Sizwe Banzi Is Dead

by Athol Fugard

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Identity

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The central theme of Sizwe Bansi Is Dead is centered around the concept of identity. The quest for or transformation of identity significantly affects each of the main characters.

For Styles, identity involves multiple dimensions. He initially reinvented himself as a photographer after finding dissatisfaction with his previous position at the Ford Motor Company. Through his photography, Styles captures and preserves the identities of his clients, ensuring that ordinary individuals are remembered by future generations.

Sizwe Bansi encounters more intricate identity issues. His passbook—essentially his identity—has let him down; without the necessary documentation, he cannot stay in Port Elizabeth or find work to support his family. The stamp in his passbook requires him to report to a bureau in his hometown of King William’s Town.

Sizwe finds refuge with Buntu, a friend of a friend. After a night of drinking, they come across a deceased man and take his identity book. Buntu proposes that Sizwe assume the dead man's identity, as it contains the proper documentation needed for employment.

This possible identity change deeply unsettles Sizwe Bansi. His children carry his name; he is unsure about his wife's situation; and he faces serious consequences if the switch is discovered. Despite this, to ensure his family's survival, Sizwe Bansi reluctantly adopts the identity of Robert Zwelinzima.

In Sizwe Bansi Is Dead, true identity is portrayed as self-awareness, rather than just a name.

Family

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The significance of family is a key theme in Sizwe Bansi Is Dead. Styles believes that the photographs he captures create bonds between families across generations, allowing descendants to see their ancestors' appearances. He points out that family groups are his most profitable clients, as their large numbers lead to many copies being purchased.

Sizwe Bansi travels to Port Elizabeth in search of employment to provide for his wife and four children. He is prepared to assume a deceased man's identity to remain in the city and secure a stable job. He has his photograph taken at Styles’ studio to reassure his wife that he is still the same person.

Buntu's family circumstances—his wife works as a domestic worker and is only home on weekends, while his child lives with their grandmother—allow him to take in Sizwe and help him with his challenges. Buntu treats Sizwe as if he were family.

Limitations and Opportunities

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Despite facing challenges like racism, Sizwe Bansi, Styles, and Buntu find ways to create positive change in their lives.

Take Styles, for example. He felt restricted and overwhelmed at the auto factory. However, during the Christmas break, he came across a room near a funeral home and received permission to transform it into a photography studio. Unlike many of his coworkers, Styles now runs his own business and is self-reliant.

Sizwe also takes advantage of opportunities with Buntu's help. He is unable to stay in Port Elizabeth to look for work because his identity book limits his mobility. When they discover a deceased man in an alley, Buntu takes the man's identity book.

After considering Sizwe's limited options, Buntu suggests that Sizwe assume the dead man's identity. This would allow him to remain in Port Elizabeth and find employment. Though apartheid restricts Sizwe's choices, taking on the deceased man's identity gives him a chance to earn a decent wage and support his family.

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