Cecil John Rhodes: British Empire Hitman

Unsurprisingly there is currently a hypocritical wave of uproar in white circles, about the recent commentary by South AfriKKKa’s ambassador to Denmark, Mam’Zindzi Mandela, on the land question, which she expressed through her twitter account.

Maropeng go ya bo’elwa Mmino o thesollotšwe mo Afrika Ke rena ba go tshwara matsopa a dinoto le diphala Megolokwane e theeletša rena Mmino o re hlakantšha naga ka leoto

BLF notes that this upsurge in white arrogance is as a direct result of the right-wing parliament, where Ramaphosa together with Malema continues to refuse to expropriate the land in the hands of land thieves without compensation.

According to this document, the injustices (of the past) have no colour. This discoloration of political history makes everybody a potential perpetrator of injustices. It is my submission that this is gross falsification of history and travesty of justice herself

A slave is an adult who has had to become a child all over again. This is the experience of black people who leave their homes as adults but spend the day as children in the company of white people and then put on their adult face on their way home.

Nhlengethwa began his career in 1976 during one of South Africa’s most tumultuous socio-political eras. In 1978, he completed a two-year diploma at the Evangelical Lutheran Church Art and Craft Centre, Rorkes Drift, Kwa-Zulu Natal, where printmaking was a prominent feature in the Centre’s activities.