English is widely used in SA – particularly in government circles – because it has “colonised our minds”. This, according to Thandile Sunduza (ANC), chairwoman of the National Assembly’s arts and culture committee, is why English continues to be the de facto language of government communication and services. This is despite the fact that only 8.2 percent of citizens claimed during the 2001 Census that English was the language they spoke most often at home.
“(English) has colonised our minds. That’s why we speak it. Even sign language is used more than English,” she told committee members on Wednesday during an Arts and Culture Department briefing on the controversial SA Languages Bill…
This article continues here, where it was sourced (IOL)
26 January, 2012
Winston Mankunku Ngozi - Yakhal' Inkomo
"I once saw Mankunku Ngozi blowing his saxophone. Yakhal' inkomo. His face was inflated like a balloon, it was wet with sweat, his eyes huge and red. He grew tall, shrank, coiled into himself, uncoiled and the cry came out of his horn. "That is the meaning of Yakhal' inkomo." - Mongane Wally Serote: from the introduction to his collection of poetry entitled Yakhal' inKomo, published by Renoster Books in 1972...
This review continues here.
25 January, 2012
A little advice on writing
Never share any of your writing with anyone, if you don’t wish to have your ego bruised. But be sure not to get caught up in a parochial and narrow-minded world illuminated solely by your thoughts or views.
If for some reason, you wish to see kaleidoscopes of your writing, then it’s worth it to share your texts with others. It’s given that you may occasionally see colours you don’t like. But this won’t be to your disadvantage.
Nevertheless, I should insist that you don’t betray your voice, irrespective of the feedback you get from others for your writing.
Deon-Simphiwe Skade
Matthew le Cordeur reviews “Comrade Babble”, a new play by Allan Kolski Horwitz
Director: Allan Kolski Horwitz
Performers: David James and Lebohang Motaung
Comrade Babble’s assassin deserved every tomato thrown at him; and more. In Allan Kolski Horwitz’s satirical political drama, a dead Brett “Comrade Babble” Kebble (David James) returns from his grave to engage emphatically with the audience to hear his side of the story. However, he is interrupted sporadically by unwanted ghosts from his past (played by James and his co-star Lebohang Motaung), who challenged his identity, history and motives.
For an assassin to plead for understanding is, I suppose, as laughable as the mining mogul pleading for understanding; which is why a lone tomato went flying into Kebble after the official pelting had subsided.
The interactive piece used satire effectively to highlight a period of our history so laughable in its absurdity and so terrifying in its occurrence. James and Motaung effectively adapted into their various roles, enabling them to give the audience a reflection of all the players in the tragic comedy.
Kebble saved his friends, our country’s “brightest stars”, bucket loads of humiliation by organizing his “assisted suicide”. But if he could come back to explain why he did it, to see the reaction of his “friends”, and to see what unfolded since his demise, what would it be like? COMRADE BABBLE gives us quite an entertaining scenario and looks at where all the players are currently residing: Selebi the convict, hiding in hospital; Glen Agliotti the gangster, off scot free; Pikoli the stubborn prosecutor, unable to move on with his life; Clint Nassif the assassin, as stupid as he will always be, and the ANC Youth League leadership, hiding from their shame of the Kebble era of indulgence.
If the audience had more tomatoes and more guts to practice their Malinga forearm, a bloody mess would have been made. This can be testament to an awfully brilliant satire piece, which managed to evoke all the anger and disgust with which ordinary South Africans view the whole episode.
This review was first published on MushoFestival. Click here to read more reviews of other plays.
22 January, 2012
The spiritual journeys of The Last Poet
Guerilla Blues and Holy Ghosts. So says the title of Aryan Kaganof’s film. An attractive name for an artistic piece. One that hints the work could be a spiritual affair, at least before one sits down to view it. I watch the film eventually, encounter the spirit and more; including religious allusions and the relationship human beings have with the super natural world. There’s also a reflection on how the psychological and spiritual manifestation take form through the arts. This film documents the battles, frustrations and ultimate joys experienced by those who set out to find their self worth and establish a more meaningful relationship with The Higher Being. The consequence of such a journey is one that may change the cause of one’s entire life journey for the better.
Spiritual reflections happen on many levels and at different times. Some of these experiences are deeper than others. But they all matter because they become cathartic resolves, epiphanies that may give living souls new identities and fresh ways of looking at and doing things. This thought takes one back to one’s recent experience of the Karoo inside the comfort of the train that was heading back to Cape Town. The bareness of the wilderness was absolutely captivating; as if one had never seen it before. The strange beauty of the landscapes; the seemingly eternal lifelessness of space and all that out to be part of it, engineered a process into which one fell. This process was aided by one’s absorption of the meagre vegetation of the Karoo, unkempt shrubs that seemed as dead as the pebbled soil of those plains. This led one into a brief spiritual realm. Once there, serious resolves about what has been and what lay ahead were done. These resolves related to one’s conduct and one’s artistic expressions – on how one could better them.
These kinds of reflections are almost and always inclusive of that being that lives in spirit; that which we speculate and hypothesise around with so much conviction. Some call Him God and others Allah, among various names. These speculations only amplify the great wonder that burdens this earth and its people – the initial absence of insight; the need to know and understand! We seek the light, an understanding that would elevate us to a privileged position of knowing and acting according to that knowledge. Many people seek answers, some mere understanding. Others don’t even bother with all the enigmas and intricacies of the world and its spiritual forms. But some people, those who find their peace in the midst of these bewilderments, like poet Gylan Kain, simplify these experiences through various accounts, conversations and poetry.
Kaganof’s film is anchored on sturdy columns of poetry and music. Call the music jazz – live. The backdrop is the church. There’s a recurring image of a travelling man seated in a car, a possible motif of the film. The traveller’s journey, Kain’s, like many persons’, highlights the relationships people have with the church. People walk in and out of church. Some walk out never to come back to that which is the source of good morality and serves as a rendezvous with the Higher Being. Others stray away from the church only to rediscover the essence of their connection to the Higher Power on their own.
Kain takes the viewer through his vivid personal journeys as a poet, as an artist and as a man with a keen sense of spiritual belief. It is revealed that the poet has had three significant births: natural, spiritual and psychological or artistic. His experience with the Holy Ghost is also documented, including the formation and disbandment of The Last Poets, the group he co-founded with Abiodun Oyewole, David Nelson and Felipe Luciano, with the assistance of Elijah, the drummer. The film also reveals how Umar Bin Hassan and Jalal Nurridin subsequently became members of the group. Through use of poetry, Kain examines issues of spiritual manifestations. He laments the early deaths of Jesus Christ, Malcom X and Martin Luther King Jnr. He also bemoans the ills of our world, from politics to pimps – he celebrates greats such as John Coltrane, Miles Davis, Nina Simone and Toni Morrison to name but a few.
Kain’s first experience of the Holy Ghost happens at a tender age of ten in the church. In the experience he sees God appearing above him winking. He carries this experience with him for his whole life due to its profoundness. The poet’s experience of the Holy Ghost confirms the importance of the church as a fundamental source of good morality. At the same time, this development also suggests that extensive religious literature may not necessarily be the sole means through which one may be encounter a Godly experience. The poet was only ten and had a limited understanding of worldly things, including spiritual manifestations. This point also suggests that a spiritual encounter is a highly personal experience, which would be felt and understood differently by each person.
The second birth happens when the poet is twenty three years old. This is around the time he is trying to distance himself from the notion of God. As a result, he changes his name to Kain, a name derived from a biblical figure known as Cain; the man known to be the first murderer through slaying his brother, Abel.
Kain’s third birth, the psychological and artistic one happens much later in his life; at thirty to be precise. The consequence of this particular birth leads to the penning of two of his profound pieces, Turner and Ask me How I feel and I’ll Tell you the Stupid Truth, which are both very honest and brave pieces. These developments, together with other aspects of Kain’s life as a black man in America, show that he's a “travelling man” in search of truths. These travels encompass all aspects of the poet’s life and relationships, but more so Kain’s spiritual, psychological and artistic life. The results of how far he has travelled are reflected in the poet's perspectives and insights, his eloquence and the perfection he’s reached with his art.
Spiritual manifestations. A life of Holy Ghosts. A journey through which these complexities may be explained for the incredulous souls. Art, performance art used as an intervention; the carrier of messages and experiences that could be best articulated through poetic expressions as in this case. The piece, Turner, carries this essence. Here Kain’s revelations through a performance blur the lines between performance and spontaneous developments.
He’s lying on the floor while rendering the piece, sweat pouring from his face. He jerks and shouts; he’s possessed! Or so it seems. The words come out clear and candid from his mouth. They are sharp and confessional, it seems. His expressions carry distinct authority, commands absolute attention from the viewer. Perhaps this is due to him having assimilated his past experiences so well that they come out this powerful. But like a balm soothing the starkness of Kain’s words, the music becomes a saturated consolation, a carrier of hope. Thus the poet wins my empathy. Turner seals the whole thing.
The disbandment of The Last Poets does not help Kain’s journey very much in the beginning. Hence he loses interest in many things after this episode.
“In that situation, someone threatening to kill my family, you know, as well as myself... it was a very deep centred disillusionment, you know, at that point for me, you know, in terms of what was operating... it started that process by which I finally ended up moving away from the nationalist movement, going to a personal place with myself, ending up with baby Kain,” reveals the poet in an interview incorporated into the film.
One wishes that Oyewole and Bin Hassan, both whom are interviewed about the disbandment of The Last Poets, could give their account on what Kain says of the assault he suffered at the hands of some members of the group. But the film doesn't have that part.
After all the challenges life threw at Kain, he rises again and continues his journey. The film further touches on how the name, The Last Poets, came about. Through this revelation, the notion that the group’s name came from Keorapetse “Willie” Kgositsile’s poem is declared to be apocryphal. However, Kain acknowledges Kgositsile’s inspiration to the group. In fact it is this very inspiration that led Nelson to read a piece he wrote to the group, which incidentally had the words, the last poets.
Stylistically, the visuals are grainy – sepia and monochrome being preferred colours of presentation. Not a bad choice, especially with the subject matter under the spotlight being so heavy. The sound, especially the poetic pieces in the background as visuals tell a story, is adequately distanced. The sound becomes immediate and direct in the many live performance pieces the poet renders with a band.
Kain’s poetic experiences qualify the saying that life re-invents itself. There are moments when we feel our lives have reached a plateau. Often, this is when it feels like nothing more profound or revealing may arise from us. It is when there’s a lull that inevitably leads to a place of personal confrontation, a soul reflecting on its spiritual journey. At this point the soul usually reinvents itself, at least if one surrenders to that which we describe in various ways; that which its truth is unmistakable. Inevitably, thoughts around the Supreme Being emerge and take over one’s worldliness and enamour him or her with a spirit much greater than any physical force. And this is when we reach a higher plain of consciousness of our talents and abilities to create. Perhaps it’s at this point that some may claim victory.
What becomes of the self after this may never be the same as before. Equally so, if one fails to comprehend the demands of that experience, the soul may stray further away from that spirit that may usher in enormous changes to one’s soul. The language of that experience may be unintelligible and daunting at times. But with time and effort in trying to understand it, becomes as clear as the daylight – like Kain’s journeys and works, it manifests.
As the film nears the end, the poet says the following:
“We’re crying for our self worth all our whole lives. Any moment we don’t have it we’re crying for it because it’s the only place we’re already alive.”
Indeed! A self worth is discovered in our journeys, our wonderings that grow in many ways.
Deon-Simphiwe Skade
21 January, 2012
The government's failure on education: An e-mail extract sent to a dear friend
"Hey Man, I'm sorry for the troubles at varsity. It's ironic right; that South Africa laments lack of education from her people, but turns around and mistreats those who go out of their way to get educated despite harsh circumstances. It's a great shame brother I tell you.
Our education system needs a serious overhaul, on all levels. But more so in tertiary level where the country's direction and future may be mapped out. I still feel that the government is not doing nearly enough to advance our people. We have a terrible history that had put us in a gloomy state for years to come. One would think the priority in this regard would be to address that aspect and arm our people with the most powerful tool yet, education. Varsity fees are extremely expensive for the majority of our people and government should intervene. There are so many ways this may be done, through education funds or trust for example, which would ultimately be partially funded by the graduates who would have benefitted from the fund. These contributions would come in a form of monthly tax levies dedicated to educating more students. Philanthropic organisations may also be approached for this course, so are businesses that usually spend millions of rands in sponsorships in a bid to reduce their tax contributions. So much can be done beyond the hackney phrase: "get education". How do people go about doing this when they are living in abject poverty?
Our leaders are failing us man and I'm disillusioned with the idea of freedom, especially when we're told that a lot has been achieved. Freedom should translate into economic upliftment so that people may be equipped to deal with bigger challenges of our world. Otherwise how else can people contribute meaningfully towards building a better South Africa when they are not taken care of? South African history shows the importance of giving people economic freedom, even though this was catastrophically disadvantageous for the multitudes of black people. The evidence of this benefit that had been given to a selected few many decades ago, still shows repulsively today, perhaps due to the deep disparities we see everywhere, everyday. The benefactors of the old order have contributed meaningfully to the legacy of South Africa. Others went on to create incredible things for themselves and the country. As capital intensive as this idea of the government funding tertiary education sounds, it's actually possible. Besides a government is capable of taking care of its people; it's expected to do so. This intervention will not only be an investment in the country's future, but massive way of levelling the playing field and certainly a huge step towards true freedom... "
Deon-Simphiwe Skade
Shepard Fairey assaulted
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| Photo: Tommi Ronnqvist |
When graffiti artist Shepard Fairey turned his talents to US politics, his reward was international acclaim and a letter of thanks from Barack Obama. When he employed a similar tactic in Denmark, however, the response proved altogether less edifying.
Last weekend, Fairey – creator of the famous "Hope" poster that came to encapsulate Obama's 2008 presidential campaign – was beaten up after the opening of his exhibition at a Copenhagen gallery.
Earlier this month he was involved with a controversial mural that has enraged leftwing anarchists throughout the city.
"I have a black eye and a bruised rib," Fairey told the Guardian.
According to reports, 41-year-old Fairey and his colleague Romeo Trinidad were punched and kicked by at least two men outside the Kodboderne 18 nightclub in the early hours of last Saturday morning. Fairey claims the men called him "Obama illuminati" and ordered him to "go back to America".
The LA-based artist believes the attack was sparked by a misunderstanding over his mural commemorating the demolition of the legendary "Ungdomshuset" (youth house) at Jagtvej 69. The building, a long-term base for Copenhagen's leftwing community, was controversially demolished in 2007. In the intervening years it has become a potent symbol of the standoff between the establishment in Copenhagen and its radical fringe...
This article continues here. (Article source: The Guardian)
Tebogo and the Bacchae: A new book by Omoseye Bolaji
The pertinent newspaper report displayed almost brazenly at the Guest House in Khayachow town apparently says it all:
“HORROR IN KHAYACHOW TOWNSHIP
…three brutally killed
By Rebaone Ntokozo
The community of Khayachow is still reeling after the horrific deaths of three people in the township, including a minor. The killings took place last weekend.
It was a night in which mob-justice held sway in the township. In the cold light of the day, the next morning, three people were dead: Mpho (Gift) Funani, 31, George Lebeko, 29, and Sidwell Takang, 19.
Khayachow News learnt that that the death of Sidwell Takang was the catalyst for the brutal murders of Mpho and George. Many residents, speaking on condition of anonymity, explained what happened that fateful night.
Apparently, Sidwell Takang was kidnapped in the darkness, sodomised, beaten up and left for dead in a ‘dung pit’, full of excrement. Somehow Sidwell crawled to the outskirts of the township, in pain, but soon gave up the ghost.
However, before breathing his last, Sidwell allegedly told a group of people – which soon became a mob – that his attackers had been Mpho (Gift) Funani, and George Lebeko. The mob went crazy, after the boy (Sidwell) died so agonisingly...
The full review continues on the Kagablog. Click here to read on.
18 January, 2012
Thabo Mbeki on the Mass Media
Mbeki said the media remained very influential in South Africa.
"It becomes a very important vehicle for the conveyance of that knowledge," he said.
"Particularly [where] readers seem to have sufficient confidence in the media, so they think if it comes from newspaper it is true.
"Thabo Mbeki stole half a dozen eggs from supermarket. Therefore it is true because it comes from the newspaper."
The above excerpt is part of an article that was first published on The Times. You may read the full article here.
"It becomes a very important vehicle for the conveyance of that knowledge," he said.
"Particularly [where] readers seem to have sufficient confidence in the media, so they think if it comes from newspaper it is true.
"Thabo Mbeki stole half a dozen eggs from supermarket. Therefore it is true because it comes from the newspaper."
The above excerpt is part of an article that was first published on The Times. You may read the full article here.
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