Friday, November 15, 2024

Palestine, My Gaza

 Palestine, Palestine


It has been two years since the second Nakba began with the full scale invasion of Palestinian territory by Israel, what normality is possible in the vicinity of the current conflict, while we witness history tending to repeat itself - the haunting ghost of the past occupation still fresh in the memories of many Palestinians?


Are there any factual approaches to read through complex colonial histories, realities of the current occupation and ethnic cleansing without taking a side?


Should not any person concerned with justice and freedom retain a close connection with the struggle and exploitation of the Palestinian people?


15 May 1948 saw the expulsion of Palestinians from their ancestral land through a violent displacement that let to the loss of property, dignity and cultural heritage on an unprecedented scale.


It is estimated that More than 750,000 Palestinians were forcibly expelled from their homeland by Zionist militia in 1948, and the project of irradiating the nation of Palestine is still in full swing.


The Nakba of 1948 left its mark on all the subsequent ones that shaped the Middle East, influencing warfare and militarism in terms of scale, technology, strategy, damage, and violence. Since then, the wars of one region have spread their political, social, economic, and psychological effects across the globe.


And to date over a two million Palestinian women, children have been killed through explosions and protracted warfare between what Israel terms terrorists, who yet are young men and their elders reclaiming their lost land and culture through the necessary violence of defending one’s kin.


“Today, we again commemorate the events of 1948 and subsequent years, which led to the dispossession and displacement of approximately 750,000 Palestinians from their ancestral lands,” said Cheikh Niang (Senegal), Chair of the United Nations Committee on the Exercise of the Inalienable Rights of the Palestinian People, as he opened a panel discussion titled “1948-2024:  The Ongoing Palestinian Nakba”.


***


Contemplating the many disputed identities, memories, denied deaths that are a daily occurence in Gaza, what can we learn from the complexities of human nature, the harmonies and disharmonies characterising cycles of life in Palestine and the rest of the Middle East?


Many people of Arab descent have always admitted that cultures have coalesced since time immemorial at this site marked by a multitude of cultural and historical narratives.


These intertwined cultural and historical experiences were shattered by the creation of the state of Israel after World war 2, and through manifold stories of diverse experiences of people who lived during the 1948 war, there clearly are parallels to the sheer scale of these social catastrophes.


An inability to handle our vulnerability as the global family in the face of wars such as happening in the Middle East ensures that the realities happening on the ground become mere spectacles to which we have been desensitised through media.


And because the global family seems oblivious to the massacre of a nation because of an opaque past and an unknown future; our revolt seems to not even scathe the terrorist state of Israel.


There seems to be a certain ideological posturing and political disillusionment regarding how we think and act about the atrocities happening to the Palestine people, especially when having not spoken to anyone with direct experiences of the war on Gaza.


News bulletins around the globe are inundated with images of slaughter and devastation; and as the world silently watches ordinary people of Palestine navigate the ebb and flow of tyranny, more wars are ravaging continents and displaced populations  roam the planet with broken lives and sacks of mere possessions. 


Faced with relentless exoduses and waves of migration caused by capitalist and imperialist machinery governments are collapsing, and duplicitous media pushes even harder the propaganda of corrupt politicians to exhaust the poor masses with constant false narratives.


And more displacements in the names of wars ensue, as well as escapes they provoke; sound bombs explode over elderly patients trapped in dilapidated hospitals, while Israeli suburbanites rest watching screens depicting non-fiction slaughters. .


Their relentless quest for a better life in the face of regional disparities in the Middle East thwarted, Palestinians will now have to rather face a chilling terror gripping their minds against monstrosities of a new technological warfare.


Elsewhere, the elite are debating moralism on “issues of” maimed infants, analysing award winning images and footage; numbing their guilt with oriental music and wine over cuisines served by other oppressed people.


Desktop activists are spreading viral posters that rouse our collective guilty conscience; and children wail hungry with amputee fathers and sister tortured in secret cells since turning 10.


How do we live dreamless and bloated lives when the starved are being buried underneath the rubble of prison settlements?


Netanyahu and his congress of desolation plot of ethnic cleansing the Middle East for Zionist settlement has been watched, and who will not hold every Israeli in contempt after this resentful slaughter?


The effects of its campaigns cascades through the region, shifting political alignments, and generating new concerns over radicalization and conflict spillover as youth brigades are being recruited from “friendly nations” to join the Israeli Army with the promises of heaven on earth.


What could therefore be the remaining methods of politico-militant solidarities across our shared struggles against colonialism and Zionist apartheid can be devised akin those of hordes of youth pilgrimaging to Israel to become soldiers for wealth?


Should the world take arms against the stet of Israel or forget the Gaza war of winter 2008–2009 within its broader politico-military context?


A veritable army of dogmatised adrenaline-fuelled machismo flogging and raping women in view of their partners, strangled by boots and religious fingers; new media streaming assaults on children in this most photographed war.

Friday, November 8, 2024

Lessons From The Beetle With Four Eyes

“If someone produces artwork in response to a set of artist instructions, are they also an artist?”


YOKO ONO


***


Over the past two decades, poet and artist Sabelo Soko has created a unique body of work including short films, video installations and poetry performances. A central element of his poetic and political art is the exploration of how languages coalesce and the societal constraints associated with this intermingling of different strains of expression.




Spin VENEK: Lessons From Imfundamakhwela is one such new project that uses isiZulu parables translated through a colonial language; isiZulu being a language which in itself is full of mystery and mastery of expressing realities that often go beyond words.


Language is becoming an everyday method for bending reality in any realm defined by the exchange of information, and when two languages dance to formulate each other’s perspectives, translation becomes an important project in connecting narratives from varied environments, preserving their intrinsic truths.


And Spin Venek Manual explores how these two languages can ignite inner and spiritual energies, through repetitive affirmations and mantras formed to fuel a transformation of personal realities of people who might otherwise need counselling and psychological support.


By flipping, contrasting, contradicting, reforming language at its idioms and metaphors, and crafting a vernacular that is constantly flying over the pond of speech, the project becomes decolonial and important regarding how isiZulu is translated but also to the structural relations of the language to other languages.


And while he is “learning the whistles that climb the skies”, the manual is moving into new registers and finer distinctions that Sabelo Soko finds traceable in the Zulu language. 


Reweaving it with other traditional stories, the manual is a tool of unlocking collective joys and trauma, especially when used in learning environments, where interactive exchange of knowledge and experiences is essential for personal growth.


It is then through language that we perceive similarities and differences, where we voice concerns and mysteries that mystify us, while being attentive to the metaphor of the Whirligig Beetle and its ability to use four eyes to perceive the multifacetedness of oneself and others, and the environments within which these selves evolve and thrive.


The project is dedicated to the knowledge emerging from the use of language as a psychotherapeutic tool, a vocality that is emitted by bodies, even when at times bodies feel voiceless.


Beneath language’s failures lies history and personal memories, there is the mantra that one should “DALA what you must”, which simply gives agency to each individual to partake in the creation of a larger whole and a collective-self.


We also see how Sabelo Soko translates linguistic tropes and limericks from the isiZulu language into visual terms to which English speakers are accustomed.


Through sheer modesty, Sabelo Soko often refers to himself as a novice in the art of using language, which is far from the truth, as he has proven himself an indelible linguist, whose characteristic isZulu Poetry has become iconic as a celebration of African Languages.


***


And undeniably, the idea of "a manual" is quite intriguing in that it’s commonly compiled as an instructional and rigid set of codes and parameters; no room for improvisation of alterations. 


Yet, the SPIN VENEK Manual is different in that the instructions themselves are mere guidelines for a self-explorative journey (Dala What You Must) that immerses the reader in individualised interpretations, where one is called upon to be the translator of their own versions of what they are reading.


Divided into four chapters, the importance of the work lies in its transformation of language into an interplay of motivational solicitations and challenges; nudging the reader towards mythical interpretations of the natural world into varied daily parables and idioms for spiritual empowerment.


And to use this manual as a tool of social reconstructive surgery, through facilitated workshops and engagements that delve into minds and aspirations of people, must pose its own challenges. It is therefore insightful when Sabelo Soko outlines the aim of the manual as a type of glue essential for cultivating a sense of social cohesion in a country still haunted by colonialism, segregation and apartheid.


Lessons on “being present”, the concept of self awareness being exercised as the first preamble prior to acknowledging one’s awareness of others. These greetings are all that announce one’s “being”, “presence” and engendering their visibility.


Manuals instruct, safeguarding the implementation of tasks which are essentials for orderly and safe operations, and viewing of the human psyche as an operational appendage that require precise instruction for its awakening, enlightenment and self-discovery, the Spin Venek Manual is a seamless blueprint for psychoanalytic power of language.


***


It is uncanny that a whistle is deemed a form of language, a commutative tool that is used to inform others of one’s presence. The whistle, which eludes all novice herders, is also a lesson about how much of human behaviour is drawn from the natural world.


But as it is often unlikely to hear a woman whistle, the tale of Ntokazi with her ability to whistle at her first go, provides a theme that language is maternal. 


And the mystic that is created by her ability to allows the beetle to transform her tongue, also symbolises a form of ingestion as though language is not only expelled from the mouth but also imbibed.


The Praise Poem that transpires due to her exorbitant display also speak volumes about the necessity for “naming oneself” in the presence of others, and this act is instrumental in obtaining the aim of this manual - raising an awareness of self through the eyes of others.


Knowledge of self leads to an awareness of one’s worth, as detailed in the subsequent chapters of this manual, and as it addresses transitions within the self, it urges readers to contend with anonymity. 


So, with numerous exercises that are designed to introduce participants to one another, the manual encourages a variety of activities that trigger self-actualisation, investment in others without fear, and as exemplified by the vulnerable beetle, it provides lessons on agility during pleasant and unpleasant situations.


The straight-forward jargon, the sentences which could be memories by a ten year old, the manual comes up with ways that address toxic masculinity and misogyny, guiding riders towards self-made solutions that would transform individuals and therefore the collective. 


As a piece of literary art, SPIN VENEK MANUAL: Lessons From Imfundamakhwela comes from a long tradition of using artistic practices to instruct, inspire and accurately address complex social systems, memories and interactions. And to a degree, it delves within the new mind inundated with technological advances that often cloud the mind with illusory ideas of self and other.


The use of poetry and performance arts harbours limitless potential to enrich lives of children and young people, and through the manual's creative guides, a form of developmental promotion of cognitive, personal and social skills, in addition to the increase in motivation, confidence and self-esteem are elevated. This manual demonstrates just how the creative arts can be used to raise the standards of teaching and learning in any social context.


This specific edition is graphically comprised of instructive examples to copy such as those found in manuals for drawing or painting; but the theatricality of the activities is another element which distinguishes Sabelo Soko’s work from many art manuals. 


Undeniably, artists often find themselves having to compromise their art and their life because they were not taught accurate up-to-date methods for dealing with life and other situations, but this edition provides a formula where the instructed becomes the artist expressing and sculpting their unique vision of themselves.



(Image Provided By The Artist)


And as a form of “art pedagogy”, Sabelo Soko will be facilitating sessions that unpack the manual on the 16th of November 2024 in Soweto; where facilitated engagement with the instructive and educational elements of the manual will take place.


These workshops are geared to be playgrounds and a havens for encounters and experimentation on alternative ideas of economic, artistic and literary self-emancipation within black communities.


The poetry performances, sketches and spontaneous dramaturgy that will characterise the sessions are also an important aspect augmenting the established criteria of creativity, experimentation, and innovation.





***

Sunday, November 3, 2024

SITES OF FLAWED MEMORIES - A Melancholic Reflection


Although imagined or invented, nations are nebulous creation of human ingenuity crafted from a variety of institutional imperialism and military prowess. 


Heritage sites that shape national identity and imbue it with meaning are the subject of my artistic inquiry, attempting to address themes of collective loss, inherited trauma and the persistent loss of homes experienced by black people.


Engaging in archival research and the use interdisciplinary artistic practice utilising national symbols and narratives connected to South African nationhood, my work could be said to explore cross-pollinations of nationhoods within the diverse landscape of the southern tip of Africa.


On the backdrop of South Africa celebrating 30 years of democracy, it becomes essential to grapple with how a maturing state shapes its citizens and traditionalises diverse histories and cultural responses to said histories. 


As the bourgeoning state adopts and adapts to colonial Eurocentric and western ideologies and structures inherited from colonial powers; there arises a need for  decolonial revisions of said histories as collectivised through memory.


And considering multifaceted efforts by the Afrikaner community to carve a space for separate development, the “coloured” community retracing “their” roots to the Khoi and San people of antiquity, it has become pivotal to reevaluate cultural impacts of “spaces of collective incidents of trauma”. 


To investigate how these spaces tie historical diverse perspectives and root truths which could be contested at various period of history is one of the empirical objectives of my work with archival materials, to reposition their relevance without taints of race based definitions, but hopefully a holistic view of a collective memories.


***


How can a nation of nations grappling with compartmentalised views of nationhood create a state founded on cohesive and harmonious exchange and engagement? 


Can people who developed their perspectives of “the other” reconcile their vantage point with contemporary landscapes where lives are morphing and intertwined by intricate economic and social misnomers and discrepancies?


Take for instance a street where protesting activists were massacred by colonial forces; would the perpetrator and the victim recall the same space equitably? 

Can the farms located on land disposed from black communities become safe havens for impoverished farm labourers, while owned and supervised by generations of colonisers?


And that small quaint town with magnificent views of pictorial natural landscapes nestled among hills adored by artists of privilege, how are they to become “home” for those who lost vast fortunes with the land of their spiritual roots?


Mothers from one-roomed shacks are cleaning immaculately large houses with glass walls and fathers from garden-less homes are tending gardens and flowers that render “white” spaces heavenly, like dream objects they yearn to possess but could never achieve. 


Upon leaving these spaces, back to the sombre and mediocre environments of scanty camps on the outskirts of these towns, there seems to be an inversion from dreams of bliss to utter disdain for even the people in their lives.


The township peopled by those who resent their lives and those with whom they share their life experiences; that is a schizophrenic space of liminality occupied by black folk.


What about those intermittent days celebrated as holidays, which are said to represent commemorative efforts of appeasing sins and brutalities of the past through reconciliatory mirages?


How could a date associated with the merciless killings of black people be celebrated by another community as a moment of their historical victory to be recalled and venerated annually in clear view of descendants of the deceased victims of slaughters?


Could these sites of flawed memories be windows through which to spy on the past with clearer eyes; to reconstruct the events afresh in minds often exhausted by the flow of time? 


***


Colonialism has extremely long tentacle which are clutching every sinew of the present, and cities, towns, villages and squatter camps have mushroomed on very poisoned soil, built on exploitative social contracts and sustained by a form of collective amnesia.


All blood spilled at various stages of this country’s evolution still wails from beneath the rocks, and generations who draw blood from those deceased are living lives alien to themselves while alienating themselves from their respective communities.


Alienated from the past and present, this is a generation of people of colour attempting to find individual identities fused with reconstructed historical narratives, where our noble past becomes a badge of honour to our dispossession and disenfranchisement.


Rage-filled souls roam the streets, youth with no sense of self beyond narcissistic yearning for grandeur are plotting for a future which is rendered uncertain by the unresolved past.


It seems those proverbial sites of past battles are once again be filled with screams of men dying afresh, by each other’s hand; towns assailed by disgruntled domestic workers and garden boys using shovels as weapons for racial cleansing.


Hating the face one sees in the mirror as a metaphor for “black on black” violence is not a simplification of some deep seated disorders and self-destructive tendencies among black people. 


Violence against self and others seems to fuel an insurrectional reaction against personalised false hopes and sedative tales told to keep the downtrodden hopeful; masking a grotesque truths that bear witness to traumas experienced and therefore experimented on those closest to us.


But how did Africans become separated from the truth of their actual contributions to history due to it being “white-washed”, erasure and censorship of records of historical significance?

 

How did Africans become convinced that tribalist segregation is final and just as a solution for their poverty and social plight; will this self-alienation be another collective disorder that continues to hinder collaborative redress of historical ills and mistruths?


***


To answer these questions one is compelled to study works of numerous renowned psycho-analysts and historians, who have carved alternate lenses through which to address traumas of unresolved pasts concerning people of colour.


One must device methodologies of self-analysis, to decode wounds of “the past as a space where persons and communities were shattered”, reassembling broken bits into a coherent yet transformative identity that would best survive the scourges of contemporary inequality. 


This new identity that is achieved through self-analysis should not be nebulous, formless ego that can be externally manipulated, but an identity with agency and accountability to the past as well as the present.


And how does one begin to fashion this new-self in the face of a present steeped in monuments of traumatic pasts, still glorified and revered by certain communities while being despised by others?


Should personal and social metamorphosis solely rely on destruction of such monuments and sites of massacres, in a form of collectively sanctioned erasure of unpalatable episodes of history based on sentiments of betrayal and disgust as felt by the majority of black people?


***


Many have been puzzled by the observable spiritual depravity of gangs and gruesome waves criminality experienced in the Cape and other coastal cities which historically were the entry points of vast populations of colonisers? 


Why are communities in these regions prone to internalised self-loathing and inferiority complexes that are disguised as machismo, which explode in bouts of ultra-violent that sees no value in lives? 


And these places are inundated with memorabilia, churches with ancient bells, monuments and museums filled with artefacts and deceptions from the colonisers’ past, exalting their “achievements” gained through usurping native lands and properties.


What about the mining towns were men were exploited and their bodies vandalised for profit; and those town along the Voortrekker route that seem never to awaken from a slumber and stupor of beauty as veneer over the wickedly affluent livelihoods of the colonisers?


The homelands are centred around self-destructive violence and revenge killings meted against vulnerable generations paying debts of the past.


Townships are labour camps for unemployed and self-deprecating beings intoxicated by failure and drink.


And all these places are in clear view of the coloniser, often built inches from their comfort zones, shanty town mushrooming near suburbs and gated estates meant for excluding the poor and their envious gaze.


***


Analysing multiple systems in operation within traumatised psyches takes significant and frequent reflection on both the past as was and the past as viewed  or perceived from the present. 


Relationships between past events and their recollections in the present are fraught with illusory metaphors and hints of covet subconscious concealments. These barriers need be dismantled prior to finding the chaotic persona that is the result of trauma and other experiences.


A distanced objectivity is often required, a voyeurism synonymous with scientific enquiries; therefore the decolonisation of how the past and its present manifestation affect the black mind is crucial first as a personal project followed as an undertaking for the benefit of the collective.


Confronting souls that have been through inter-generational trauma transmitted through birth and genes can in fact be described as living in catastrophe, a continuous crimson flood that threatens to swallow and drown their innocences.


But once a new-self has been fashioned, a degree of asynchronous observation of personal and collective disasters seems possible.


That blurred line between neurosis and psychosis is shifting with each engagement with the past, be it when looking an old photograph of a seemingly happy servant family on a farm once dispossessed from people of colour. 


The irony of affiliating one’s deceased relatives with the same land they toil as lowly servants of colonisers, is strong even when the same descendants are forbidden to visit the graves of those who dies on those colonised farmlands.


Thoughts ignited by memory beyond the brutal treatment of the white farmer do not even deter many from associating themselves with those enclaves of white monopoly, swathes of infinite space upon which they lounge and thrive owning herds stolen on their behalf.


But can minds, specifically black minds, be viewed as sites of flawed memories, recollections of past events tainted with terrors and anguish, pretences of joy and indefinite exploitation that eventually is accepted as divine fate?


Are literal and metaphorical flows of social power between black and white communities always going to exist as bridges built on landmines of the minds of the wretched of this earth?


***


“Heredity nothing, environment everything.” Maru, Bessie Head


The statement has become canonical among by psychologists who are concerned with how the environment affects the mind, the mind as product of community and social interactions.


Imagine a scenario where nn elderly silicotic mine worker approaches his supervisor complaining of migraines; but he also alludes to the belief that the migraines are a result of witchcraft emanating from interacting with the son of another sorcerous man, who is now deployed in the same section of the mine shaft.


The supervisor is young and bemused by superstitious belief, but the adamant man is neurotically demanding the expulsion of the young descendant of his enemy, without considering that he might be suffering and organic disease.


And for those who can suffer more in their imaginations that in their reality, what could be the remedy for their unburied demons?


Of Motherhood And Melancholia, is a seminal book written by renowned Psycho-ethnographer, Lou-Marie Kruger, who traces various strains of trauma to conditions that mothers and mothers to be suffer prior to beginning.a journey of the child’s development.


The Valley, as a space for hostile social conditions and a stage for the “violence of poverty”, is a microcosm of a vast dilemma.


Genealogical traits inherited from parents also have psychological imprints on their offspring, traits which also evolve over time as the child grows and matures to adulthood.


The plausibility of such an outcome in psychological terms is undeniable to the extend that what ever traumatic experiences the mother underwent during pregnancy can be passed on the newborn’s inner mind which is yet to mature with scars inherited from the mother.


This newborn does invariably exhibit trans-generational affiliations with trauma, influenced by experiences from both his parents and those cultivated as an individual maturing with a communal setting. 


Abbreviated versions of past trauma that show up in adulthood are unique in that they are personal, even though drawing from a wide array of psych-social forces.


Previously unseen sketches of internalised pain, fear, inferiority can therefore be unrolled through violent spats and burst, that both merge the old inherited traumas with the personally cultivated traumas.


Another reading of Professor Kruger’s well-researched work, highlight how violence becomes infused with behavioural make up of communities that have normalised violence as a tool for surviving the ravages of poverty and powerlessness. 


Men feeling emasculated by their coloniser and employer tends to reclaim is lost power by subjugating and brutalising those nearest to his circle of influence; the wife, the child and immediate family.


The echoes of sobs from a mother slapped by a masculine voice of “the father” after she slaved under the lusty gaze of “the master” who is disgusted with his wife, which the unborn inevitably hears, will forever be recalled and normalised as part of sounds of an environment into which they will be ushered.


Wednesday, October 30, 2024

Madala Stokkies - Makotoko Sekhoahla


But here I sit, a weary old man,  

On this porch that leans into the wind,  

And I wonder, as the sun sinks low,  

Casting long shadows over this broken land,  

If the answers will ever come,  

Or if we’re destined to remain in this place,  

Forever yearning for the paradise  

That was promised, but never found.

I see my neighbors, faces lined with the same questions,  

Hands calloused from work that never ends,  

And I feel the weight of generations on my shoulders,  

The dreams of those who came before,  

Now buried beneath the dust of forgotten times.  

Is this all there is, this endless struggle,  

This fight for survival in a world so rich,  

Yet so stingy with its blessings?

And what of the children, those wide-eyed souls,  

Who look to us for guidance, for hope?  

What do we tell them, as they lie down to sleep,  

Hungry not just for food, but for a future,  

That seems as distant as the stars?  

Do we speak of God, of His mysterious ways,  

Or do we tell them the truth,  

That we are lost, as lost as they are,  

In a world that’s forgotten its way?


***


There exists a variety of afflictions scaled against black masculinity that have long been perpetuated by the oppressor who deemed and deduced these prowess as menial and bestial.


This demonising doctrine that eventually emasculated black men came in various guises, from forced removals from the rootedness of familial unions to labour reservations erected to house black bodies for exploitation by colonial profiteers.


Chasing a dreamworld constructed beyond his reach the black male finally became alienated from his kin and his self-alienated soul began to feel alone in a world of that was pent on erasing his identity.


A criminal mind brewed in these self-torture chambers of the mind also creates venues for committing heinous crimes in the name of liberating oneself from internalised shackles of an inferiority complex long constructed and sustained by religion and academia.  


***


Townships, locations and villages are sites of such racial and economic repression, spaces populated by alienated people, who themselves alienate others and eventually become alien to their communities as Na'im Akbar explains in his 1991 paper “Mental Disorder Among African Americans.” 


Adopting this theory to a South African situation, one realises that there is a link between various psychologies of people of colour across the globe, many being entwined through ancestrally linked trauma and others incubated through adaption to cultures of violence and poverty.


Unemployment has created a promiscuous youth copulating to quench the thirst for companionship and quick wealth when their past traumas threaten to destroy their romantic unions. 


A skewed education system is only producing a work-force seeking quick access to dreams of affluence through inconspicuous consumption.


Moving haphazardly through their labyrinths of childhood trauma, adolescent traumas, traumas of motherhood, traumas of exploitation for menial labour are social codes that become imprints left between the individual and societal systems.


But are coincidental reoccurrences and repetitions of behavioural patterns inherited from past trauma evidence of psychosis?


The disdain for “home” as expressed by many young men who live with their grandmothers, sister with three children from different hard-handed “lovers with benefits”, has seen substance abuse become the only reason behind toxic camaraderie of gang relations that is now sprouting in townships and villages.


Masculinity pitted against a vulnerable and traumatised femininity in squatter camp cages across the country is thus breeding illegitimate children who will have absent yet existing fathers, and enraged mothers loathing masculinity for all its transgressions.

 

This growing generation will of course embrace other traumas throughout life, nurturing alienated personalities and enforcing violent dispositions. 


A sense of abandon will characterise their “living for the moment”, cancelling all past memory through historic amnesia, feeding a self-destructive hedonism which is near suicidal but merely an outcry for acknowledgement and empathy.


Listening to young women raised by single mothers, who learn to loathe crudely mannered and violent young men nursed by overprotective single mothers, embracing those who perform acts of misogyny reminiscent of their fathers, one sees a proportionate distribution of interracial cruelty brewing.


***  


Colonialism and white supremacist policies of colonialism and the apartheid regime meant that many people of colour had to live hidden, traumatised and exploited lives, behind masks of their making and those created by systems of power. 


White society constantly levels trenchant attacks on the dignities of a group of people through their community policing forums, burning bodies of women and lynching children suspected of stealing fruit. 


These victims constitute the racial demographic of consensual servants keeping white households intact, farm-workers and undesirables of society. 


It therefore appears that between a traumatic past and the impending future lies a constantly shifting society and fragile interpersonal connections shaped by endless painful memories, altering the way people form relationships with others in their patriarchal and racially segregated environment. 


The birth, transformation, and disappearance of trauma is something near impossible, but as this generation morphs into illusive devices of violence, psychological or otherwise, new ways of hiding, of dying are also devised. 


***


There are protracted ways of dying, methods of killing oneself without the purgatorial dread of suicide and its hellish consequences canonised by religion. These types of deaths constitute self-destructive ways of shortening lifespans, concerted efforts at causing ill health and disease. 


Contraction of sexually transmitted diseases, excessive consumption of alcohol, drugs and cancer- causing foods, the disregard for preservation of “the body”, are all symptoms of greater self-destructive tendencies at play in many black communities.


These postponed ways of ceasing life are common among black communities where the death of the environment always precedes the death of communities and the individual. 


Junk food lovers would rather discard wrappings of their burgers in the township rather than the city where they purchased those disposable, non-biodegradable packages. 


They would rather litter through windows of vehicles in places of their despised residence, where they find other despondent individuals kicking filth lining streets and leaving plastic bags strung on tree branches, sewage seeping from blocked drains, as well as stray dogs defecating where children play hopscotch. 


There is therefore a lack of endurance of life-affirming, contingent, intertwined and inseparable sociality under duress of colonial and post-colonial violence in communities struggling with various forms of trauma.


Of all the deaths, marriage is yet another perceived form of dying; any union that bind man to woman is viewed as shackling oneself to an uncertain future, even though uncertainty is the fabric of all time.


Living in the midst of a decaying environment, embodying the human failing ambition to conquer nature, increasingly reshaped minds towards a morbidity that is activated through this psycho-social toxic interaction.


When toddlers scavenge through garbage piles with leprous pets, when young children play in sewage ponds and learn vulgar language from mothers to solicit attention from strangers, when young boys and girls are lethargic and somnambulist through school yards and tavern hallways; there is certainly a state of stupor enshrouding black communities.


This degraded environment becomes a reflection, a mirror of the deranged lives involved in the grand spectacle of repression of people. 


And one is left to ask if psychotic behaviour is an inextricable part of the history of the township as a concentration camp of demeaned and demeaning souls?


***

Wednesday, October 9, 2024

Untitled

what could be happening here

at this confusion of voices and souls in dialogue with the unseen,

the unknown rhythms of life pulsating in the blink of lights


where image and language coalesce?




what is this gathering, 


this communion of poets and mystics, 


where corporeal frequencies of dreamt realities, 


evoke the melancholy and absurd? 





Tuesday, October 8, 2024

Birds Of A Feather - An Appreciation


At times there are small filmic miracles that chronicle some corner of creative realities experienced by some ladies in some country in Africa, and Lesotho is the mountain kingdom from which eagles, phoenixes rise from the jagged cliffs that home a myriad souls.


BIRDS OF A FEATHER is one such glance into the spirituality of sonic manifestations, that evolve in many young musician and creatives who are steeped in translating their cultural experiences through a multifloras lens.


Matlali Matabane is such an experimentalist, who once serendipity had chosen her an instrument, explored some inner personal transformations and turmoils as well as joys through chords and voice, serenading antiquated hills of the mountains of kingdom.


The sound emanating from the instrument wails of the traumas of a pst that still haunts our people and this documentary film is a record of the artist’s efforts to preserve heritage, told through astute eyes of incredibly unhinged cinematography, experimentalist and bordering on the avant-garde.


The documentary film, directed by  the enigmatic Tsepiso Mahase, this cinematic journey is guided by womanhood who bears witness of travails of gender biases, hence the music, nearing hymnal renditions that required for religion but expressing a spirituality that unites all being like mycelium.


Having been recently screened at The Merafong Documentary Film Festival, the film resonated with audiences, as musicians, poets and social activists could relate to the efforts undertaken by the protagonist towards preservation of Basotho Musical Heritage.


The musical process documented through this film deploys spoken word poetry in imagery that account to experiences of Matlali, exquisitely globalising her experiences through a cinematic vocabulary that speaks to other people of the world who creatively strife for sonic inter-connected.


And there is indeed that power bestowed film which transcends space and time, where connections are woven efficiently between viewers and the creators of the visual experience itself, a sort of synergy of spirits which was expressed by well-enthused audiences captivated by the film’s vocality and expression beyond borders.


Matlali, as a sound scholar and artist living in Lesotho and South Africa, who is currently studying Music at Rhodes University, and through her explorative research and creative work she continues to excavate more synergies between electronic music and indigenous instrumentation fused with spoken word and performance art.


Interestingly, the Lesiba and other Basotho traditional sounds have haunted much of the Southern African landscape since time immemorial, but in the self-taught hands of artist Matlali Matabane, it has become an emancipatory tool essential for telling and breathing contemporary stories into unpredictable futures.


As an instrument synonymous with the solitude of herders and their personal contemplations, it is now shown in light of being a place of gender contestations and liberation, and this new evolution in the hands of femininity is proving richly endowed with winds of change capable of taking each feathered expression beyond the confines of borders, gender, race and social background.


The film is therefore a document of resilient craft nurtured in the most hostile space for creative output, where funding for film is virtually non-existent. It shows how young Basotho filmmakers are collaborating with their peers to create memorable and experimental works that bring new modes of social engagement.



The filmmaker Tsepiso Mahase