedom (1987) is the story of Steve Biko’s murder in police custody and the risks a white journalist takes to tell this story.  In My Country (2004) dramatizing the "Truth and Reconciliation" project and the spirit of "ubuntu" ("I am because we are"), in contrast to "eye-for-an-eye" justice.  Invictus (2009) This drama based on real-life events tells the story of what happened after the end of apartheid when newly elected President Nelson Mandela used the 1995 World Cup rugby matches to unite his people in South Africa.  Sarafina! (1993) is the engaging story of the Black youth uprising in Soweto.  South Africa Close-Up" (2004) is a documentary about two teenagers living in South Africa.  21 Up South Africa: Mandela's Children (2006) The concept of the Up Series -- documentaries that revisit a group of children every seven years -- is brought to post-apartheid South Africa. Here, filmmaker Angus Gibson interviews 11 young people of various races and backgrounds as they turn 21. The result is an insightful look at how they've changed and the issues they face such as crime, race relations, education and the AIDS epidemic -- which has killed three of the original 14 children.  Finding Joe (2011) Various artists come together to celebrate the legacy of scholar Joseph Campbell, whose work exploring the power of myth enlightened the world. Among those interviewed are Deepak Chopra, Tony Hawk, Mick Fleetwood and Rashida Jones  The Power of Myth (1988) In this PBS series, journalist Bill Moyers leads viewers on a journey into the mind and spirit of legendary teacher and masterful storyteller Joseph Campbell, who discusses the need for modern myths that fit our ever-changing world. Campbell also addresses people's search for a hero in their everyday lives; the role of love, romance and sacrifice in myth and in practice; and the concept of eternity in the context of various religions.

BOOKS:  Cry, the Beloved Country by Alan Paton is the story of a white father forgives the father of the black man who kills his son.  July's People by Nadine Gordimer is a classic. For years, it had been what is called a "deteriorating situation." Now all over South Africa the cities are battlegrounds. The members of the Smales family - liberal whites - are rescued from the terror by their servant, July, who leads them to refuge in his village. What happens to the Smaleses and to July - the shifts in character and relationships - gives us an unforgettable look into the terrifying, tacit understandings and misunderstandings between blacks and whites  Kaffir Boy by Mark Mathabane is written with courage and conviction. Mark Mathbane's reveals the extraordinary memoir of growing up in a world under apartheid.  The New Century of South African Poetry edited by Michael Chapman is the ultimate overview of South African poetry, reaching from its earliest manifestations in the oral culture of the land's indigenous inhabitants to the complexities of post-apartheid verse. It includes translations from the country's many languages, discovering hitherto hidden voices as well as placing in context the best-known names of our rich poetic heritage.  Spud by John van de Ruit is one you'll want to pick up. It's 1990. Apartheid is crumbling. Nelson Mandela has just been released from prison. And Spud Milton - thirteen-year-old, prepubescent choirboy extraordinaire - is about to start his first year at an elite boys-only boarding school in South Africa. Cursed with embarrassingly dysfunctional parents, a senile granny named Wombat, and a wild obsession for Julia Roberts, Spud has his hands full trying to adapt to his new home. Armed with only his wits and his diary, Spud takes readers of all ages on a rowdy boarding school romp full of illegal midnight swims, raging hormones, and catastrophic holidays that will leave the entire family in total hysterics and thirsty for more.  The Power of Myth This book is written as an interview between journalist Bill Moyers and legendary teacher and masterful storyteller Joseph Campbell, who discusses the need for modern myths that fit our ever-changing world. Campbell also addresses people's search for a hero in their everyday lives; the role of love, romance and sacrifice in myth and in practice; and the concept of eternity in the context of various religions.

INDEPENDENT PROJECT APPROVAL FORM Name:______

Block:______Date:______Title of Book/Movie:______

Author of Book/Movie:______

How will you obtain a copy of this book/movie?______Short description of book/movie (if not on Ms. Ward's recommended list):______

______

______

______

Two reasons for selecting this book/movie:

1)______

2)______

______By signing this form, both the student and parent/guardian understand that the student is committing to obtain the above book or movie on his or her own. It is important that parents and guardians review the independent book or movie selected by the student, especially if it was not selected from Ms. Ward's recommended list, to ensure it is appropriate for class. This extra credit project is due ______.

______Student's Signature Date

______

Parent/Guardian's Signature Date