https://ir.unisa.ac.za/handle/10500/4126 Tue, 05 May 2026 15:10:45 GMT 2026-05-05T15:10:45Z https://ir.unisa.ac.za/handle/10500/31935 Promotion Of Indigenous Languages and Culture through Social Media Shaku , Kganathi Internet linguistics concerns itself with how language is used on digital platforms such as blogs, social media, etc. The use of language on digital platforms has recently gained scholarly attention; as a result, the sociolinguistics of the e-community has become a case of analysis in the field of linguistics. One of the ongoing contributions made by the e-community is the promotion of language and culture through social media platforms. The social media platforms such as Twitter, Facebook, TikTok, and Instagram are used as meeting places for engagement in discussions around language and culture. The sharing of information and engagements on social media is possible through features such as posts, group charts, and spaces. Moreover, the use of language on social media platforms is given attention in response to the UNESCO’s declaration of a Decade (a period between 2022 and 2032) of Indigenous Languages. Therefore, this chapter demonstrates how indigenous languages and cultures gain popularity in digital spaces like social media. This is done the showcasing of the best digital practices which are central to the promotion of indigenous languages and their cultures. Therefore, this chapter demonstrates the role of social media in the promotion of the Sepedi language and culture. The cases of analysis are Facebook, Twitter, and TikTok. The mentioned social media platforms receive attention because of their widespread usage in South Africa and because they have the potential to promote the Sepedi language and culture. Socio-cultural, Constructivism, and Uses and Gratification theories are used as frames of reference Tue, 18 Jun 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/31935 2024-06-18T00:00:00Z https://ir.unisa.ac.za/handle/10500/31934 Language Development during Covid-19 The case of Sesotho sa Leboa language in South Africa Shaku , Kganathi Covid-19 has affected societies worldwide, particularly in areas such as health and education. Covid-19 was a foreign phenomenon in countries such as South Africa, where local languages had to be used to ensure understanding of the pandemic. The effectiveness of communication was reliant on using the language understood locally, and translators translated Covid-19 content from English into South Africa’s indigenous languages, such as Sesotho sa Leboa. This paper focuses on the development of Sesotho sa Leboa through the translation of Covid-19 terminology from English. It established that new words were created through relevant translation and word-formation strategies. This contributed to language development and positively affected language learning and the production of language resources. Thu, 01 Sep 2022 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/31934 2022-09-01T00:00:00Z https://ir.unisa.ac.za/handle/10500/31933 Textism in the Classroom: A Writing Destruction for School Learners in South Africa Shaku , Kganathi The rise of the Third Industrial Revolution (3IR) introduced various interactive digital platforms such as computer-mediated communication (CMC). These platforms include social media platforms such as Facebook, WhatsApp, X (formerly known as Twitter), and Instagram. During the exchange of messages, social media users use language distinctively to express their thoughts. Both conventional and non-conventional writing styles manifest. For instance, while others use well-formed language in line with the conventions of a standard language, some use unconventional language, which is termed multiple names such as textism, texteese, and social media language. Since most of the social media users’ age profiles match the age group of learners in secondary schools, it became necessary for this study to explore the possible impact of social media on learners’ academic writing, particularly in the official indigenous languages of South Africa. This study used a qualitative research approach to explore the impact of social media on learners’ writing of the Sepedi language in 10 secondary schools in the Limpopo Province, South Africa. Using focus group interviews and document analysis, the paper discovered that learners’ application of writing mechanics such as grammar and punctuation marks are affected by social media. The paper is conceptualised through cultivation theory. This paper appears in the proceedings of to the 11th European Conference on Social Media (ECSM 2024), hosted by the University of Brighton, UK on 30-31 May 2024. Thu, 23 May 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/31933 2024-05-23T00:00:00Z https://ir.unisa.ac.za/handle/10500/31391 Magnet theatre's notion of "making space": with a focus on two South African migrant plays and the Clanwilliam Arts Project Du Toit, Alicia The study explores Magnet Theatre’s notion of “making space” for transformative ideas through their migrant plays, Die Vreemdeling and Every Year, Every Day, I Am Walking, as well as through the Clanwilliam Arts Project, which they presented in Clanwilliam for 18 years until 2018. Michel Foucault’s theory on discourse and power reveals how vulnerable migrants are and how easily they may fall prey to exploitation, xenophobic attacks, rape, and even murder (as demonstrated in Die Vreemdeling), are excluded from the dominant discourse and consequently have no power. Space is a dominant metaphor in the work of Magnet Theatre. Henri Lefebvre’s theory of space was used to demonstrate how, through creating and performing their plays, Magnet Theatre both created a safe physical space for participants in the Clanwilliam Arts Project, and made space for new ideas and concepts relating to migrants in South Africa. The study shows that theatre has the potential to be a catalyst for change in South Africa, enabling marginalised voices to be heard. Workshop theatre is a useful tool for advancing transformation through creating a safe space in which participants from all walks of life can, not only learn theatre skills and express themselves, but also voice their concerns and their grievances as a means to achieve healing.; Hierdie studie ondersoek Magnet Theatre se begrip van “making space” (om ruimte te skep) vir transformerende idees deur middel van hulle toneelstukke rakende migrante, Die Vreemdeling en Every Year, Every Day, I am Walking, sowel as die Clanwilliam Arts Project, wat hulle in Clanwilliam aangebied het vir 18 jaar tot in 2018. Michel Foucault se teorie oor diskoers en mag illustreer hoe kwesbaar migrante is en hoe maklik hulle die prooi word van v eksploitasie, xenofobiese aanvalle, verkragting en selfs moord (soos gedemonstreer in Die Vreemdeling), omdat hulle uitgesluit is van die dominante diskoers en, gevolglik, geen mag het nie. Ruimte is ’n dominante metafoor in Magnet Theatre se werke. Henri Lefebvre se teorie oor ruimte is ingespan om te demonstreer hoe, deur toneelstukke te skep en op te voer, Magnet Theatre terselfdertyd ’n veilige fisiese ruimte geskep het vir die deelnemers aan die Clanwilliam Arts Project, sowel as vir die kweek van idees en konsepte ten opsigte van migrante in Suid-Afrika. Die studie dui aan dat teater die potensiaal het om ’n katalisator vir transformasie in Suid-Afrika te wees wat gemarginaliseerdes ’n stem kan gee. Werkswinkelteater is ’n bruikbare instrument om transformasie te bevorder deur ’n veilige ruimte te skep waarin deelnemers van alle vlakke van die samelewing, nie net teatervaardighede kan leer nie, maar ook hulle bekommernisse en griewe kan lug om heling te bewerkstellig.; Olu phando luphonononga ingcinga yeMagnet Theatre “yokudala indawo” ekuthiwa yi”making space” yeengcinga ezinenguqu ngokusebenzisa imidlalo yeqonga yabafuduki, iDieVreemdeling and Every Year, Every Day, I Am Walking nangeClanwilliam Arts Project, abathi bayibonisa eClanwilliam iminyaka eli18 kwade kwaba ngo2018. Ithiyori kaMichel Foucault yediscourse and power ibonisa indlela abafuduki abasesichengeni ngayo kunye nendlela ekulula ngayo ukuba babe ngamaxhoba okuxhatshazwa, ohlaselo localucalulo ngokobuzwe, udlwengulo kunye nokubulawa (nanjengoko kubonisewe kwiDie Vreemdeling), ukungabandakanywa kwabo kwiingxoxo eziphanbili kwaye ngenxa yoko ababinagunya. Indawo siskweko esiphambili kumsebenzi weMagnet Theatre. Ithiyori kaHenri Lefebvre yendawo isetyenziselwe ukubonisa indlela iMagnet Theatre, ngokudala nokudlala imidlalo yeqonga yaba bafuduki, edale ngayo indawo ekhuselekileyo kubathathinxaxheba beClanwilliam Arts Project, yaze yadala indawo yeengcinga neengcamango ezintsha ezinxulumene nabafuduki eMzantsi Afrika. Olu phando lubonisa ukuba ithiyetha yemidlalo yeqonga inamandla okuzisa utshintosho eMsantsi Afrika, nto leyo eyenza ukuba amazwi asingelwa phantsi aviwe. Ucweyo lwethiyetha yemidlalo yeqonga sisixhobo esiluncedo sokuqhubela phambili utshintsho ngokudala indawo ekhuselekileyo apho abathathinxaxheba abavelo kuzo zonke iinkalo zombomi banako kungekuphela nje ukufunda izakhono zemidlalo yeqonga kunye nokuzibonakalisa, kodwa nokuvakalisa iinkxalabo nezikhalazo zabo njengendlela yokufumana ukuphila Abstract in English with Xhosa and Afrikaans translation Mon, 01 Jan 2024 00:00:00 GMT https://ir.unisa.ac.za/handle/10500/31391 2024-01-01T00:00:00Z