I remember Mello Yello

I remember Mello Yello, the 'ancient' soft drink. Coincidentally, the South African Police's 'Mello Yello,' the vehicle, was at its most notorious peak ferrying many African protestors to prisons to be
detained without a trial. Mello Yello, the soft drink; quenched thirsts induced by the heat of
the 80's – I believe it was introduced to the consumer market much earlier, in the 70’s. This is during the height of teargas, petrol bomb, rubber bullets, live ammunition and smoke of burning tyres and houses belonging to Impimpi's that were in flames.
My recollection is that the taste was akin to orange or pine and that the can was yellow like the Police’s infamous 'Mello Yello.' This is when Mama Miriam Makeba's duet album with Harry Belafonte was still banned; An evening with Harry Belafonte and Miriam Makeba, they called it.

When this record was played at home on an LP, before the term 'vinyl' could be popularly used, our one cousin would be told to stand at the gate so as to announce when he spotted the police vehicles in our street – it was his job which he performed with zeal.

'Khauleza mama, khauleza mama,
Khauleza mama, iyo mama Khauleza...
Nanga Amaphoyisa azongena endlini,
iyo mama khauleza...'

Mama Miriam Makeba would sing while cousin would be on the look out for the very Police that the song would be cautioning about their imminent arrival.
Inside the house, a dance would be enjoyed among family members and family friends over some Lager; I think it was Lion Larger, some spirits and a few bottles of soft drinks for the teetotal one or two members of the family. As kids, we'd benefit from the soft drink bottles set aside for those at odds with alcohol. Mello Yello gave the brutal identity of the Police in their large yellow lorry a sweet and light nickname; 'Mello Yello?' - How did all that come about?

As with the reality of the times, the merriment would abruptly be ended by cousin’s screams from the gate:
'Bayeza; bayeza!’ he would say.
 To which alcohol would swiftly be hidden away and Mama Miriam and Uncle Harry's performance through the record player thus be ended, and their performance stored on the banned LP also hidden away.
Cousin, who would coincidentally assumed the name 'Khauleza' as a nickname years later would come into the house after a long period of silence to announce after his cautioning of the arrival of the Police, that 'Mello Yello' had come to fetch a mischief maker down the road, who was known for his precision in throwing petrol bomb and devising ways of defeating the might of teargas – that man was always got arrested only to come back to throw more petrol bombs.
Cousin would add that the Police were gone with their large vehicle which was tailed by 'Hippos' and 'Koyokos'.
 As if to give an order for the revelry to start by his announcement of the disappearance of the Police, music would resume as if it were put on pause even though playing a different song. Lion, I think, and the spirits would be pulled out from the hidden compartments to defy the terror of the time by creating a jovial homely ambience.

'Samthata, samthata,
sambeka ekhaya
wasuka wakhala wathi bayibayi...'

Uncle Harry would sing on providing the family with the much needed and cherished revelry.
These incidents I remember just like I remembered the-once-in-a-long-while existence of Mello Yello, the beverage. It would take a couple of years for me to understand what that music and all those circumstances meant. I'm so pleased that the madness that once infected this land is over and that we are building a better tomorrow for our children.

Ideologies could be some form of dogmas which may manifest into hatred if not handled well. As noble as other ideologies are, they may possess ammunition that may paralyze the mind and distort meanings and perspectives. Ideologies are configured according to circumstances; but they should not generate bad vibes, they may be too catastrophic if dealt with that way.
Any man and woman should be able to be an independent thinker who applies the mind to situations and not allow emotions to fly away with them into dark and destructive skies.
I remembered Mello Yello the soft drink and wrote this note.

Happy Tomorrow South Africa! My love for you is beyond articulation.

© Deon Simphiwe Skade 2010

Spend love

if i were to show you my love purse,
i swear you'd want to be extravagant
once you discover just how much
we can both spend on ourselves,
your bag bulges similarly, but you dole out instead
perhaps i should be a miser too just once?
because you nag about everything and thus spend little.
spend more, as there's too much for both of us,
fear nothing, as we would not be as careless as the prodigal son

(C) Deon Simphiwe Skade 2010

The story of a man I met in the streets

I look at this old timer folding a grey blanket; he's seen many years to be my grandfather. But he sleeps in the streets and pavements wherever Cape Town's CBD approves. He's meticulous with his work and folds the blanket with a clear precision. By his feet, a Shoprite PVC bag is placed neatly. It stores all his belongings, the whole of his life. And I can see just how much he values it.

I engage him a little bit, not quite sure which tactic to use as a tool to euphemistically arrive at a question I so earnestly wish to pose: 'Sir, how did you end up in the streets?'
I wish to know but feel I should let the sleeping dogs lie. I struggle for a short while to steer our talk towards a conducive space that will precipitate the posing of that all important question I so want to ask. He pushes my navigation attempts through a number of detours which sequentially drop off hints of where he had been. But I'm sure he's not aware of this leakage. But it could also be intentional. Some things of this world require that you build up on an idea to arrive at the crux of an issue. Perhaps this spontaneous relation of where he had been serves as to discourage many questions I may have about other elements of his life. All I know is that he's a great story teller. He relates his story with prominent confidence and a warm tone carrying nostalgia, but at the same time not paralyzed into a state of stagnation or immobility. He moves on with his story just as his life had moved on up to the dispensation of living in the streets, to which he appears to have no qualms about.

I listen; I listen attentively at how he weaves a sad story into an interesting and engaging listen. But I get sad because the very story ends up neglecting him in the streets of Cape Town whose winter not
only brings cold air but rain too; a terrible combination for people who do not have a shelter to hide from the moisture. His story does not have a happy ending; his character had been developed through various stages of successes and bliss; living in Somerset West, Johannesburg, and Klerksdorp among other places only to end up back in Cape Town where his character development deteriorates  into street life instead.

He squeezes his blanket, which he managed to compress into an impressively thin fold into a small plastic carrier bag – that’s my cue. I stand up to bid him goodbye. He reciprocates enthusiastically, perhaps because someone from outside his immediate social space engaged him. It's certainly not because I'm leaving him in peace and he's relieved that I'm going - I did not pry.
As a matter of fact, as I leave him beaming his happy smile in my direction, I realize that I did not get to my question: 'Sir, how did you end up in the streets.' But like a student who got more than they expected without exploring the set plan or question in their studies, I walk away satisfied with the insight the old man gave me into his life. But I also walk away very sad because he sleep in the streets.

(C) Deon Simphiwe Skade 2010

Remembering Karamo

Back in the day when Kwaito was still relevant and fresh with unmistakable identity; was a group called Karamo. Produced by M'du Masilela at his most prolific height musically, whether through sampling or other means, the group, which had a relatively short life, released an interesting album.
It may not be definite that they did Kwaito, as the instrumentation in their songs carried an evident element of House music.

Whatever happened to these guys remains a mystery. They had a refreshing sound though, rolling with the coolest lyricist called Fresh who fused languages in his flow which was dominated mainly by Zulu lines. This is long before Motswako could explode and add to the bouquet of South African music - 'Bosiu,' they had said.

(C) Deon Simphiwe Skade 2010

An ArtiSt at work (Cape Town)

Lost thought

I lost yet another crucial thought which could have lead to layered narrative; I did not document it and now it's all gone.

Tahleho le thaba e halalelang

Tseleng ya bona e lebileng thabeng ya Lengae ho ya bona Ngatana Hole Mokerewa, Tahleho le Moromo ba kopana le meleko le mathata; meeka le mehlolo.
Mmamathinya ya kotsi ka ho fetisisa o batla ho bakometsa fela oa hloleha. Thabeng teng ba fihla meleko le mathata di le teng kapa tjhe.

Ke leboha Mme MaMolefe wa Iketsetseng (Thabong, Welkom)  ka ho re balla pale ya Tahleho ha monate ka tsela emakatsang.
Ntate R.J.R. Masiea o entse mosebetsi o makgethe ka ho fetolela pale ena lelemeng la heso la  SeSotho se nonneng haholo – Pula!

(C) Deon Simphiwe Skade 2010

Thought: 6

As we grow older and more civilized, some of us choose to tell some stories and omit others, thus de-attaching from the rich heritage we have.
I say tell all, including the clumsiest or most embarrassing - Deon Simphiwe Skade

The might of SMS Sugar Man

There seems to be a subtle notion that artistic work should explain itself without much effort, on one hand. The ‘innuendo’, at times expressed when people interact with art is that these products should carry simple and succinct messages about themselves; that an artist should labour so hard as to render his or her work independent of any additional commentary that may be needed to better explain the meaning of messages he or she has communicated.
On another hand, there is a universally accepted role of critics, experts and art lovers who deal with art in various ways. Some are the armchair kind; others are producers, lecturers, reviewers, directors and so on. What all these people fundamentally do (this certainly includes me) is to give their take on artistic work shared. Some of them revel at picking holes, while others give praises with others opting to sit on the fence for reasons unknown, perhaps safely so. Some stretch this role by suggesting how best the producer or director could have captured a moment or bettered a scene for example, thus they meddle with the entire artistic freedom bestowed upon the creator.

The release of the film SMS Sugar Man in 2008 was by no means going to discontinue this way of life by gagging views generated by its release. If at all, the film generated a great deal of opinions and lead to a spring of reviews which focused on one thing or another about the movie. Some reviewers, like Helgé Janssen, had to write a few reviews about the film as it had so much within the storyline to highlight and bring to the fore. Others focused on its unorthodox means of storytelling and other technical elements like camera work, picture quality, lighting, etc. Against this backdrop, the one crucial success among the many that assumed paramount prominence, the film certainly shifted the paradigm of thinking in approaching film making.

What trends shape into conventions and what conventions shape into superficially translucent reality had been dealt an enormous blow by this innovative release, which demonstrates the might of film making. SMS Sugar Man brought Marshall McLuhan view (that which says the medium is the message) under the spotlight. Through the usage of cellphones as image capturers, whose conventional utility had been to communicate through voice and text, the whole question of meanings we assign to things was redefined, refreshingly so by the great feat of filming a movie using such a gadget. The pixilation of images, the meagre lighting and the self-filming of some cast members among other things could be treading on McLuhan’s views on a medium being a message. But again, many other views may emerge from this point including ‘noise’

The film is as intelligent and groundbreaking today as it was when it first came out two years ago as some reviews have rightfully declared. Written and directed by 'the artistically free' Aryan Kaganof, the film explores the lives of three prostitutes and their ‘manager’, Sugar Man ‘the pimp’. The three girls, Anna (played by Samantha Rocca), Grace (played by Leigh Graves) and Selene (played by Deja Bernhart) are all faced with different challenges within their relationships which also include issues of identity. Evidently, Anna quits the trade early in the film due to what seems like an epiphanic realization that prostitution may not be for her. Grace and Selene hold on to their trade with Sugar man very much part of the proceedings, transporting them to various rendezvous’. They seem to be in a love triangle: Grace is in love with Selene while Sugar Man has a deep and somewhat neglected connection with Selene, whom he had dated a while ago and as a consequence has a daughter that he doesn’t know with her. Secrets, intrigue and control are some elements of the impressively solid plot the movie is founded on.

The relationship between Grace, Selene and Sugar Man is characterised by different aspiration. Grace and Selene fall deep in love and plan on running away from Sugar Man with a stash of money hidden in the boot of his car. The two hatch a plan to kill Sugar Man and later enlist the services of Sugar Man's ‘enemy’ Atilla. In the end the plan doesn't become successful. Instead Selene and Sugar Man end up patching things up and set off to enjoy Christmas with their daughter Jacky.

The sugars, as Sugar Man calls ‘his girls’ are sources of income for their 'business partnership' which services an affluent black clientele. In the society that has increasingly afforded statuses to just about any persons and any elements of life including the most ludicrous, the real people behind these gigantically defined titles and masks suffer privately due to being incapable of living up to their titles. The change in political landscape in South Africa has seen a rise in the sense of importance in the hierarchy of life with BEE bringing a big pool of trends in the community
Money is a god whose power is omnisciently exercised anywhere where power relations play themselves out. In some instances orchestrated to attain a definite goal. This power is found in bedrooms, in dark alleys under the glace of stars, in boardrooms and on all levels of the society. Through this fathomless power, people are told to sell their soul and they do just that without flinching. That and many other sordid things money does apart from the goodness it renders in other spheres of course. Like with all ‘mighty’ things, the power of money has limits as clearly demonstrated in the depictions of the men Sugar Man's ‘girls’ give their services to in the film.

Another mockery that comes through is that of power exerted over others through their gender and standing. For instance, in spite all the power that some men in the film exercise, this advantage gets deflated by circumstances which prick the most sensitive of these men's parts, their egos and consciences. Whether through impotency, feeling of guilt or lack of machismo sense, power slips through from these men’s grip to ridicule the very sense of importance they are trying to achieve. The power of the Sugars is also highlighted but left unrevealed to Sugar Man who appears to believe he’s the sole decision maker. These girls keep their own secrets too which demonstrate their own power relations on letting in some people in their affairs and excluding others.

The film was shot using Sony Ericsson’s W900i (confirm) cellphones within the city of Johannesburg's suburbs, which included Hillbrow, notorious for its supposed high crime rate. The shots were mostly, if not all done at night; an achievement in itself considering there was no set lighting and there were not sets built in the obvious sense of the filming process. The city instead provided these sets like Leigh Graves said in the DVD’s extras section. The visuals, with their various kaleidoscopic lights in the city street were captured in free ‘forms’: split image frames were used including rotational recording and close-up shots. These effects and more were recorded pleasingly using intelligent acting from a talented cast. The movie is filled with exceptional moments which include powerful dialog unfolding throughout the film. There are also sensuous scenes playing with varied emotive degrees. The most enticing chemistry is undoubtedly between Grace and Selene, especially their 'love making' shot in a toilet. It came out strikingly sincere and real; their connection I felt deep inside. Cameo appearances by the late Bra John Matshikiza, Patricia Boyer, Bra Jerry Mofokeng, Atilla Barna and Bra Luthuli Dlamini are equally captivating and profound.

Music is another impressive element of the film. It reminds me of the choice of music used in Quentin Tarantino's Pulp Fiction - beautiful marriage of art components indeed.) Among featured artist are Kalahari Surfers, Tuxedomoon, Bra Zim Ngqawana and Lydia Lunch. The music weaves itself elegantly into the aesthetics of this innovative film. It blends impressively well with the scenes thus enhance the complete package. It captures a specific mood consistent with the ambience of each scene and has a defined tone and identity which sings with apparent ease.

Linear thinking constrains freedom to improve, while convention enslaves the mind. Perhaps because I’ve seen the perils that conventions bring, I should express my dissent towards conventional means of artistic life. I therefore find so much relevance and innovation in Aryan's work simply because he's constantly pushing the boundaries. He tackles pertinent and controversial issues with apparent simplicity and distinction. He seems not to believe in the whole idea of conventional thinking which is striking for me.
‘I don’t know anything about conventional film-making techniques. I never made a conventional film so I can’t compare,’ he said in the film’s extras section.

Conventional outputs become mundane and restrictive because they repeat what has been. Creative freedom in its simple form is an unrestrained form of liberation to create and explore all possibilities; exquisite things are born of such a drive. Conforming to orthodox means of story telling creates repetition. This replication entrenches a false sense of 'togetherness' in story telling visions. When an artist plows a lonely furrow from the mainstream, he or she bears the severe brunt of being criticized and ridiculed due to simply being different. Perpetuating the ‘sameness’ seem to be 'cool' and careful enough not to upset conventions of this life. This is of course at the expense of freedom. This ‘freedom’ concept is another severely misunderstood concept of our lives and perhaps requires a bigger platform to address (something I should ponder about in future). People claim to be free politically, artistically, financially, etc; but this freedom only exists in the word itself. The abstract nature of this concept and its reality do not even come to existing.

It would be grossly misleading to think that conventions perpetuate themselves as it appears so at first thought. Conventions are born of people who afford them reverence or acknowledgement which for some unified reason, perhaps somewhat indoctrinated into that end, appear to have general appeal. Mainstream culture is perceived by some cynics who are opposed to pop culture for example, as a passing norm of the society whose roots are a unique consequence of the past. The same past inevitably reflects the might of norms which form basis of our conventions. The cycle only attains the 360 effect all over again. However, some incredible things of this life, like SMS Sugar Man then mock, perhaps clandestinely, the shallowness of the mainstream.

Some people may criticize the somewhat fuzzy pictures and sing the whole note on how 'noise,' defined as anything that interferes with a successful transmission of a message, compromised SMS Sugar Man. What I'd say to that is that the so-called ‘noise’ in the visuals, served as an important tool in the final product for me, more like a prop and consistent with the refreshing look and content of the film. I may of course have a different view to Aryan regarding this matter, rightfully so because he brought the whole concept to life.

Like the powerful acting, serene music, the engaging monologues, the layered dialogs and storyline, the image-capturing process, the direction of the film and the 'set' that Johannesburg provided make for an indispensible ingredients of this film. I declare the movie, two years after its release: 'Innovative, engaging, intriguing and flawlessly presented'. I know i will watch it over and over only to pick up new elements - great work Aryan and the team!

If you need some fix, SMS Sugar Man by watching the movie online here

© Deon Simphiwe Skade 2010

Image usage courtesy: Kagablog

Deceptive reality

His reality, the same one he created into his state of mind, haunts him with hallucinations of regret. 

How could he have seen life in such a light? He ponders looking for answers he cannot find; answers he needs dearly. I tell him to look into his reality and interrogate all there is so as to trace the root of this lopsided life he's lived.

I know, and he knows it too, just how strenuous this journey is going to be. But he'll be alright, eventually. It's best he does something about it now, lest he continue to live a synthetic and fragile life that may break at any point, and whose repercussions may be far costly further into the future.

It's going to hurt. But he'll be alright, I know.

© Deon Simphiwe Skade 2010

Sand Pyramid

Paradigm-shifting experiences

We talk a lot about paradigm-shifting experiences. They are special moments whose occurrence may not be as regular as the shooting star and its mesmerizing trail. But whose significance and importance are invaluable. These special moments help us recall just how godly we are, and just how dynamic and depthless our minds can be. So, we need to give these moments all the attention and care they deserve so that we may harness this genius and give birth to many like them.

In being practical about these matters, we need to look at the very life we have come to love and hate. We need to advance to a level where we evaluate our teachings not because we wish to undermine them, but merely to enhance their power and direction. By this we may perhaps set out to find a colour within grey that is not black or white. If it's not the inverted pyramid style of writing we want to use in our texts, nor is it the feature article form which is less stringent, can we perhaps find alternatives of these two with relative ease and not judge them? This way we constantly change the process of thinking because the minute this phenomenon happens once in a blue moon, we would know that we had reached a level of complacency, which only means comfort zone which is perilous.

The reverence we afford phenomena we deem paradigm-shifting, may be overtly done so as to encourage the expansion of the thinking field. In this manner, we will forever be revitalized and would most likely be shackle-free from the conventions of our lives. Our respective cultures should be committed to, and perhaps be relaxed in some instances to allow the redefinition of life, so that the plain with regards to the paradigm of thought may be altered for our betterment.

© Deon Simphiwe Skade 2010

Back in the day when latino was fiery

Musical gems

Thought: 5

Things that would generally not matter only matter because we make them matter - Deon S. Skade

African Soul Talk: When politics is not enough

If only Dumani and Warren's debate in this powerful book could be engaged in by all, we could give birth to a mightier South Africa that's more beautiful than the rainbow - Oh! South Africa, my love for you is too deep.

Thought: 4

It could be due to selective perception or something bigger. But I find people saying 'thank you' less these days - Deon S. Skade

Devil's Peak hiding away from the city

Touched by Angels: The Chaeli Campaign Breakfast

Chaeli (seated in the middle row - in front of Erin in green) Zelda, Chris and the organisers.

The 29 of May 2010 will go down as one of the most inspirational and exciting days of the current year for me, due to having been exposed to Chaeli Mycroft and some of the fellow co-founders of The Chaeli Campaign (Let me whisper that they are just in their teens, having conceptualized this phenomenal idea about six years ago)

The venue was the Milnerton's ‘Maestro’ restaurant and the occasion, The Chaeli Campaign Breakfast Buffet fundraiser organized by Damelin's ‘Conference, Exhibitions and Events and Management’ students. Having arrived slightly late, I missed out on the first two items of the programme: the 'registration and refreshments' part and more importantly the 'introduction and welcome' by Chris Kolbe from Kfm, who was tasked with steering the event's proceedings. I always say an introduction to any event is vital as it gives one a clear idea of what to expect further on. Like other guests at the venue did, I munched my way into a bowl of cereal anticipating to find out more about the campaign.

Zelda Mycroft, the CEO of the campaign and young Chaeli's mom, stood up to address the audience in a moving speech. One of the first things she did was to ask the audience if anyone knew about the campaign, and the response, if you may call that such was silence. I would later feel ashamed for not having known of their existence and the sterling work they do.

Zelda informed us that Chaeli was diagnosed with Cerebral Palsy and Degenerative Neuropathy when she was eleven months old. This consequently meant that she would be confined to a wheelchair for the rest of her life. She felt a need to acquire a motorized wheelchair for herself several years later. It is through this need that the Chaeli Campaign was born, with the whole idea being hatched by Chaeli, her sister Erin and their three lifelong friends in the Terry sisters (Tarryn, Justine and Chelsea); all of them aged between 6 and 12 at the time.
They embarked on a fundraising campaign which included selling miniature pot plants and greetings cards in their neighbourhood. Within seven weeks they managed to raise an impressive R20 000 among themselves. It was decided that the campaign be formalized and turned into an Non-profit Organization with a clear plan of helping other children with disabilities throughout South Africa, when contributions and support continued to pour in ceaselessly.

With bigger and more challenging responsibilities that arose, older persons got involved in the campaign in a collaborative effort to make the campaign a bigger success. This inclusion of adults did not mean the originators were relegated to insignificant roles. The young ones were instead afforded equally important responsibilities and the status of being fully involved with the campaign all the way. They were thus entrenched as junior committee members who attend quarterly committee meeting and are as involved as the management committee in the activities of the campaign.

Zelda, who had worked as a teacher, had to leave her teaching profession to become fully committed to the Chaeli Campaign. This move essentially meant that she was the first official employee of the organization. The staff complement had since increased and boasts services of Physiotherapists, Therapists, a Financial Manager, a Marketing and Events Officer, a Marketing, a Design Assistant, and so on. Many children with disabilities benefit immensely from the Chaeli Campaign through the acquisition of anything from wheelchairs to hearing aids. In addition to this, the Chaeli Campaign runs several programmes like therapy for children.

While Zelda was delivering her speech, speaking fondly and proudly of her daughter, I registered a striking look on Chaeli’s face. Nothing of this world could take the pride and the sense of achievement that she felt at the point when we all listened to her incredible story. Chris even remarked after Zelda's presentation that Chaeli has a remarkable smile. I looked at the gleeful Chaeli and caught exactly that; a beautiful smile that glows with passion and confidence. I looked on overcome by her aura and achievements at such a young age, hers and that of her co-founders of course. I knew there and then that I had encountered a role model in her and the team, and that I admired them greatly.

Chaeli and the guests enjoying a meal

Chaeli’s life demonstrates that disability lives in the mind and that not being able is not all physical. Being on a wheelchair doesn't deter this amazing life from pursuing her interests; she dances and has been doing it for over four years. She has a caring dance partner in Jesse Randalhoff whom she trusts immensely. She wrote a moving thought about their relationship and dancing in her blog.

‘I don’t think Jesse understand how much I trust him. He thinks I don’t trust him because I won’t let him kick over my head. I trust him completely. It’s nice to have someone who will destroy himself in order to save you. I hope everyone has a person like that in their lives who they trust entirely,’ she wrote in her post Freedom from the tarmac.

At some point doctors had said Chaeli won't be able to write but she would later learn the skill of writing as demonstrated in her beautiful poem below. One can safely say that the state of being disabled dwells in the mind and manifest from there to shape the reality of ones life. This remarkable life in Chaeli illustrates that the human mind is powerful beyond comprehension and can achieve anything. Many able bodies make excuses for not being able to make a difference in life, particularly in other people's lives. But these young ladies and senior members of the Chaeli Campaign certainly shift the paradigm in that regard.

Chaeli's poem

Among many successes they recorded, the Campaign went on to win the 2004 ‘Louis Volks Humanitarian Award’ and the ‘National Builder of the year award’ in 2006.

South Africa could have more 'Philanthropists'. And by this I don't mean people who donate money or offer their services on a big scale like wealthy internationals do. These things start small. What matters is that contribution comes through one way or another.
Communities have become polarized by the disparities that are widening each day between the privileged and the not-so-fortunate. The least each one of us can do is to make a small difference and support good causes. It's a simple kind of benevolence we need to exercise.
Talk show host Oprah Winfrey and Tennis star Serena Williams have both opened schools in Africa – may their souls be blessed. Many other people from overseas are helping Africa through various means, as well as locals with big hearts. But we need to widen the playing field and play a bigger and more meaningful role in uplifting our 'community' that is South Africa. To find out how you can assist the Chaeli Campaign please click here.

(C) Deon Simphiwe Skade 2010
Links to Chaeli’s web-based addresses:

http://www.chaelicampaign.co.za/
http://www.chaelz-thisisme.blogspot.com/
You can also find the Chaeli Campaign on facebook.

Notes:

A word of thank you to the Damelin students for exposing me to the Chaeli Campaign and for hosting a successful Breakfast event.
A special thank you goes to Zelda Mycroft for permission granted to write this piece and for using Chaeli’s moving poem above, and for additional information. A special thank you goes to Lucia Ntombomzi Mshumi too, for the invite – greatly appreciated.

Buildings and History: Dr Nelson Mandela's release

 

When Dr Nelson Mandela made his first official speech after his release from 27 years of captivity on 11 February 1990; it was at the Cape Town City Hall where he stood towering over masses who came to rejoice in his release. Some perspectives he may have had from where he stood would be as pictured above and below

Even though buildings traditionally stand for one thing or another, they end up holding important memories of the past not related to what they had stood for before. Those who built the Cape Town City Hall with its elegant architectural style were inspired by certain needs of the time. But as history writes itself, it attaches memories on structures, plains and space.

Addressing the people who gathered at Grand Parade, Dr Mandela said:

‘Friends, comrades and fellow South Africans.
I greet you all in the name of peace, democracy and freedom for all.
I stand here before you not as a prophet but as a humble servant of you, the people. Your tireless and heroic sacrifices have made it possible for me to be here today. I therefore place the remaining years of my life in your hands…’

In conclusion, he quoted words from his Rivonia trial speech in 1964 which he stated as true on that day as they were when he first uttered them:

'I have fought against white domination and I have fought against black domination. I have cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die.'

*Speech extract sourced from here

(C) Deon Simphiwe Skade 2010

Eish this is Hectic!: One of the most brilliant books I've read

The World of Nat Nakasa

To every birth it's blood

Thought: 3

Where  you see human inspiration and excellence, stop by and say thank you. Then, take action and spread the word. - Deon S. Skade