Cecil John Rhodes: British Empire Hitman

Wake up, go to work, get a salary, knock off. Go to the theatre – or whatever alternative space is available, use the day-job salary to attempt to make theatre, lose the day-job salary (in a myriad way that could be the topic of a follow up article), go home – exhausted, sleep (maybe), wash up and then back to work to earn more money that will soon be lost.

56 years ago, Africa decided to exhibit their determination to free itself from foreign exploitation and domination. Today the continent so rich of culture and heritage, having gone through its fair share of bondage that led to this historic occasion still sees many countries participating in the various festivities to mark this day.

The narrative sees a king who finds himself in a “predicament” wherein his wife bores him a daughter instead of a son and heir. All of this pits him against forces who refuse to be led by a female within his own ranks and subjects.

He took up acting to prepare for the task ahead. He planted himself as a sleeper cell within the DA - the embodiment of neoliberalism in South Africa. Slowly he began to learn their ways, mould his persona to what they wanted, shoring up power.

Now, when you pause and think about it. The black agenda - in its 'civilized' or in the hands of educated Blacks, in its expression of propertied Blacks who hold tenure in keeping with white sensibilities - has always been welcomed in white power corridors. It has never been an utter no-no for whites to countenance the Black agenda.

Such incidents were not rare; the negative social stereotyping of traditional culture amongst black people goes back to the establishment of the missionaries, a religious, pseudo-colonial undertaking that deemed African culture uncivilized, and demanded Africans do away with their traditional, “sinful”, ways of life in exchange for “virtuous” Western culture and its “superior” education.