{"id":76421,"date":"2016-08-15T18:47:41","date_gmt":"2016-08-15T16:47:41","guid":{"rendered":"http:\/\/www.myza.co.za\/billy-goes-to-marikana-the-staged-lives-and-times-of-two-mining-towns-the-conversation\/"},"modified":"2016-08-15T18:47:41","modified_gmt":"2016-08-15T16:47:41","slug":"billy-goes-to-marikana-the-staged-lives-and-times-of-two-mining-towns-the-conversation","status":"publish","type":"post","link":"https:\/\/www.myza.co.za\/press\/billy-goes-to-marikana-the-staged-lives-and-times-of-two-mining-towns-the-conversation\/","title":{"rendered":"Billy goes to Marikana: the staged lives and times of two mining towns | The Conversation"},"content":{"rendered":"

Billy goes to Marikana: the staged lives and times of two mining towns<\/a>: <\/p>\n

Meshack Mavuso played the role of 'The Man with the Green Blanket' in 'Marikana the Musical'<\/span> @marikanathemusical<\/span><\/span><\/figcaption><\/figure>\n

I had the opportunity to watch a performance of \u201cBilly Elliot – The Musical\u201d in Bradford, UK in June 2016. The story explores the experiences of mining communities in the 1980s in northern England. The story of Billy Elliot, a young orphan boy growing up in a mining town during the miners’ strike in the mid-80s in the UK took me to South Africa. Specifically to Marikana, the Lonmin mine north west of Johannesburg, where South African police shot and killed 34 striking mineworkers on Thursday 16 August, 2012.<\/p>\n

The emotional response I felt in the middle of a very British audience in Bradford was in fact the memory of Marikana, a tragedy that also led to a play, \u201cMarikana the Musical\u201d in 2014. I realise that is what theatre is meant to do: the arts aim to evoke feelings over and above appreciation of the artistic piece.<\/p>\n

Billy Elliot took me on a journey back home to the familiar losses of lives, work and sense of community when mining suddenly dies. The long term effects of the loss of livelihoods when mines shut down in northern England in the 1980s are still felt to date. I also remembered the more recent losses in Zambia and Botswana\u2019s northern cities when copper prices crashed. Communities whose lifeline was dependent on the mines have gone from surviving to grinding poverty.<\/p>\n

\"\"
Actor Trent Kowalik from \u2018Billy Elliot, The Musical\u2019<\/span> Gary Hershorn \/Reuters<\/span><\/span> <\/figcaption><\/figure>\n

Billy Elliot was a boy who wanted to do ballet. Billy kept his secret from his father and brother, pretending that that he was taking boxing lessons.<\/p>\n

In a community steeped in mining traditions and a strong sense of masculinity a boy doing ballet was a no-no. With help from his ballet teacher, he triumphs and eventually realises his dream.<\/p>\n

Mining cultures<\/h2>\n

Southern Africa is no stranger to mining cultures. For over 200 years men journeyed to the gold and diamond mines of Johannesburg and Kimberley respectively. When platinum, which was discovered in South Africa in 1924, became the new gold many more came. For boys going to the mines was part of their rite of passage. They fashioned their dreams and manhood around mining. Many came from far and endured long separation from their families. Their remittances kept communities alive.<\/p>\n

In the mines they formed strong bonds of brotherhood to survive. Music and dance became their outlet and to date the gumboot dance remains a popular artistic act. Musicians like Hugh Masekela and Miriam Makeba have done award winning songs about the life and times of miners.<\/p>\n