Financial Freedom

For me financial freedom is when I don't have to think about money because I don't want to recognise its value. But because I'm of this world, I may not attain that financial freedom after all; unless I move into a jungle, which may also not be practical.

~ Deon Simphiwe Skade

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Quentin Tarantino's Death Proof (Grindhouse Series)

Image sourced from Mishimoto Automotive

A visual dedication to Fela Anikulapo Kuti

Fabric paint on cotton (2006)

Fela, I may have failed you here. But an artist does not always represent reality. I blame it on Sorrow, Tears and Blood though - it was somberely playing in the background while I applied brush strokes. I was still trying to see sense in the notion that 'fabric paint, just like watercolour, is a sensitive medium and may not allow layer upon layer to be applied on the surface', unless one is experimenting. Well, I won't say that was motive. I was not out to disprove anything,
I had acknowledged long time ago that art is a personal thing. What works for one person doesn't necessarily work for everybody else. I swear Fela, I was not using your iconic image in vain. Sorrow, Tears and Blood was weighing heavily on me. And the fact that I had set the player on 'repeat-one' mode did not help me very much - fabric paint stroked as if forever on the cotton, which almost became wet to a point of the colour running wild within the contours of the fabric, almost rendering my creation border-less and blurry. Unlike my earlier habit of destroying creations I thought did not represent what I was trying to interpret, I held on to the above piece for the sentimental value it bears. As a result, every time I look at it, Sorrow, Tears and Blood plays in my mind rekindling a special memory.

Fabric paint on cotton (2008)

It would take a while before I could reach for my brushes again, but when I did, again overcome by your advocacy for the masses, I reflected my view of your album cover on the cotton once again. I must say I was less concerned with self-restriction that my need to create meaningful work normally has on me on this occasion. And that striking image of you holding your horn prompted me to represent you in monochrome using the background of a black cotton fabric as a shade for the less visible parts of your figure as you stood on that cover. Zombie was seeping from my speakers then and for some reason, I was reminded of Thandiswa Mazwai's rendition of this incredible song in the 2006 edition of The Cape Town Jazz Festival. She nailed it Fela. I swear you would have fallen in love with her right there. But who would not; she's an admirable gift to music. I'm sure you know her by now, she's sings for the people too, a bonafide artist. You guys on the other side are said to see everything. I'm sure you know of this gem.

With that remembrance, I found myself gentle and economical with those strokes of white. Perhaps this had something to do with the fact that I was using only one colour. But again, Thandiswa's fragile voice I remembered of her homage to you, inspired this delicate approach. Do you know that she controlled her voice so well that the peaks in her vocals were almost scolding? I'm sure you saw that Fela - spirits are said to see all.

I hope you like the monochromic representation more than the multi-coloured one above. If you don't, know that I love you nonetheless. If it's not my ideas in my efforts you'll relate to, then hold on to the love and admiration I have for you.
I could say rest in peace Fela, but knowing how troubled Africa is today, I doubt you will find value in my words about rest. Instead sing on! Sing louder wherever you are. For what you had been singing about is as relevant today as it had been all these years.

© Deon Simphiwe Skade
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The phenomenal Carl Anderson (How Deep Does It Go?)

Carl Anderson was one of the greatest vocalists of recent times. His soulful voice lives on through his wide and remarkable catalogue.
May his soul rest in peace.
  ~ Deon Simphiwe Skade

Video source: Daily Motion.

Frabric paint on cotton: Tribute to Moses Taiwa Molelekwa

Raselebeli Khotseng on KPD Maphalla

KPD is one of the all-time greats of Sesotho literature. Still only in his mid 50’s he has already published well over 40 books! The University of the Free State honoured him with an Honorary Doctorate in 2007 thanks to his excellence in writing in his Mother tongue.

For many years (apart from those who knew the man personally) rumours circulated that the author (Maphalla) was a “syndicate”; that there was no way any writer, especially a black African one, could be so prolific. (Perhaps there are parallels here with the English writer Enid Blyton who in her lifetime wrote and published so many books that many wondered whether this was humanly possible). But Dr. Maphalla has been seen physically at literary gatherings, especially whilst being honoured more than a few times. He is certainly not a myth!

Maphalla's works of fiction in the Sesotho language are liberally read and studied in many schools in South Africa. Studies on the man’s works have also been published by scholars. The distinguished writer has not enjoyed the best of health in recent times, but this does not mean he is no longer writing.

Indeed in recent times he published another excellent book in Sesotho, titled Ha Maru A Rwalellana. It is quite a thick book that shows Maphalla is not resting on his laurels. He is already a legend, following in the footsteps of the likes of Thomas Mofolo and JJ Moiloa, distinguished Sesotho writers (now deceased)

Despite the despair of commentators on the general dearth of quality writing in the Sesotho language, in recent times younger writers in the genre – especially Thabo Mafike – have been showing great promise. But of course they have a very long way to go before they can even be mentioned in the same breath as the illustrious Maphalla.

Pule Lechesa, literary critic, who has also published a couple of works in Sesotho (both translation) says: “As a Mosotho I am very happy to see good works published over the years by Sesotho writers. It is sad that recently some sub-standard writers in the language have emerged – lacking the length, breadth, characterization etc needed to produce quality works in the (Sesotho) language. But at least people like Maphalla will always be icons,”

Other works written by KPD Maphalla – who started writing as a young man from his QwqQwa base – include Mohlahlobi, and Ha Ditswere Di Tsanyaola.

KPD Maphalla is also the brainchild behind MoabaSesotho, a national association of Sesotho writers.

This article first appeared on Raselebeli's blog, Black African Literature.
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An incomplete sketch - some time in 2010

Me and You

LIFE, let's continue being merry; me and you.

 ~ Deon Simphiwe Skade

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Fabric paint on cotton: A dedication to Sakhile

"Khayelitsha's toilet saga": A view from the top

"The Coruscating Lesotho Bard" by Omoseye Bolaji

  
“The love of a man and a woman has always been special but lately it’s exploited and ripped out of its definition…women, recall and respect men for their position, and you men, remember (that) women are just a rib of your whole package – they are highly fragile; that’s why they need your touch”

- Sheila Khala, in FORMULA

It is not the province nor perimeter of this short piece to ponder whether the above quotation – penned by a very young female writer from Lesotho is essentially true or false. Suffice is to say that I am more concerned with the exhilarating emergence of the author (Sheila Khala) herself.

Having said this, I must briefly point out that whilst younger, I was very much intrigued with the book, The anatomy of feminine power produced by one of the most erudite and brilliant African intellectuals, Chinweizu. For him, women’s fragility is a façade; they are actually the opposite!

And world history has also churned out many examples of how “un-fragile” women can be, especially during warfare: the dreaded Amazons (female warriors) of erstwhile Dahomey; and the role of women during the French evolution when “the women returned with the heads of those who had fallen…baying for even more blood…it was a most shocking scene”

Most of us we men will however like to believe that women might well be “highly fragile” – even if it’s mainly in our dreams!

But back to Sheila N. Khala. Remarkably she was only 19 when she published her first book of poems (Formula) which was published in 2009. She is a dynamic and fecund poet in every sense of the word. It is understood that her second book of poems will soon be out.

For lovers of literature, there is always that frisson of excitement when a new and very young writer takes the stage. Of course these days more and more African women are making big strides in the genre of writing. Sheila is already holding her head high in poignant African female black writing at a very young age – reminding us of international icons like Buchi Emecheta, Tsitsi Dangarembga, Helen Oyeyemi etc who did the same.

Of course a lot of cynicism is entwined within the warp and weft of creative writing, especially where new voices are concerned. Some literary protagonists have stated that “Sheila is probably one-dimensional; a good poet. She can’t produce stuff like fiction that would cement her stature even more as a writer”

But I beg to disagree. There are more than enough glimpses in Sheila’s poetry to suggest that she can be creative, fluent and evocative when she wants to. For example in her poem, “I love you” she writes inter alia:

“When you see me
Do you have a heartbeat that
Accelerates as space becomes thinner?
Or you can’t wait for me to walk out of the door
So you exhale a deep breath of Relief…
How do you react when you walk towards me
Are you faking the butterflies you claim run in your stomach?”


For aficionados of African literature, note the name: Sheila N Khala

This columnist will like to hark on the obvious now –

This article first appeared here

My interpretation of Dave McKean's piece

Beyond Natural Born Killers

The greatest controversy around the 1994 blockbuster movie, Natural Born Killers, may well be resting heavily on one of the pillars used to describe the functions of the mass communication media. This particular function, simply known as “correlation”, describes the way news items are interpreted in the mass communication sphere.
The most obvious aspect of this film is undoubtedly the amount of violence that Mickey and Mallory Knox frenziedly execute, which inevitably informs the dominance of the aforementioned function. The general interpretation is that of a distinctive demonization of this film as an instigator towards acts of violence, a point which is validated by its subsequent link to the tragic and atrocious incidents of Columbine.
Amid the grotesque nature of extreme violence and murders in the motion picture, another function of the mass media arises, at least from an “entertainment” point of view. This comes through the culture of going to the cinema to watch movies which include Natural Born Killers and similarly criticised ones of the same genre. As with other aspects, the “cultural transmission” function is also fulfilled in that the history of violence, which dates back many centuries ago where Cain is said to have brutally killed his brother Abel, is re-enacted through many films which reflect horrific societal actions.

Notwithstanding these key functions of the media, the one sentiment that has continued to overshadow just about everything about this film, is the amount of graphic violence that it shows. A point that may not quite help the debate that Oliver Stone, the film director, may have wanted to spur with this release. He says the film was made with an intention of it being a satire towards the mass media, by looking at the way they report on criminal incidents. It is interesting to observe that Stone is pretty much part of this institution that he ridicules. He’s part of the Hollywood culture of action superheroes that are celebrated for their performances in violent movies.
However, watching the movie with this perspective in mind, his assertion is authenticated by a number of scenes which drive the director's point home. This is in spite the emergence of an inevitable and almost spontaneous reaction which juxtaposes the influence that the film has in relation to news reporting, which is part of the “media’ that Stone may have aimed his satire at.

The authority of the mass media over the types of messages they communicate is unquestionably colossal. Its ability to shape public opinion is an equally mighty arm of this empire that continues to spring up opinion leaders that are only happy to take these messages to higher levels of perpetuation within their respective fraternities. With such advantage in mind, it's easy to see why the reception of this film, which was initially written by Quentin Tarantino but whose script, was subsequently re-worked by Stone together with his associate producer and writer, turned out to be such a controversial affair, especially with the alleged pockets of violence that emerged after its release.
Despite everything, the director, with the great assistance from the cast and crew, created a very impressive films. The seemingly experimental mixed media visuals may have left some cinematographers green with envy, perhaps the same lime kind that cuts into some scene of this innovative film. The dialogue, which is said to be still pretty much Tarantino's signature style, is also one of the many highlights that could be focused on beyond the controversy of its violence.

With the world that’s saturated with visual home entertainment products and the Internet, the classification of films not suitable for children serves little purpose in keeping such material away from their young minds. The coverage of these products in the mass media outlets like newspapers and magazines, which easily land in the hands of the very children who should not see these films, doesn’t help the situation at all. They may encourage them to have means of acquiring these films to satisfy the curiosity that print media may have generated. This only points towards Stone's sentiment and the cycle starts all over again.
Perhaps this satire goes beyond the primary purpose of this phenomenon and may challenge the way the world sees the role of the mass media after all.

If it's agreed that cultural advancements are accelerated by media like television and cinema, would it then be expected of script writers, director and producers to produce happy stories in order to disseminate happy messages? Would this be expected to curb acts of violence? Does television and cinema teach or reflect violence, the same forms that news agencies reflect too, even though the former may be exaggerated at times for obvious “entertainment” reasons? Perhaps not. This may call for more probing questions that may address the aspect of societal violence.
Films are a means of storytelling that may stifle creativity if writers and directors were to be told what to make into film. At the end of the day, the ultimate responsibility lies with the viewers. They should be able to separate storytelling from inducement to commit acts of violence. But the young cannot be expected to make such calls, which is why they should always be protected from such stories. Perhaps they should be saved from television too, which has done an irreparable damage with it “cultural transmission” function. Some programmes that broadcasters deem best suited for children like cartoons for example, contain extreme violence and paranormal wizardry. Despite these early types of influences, the majority of children grow up to be good people, while others perpetuate the culture of violence, which is not something foreign to man nor can be exclusively blamed on news reporting.

The tug of war between film and news reporting should not suggest that we’re living in an exclusive place where nothing points to us as part of the source. We’re after all consumers and pretty much part of the problem. Perhaps everyone has some form of evil in them, some degree of unpleasant behaviour that may in some instances live in words that cause emotional scars that may not heal. Perhaps there’s a fine line that demarcates good and evil which many people cross in different degrees. And perhaps this may be used as a basis upon which societal norms, ethics and morals may be revisited and thoroughly interrogated, instead of apportioning the blame to just one source.
Oliver Stone's movie forces us to look into the culture of violence from an introspective point of view, to ascertain how we as a collective, have managed to get to where we are today with all the blood that had been shed and continues to do so even today.

Deon Simphiwe Skade

Christmas special in Milnerton - 25/12/2010

These dreams

When
these
dreams
changed
I realised
they were
never mine

~Deon Simphiwe Skade

A Scribble on the Calendar (Africa in Pain) - 07/12/2010

In touch with the world via satellite - Milnerton 12/12/2010

Dearth of Indigenous African Languages?

The catalyst of Free State black literature Omoseye Bolaji sharing a joke with Pule Lechesa (left)

Pule Lechesa, an established essayist/ literary critic/ poet/ publisher/ journalist, agreed to do an e-mail interview for Acoustic Strings, in an attempt to address some issues arising from the erosion of indigenous African languages the twenty first century landscape. Below is the conversation we had.

DEON: You’re renowned for your sharp and frank literary criticism, particularly for the work done in English, a language which you have an impressive command of. I suppose little is known that you’re an impressive Sesotho writer as well. Is this something that you will be bringing to the fore more in the near future?

LECHESA: I would like to have an apprehension of criticism on Sesotho books. Really I must confess, it’s rare to find literary-critical books written in any of the African indigenous languages. I have in mind in particular languages like my mother tongue Sesotho. If you find it you will be lucky and I will not be surprised that it was done by someone who was working on his/her thesis. The one I know was about one of the all- time great Sesotho writers Ntate KPD Maphalla which was written by Prof Moleleki Moleleki.   

On a negative note, there is one obnoxious elderly so-called Sesotho writer based in Mangaung who has largely destroyed literature in this genre; churning out so many tawdry little books virtually every week and parading himself as a prolific writer; but I can tell you that he has no readers at all. He doe not realise the harm he is doing by over-clogging the market with worthless books really. The emphasis should be on quality (the example of Thomas Mofolo and his all-time great three Sesotho masterpieces come to mind here)

DEON: You have translated Chief Omoseye Bolaji's play, The Subtle Transgressor, into Sesotho language through your title, Joo! Letla Shwa – Letla Botswa. What was the motivation behind that?

LECHESA: Every writer writes with the intention of putting across a certain message. The main protagonist in this work camouflages as a “saint” for most of the play but towards the end the reader realises the great shock in very dramatic fashion.  The daughter lets the cat out of the bag by telling everybody that her father (JOB) has been molesting her under the neighbours and family members know. I felt the need to share such a stunning work with Sesotho speaking people.

DEON: Where was it performed and how was it received?

LECHESA: The English version was premiered in Port Elizabeth and my translation was performed in the Eastern Free State townships at places like, to mention but a few; Ladybrand, Clocoland and Marquard. It was well received, especially because of the stunning ending! Even to date there are those people who still stop Mr Bolaji on the street and talk about it.

DEON: English seems to be the language of aspiration within black communities, in that African languages are reduced to a status of stagnation whereas English, in its universality, seems to be made to suggest progression. How do you think writing and reading in African languages could shift this paradigm?

LECHESA: I should like to borrow from the thinking faculty of the first black man to receive doctorate in literature Benedict Wallet Vilakazi who once said: “I have an unshaken belief in the possibility of Bantu languages and their literature, provided the Bantu writers themselves can learn to love their languages and use them as vehicles for thought, feeling and will,” he wrote in journal Bantu studies and the South African outlook in 1947. This starts with us as writers - do we really love our mother tongues?   

DEON: Television as a Mass Media product plays a key role in preserving culture; at the same time it's a perilous medium that may well kill some cultural heritage in languages. How do you see this averted?

LECHESA: There is a clear dichotomy between most of the images we see on Televisions and the best of our African culture. It is unfortunate many of the script writers are influenced by euro-centric ideas and practices; especially unnecessary promiscuity, violence and the type of speeches which will make our ancestors shake in their graves. The truth is that Televisions or Big screens in general is geared toward sensationalism and can do little or nothing to help our heritage. I remember the great late Zulu poet Mazisi Kunene had his drama rejected many times when he was based overseas because the white producers said it was boring and could not have a market in western world. The great Poet was mainly concerned with celebrating the best in African culture but the western world had no interest in this. Look at the famous depiction of the Zulu king Shaka Zulu in the TV series, the sensational way his life was portrayed alienated all self-respecting Africans, but excited the western world.  

DEON: As a journalist who has been exposed to many aspects of this trade, do you think there’s better hope in book publishing than in newspapers?

LECHESA: The two go hand in glove as you will remember that when Thomas Mofolo first wrote his book Moeti waBochabela it was serialised in Lesedinyana Newspaper before it was published in 1907. The newspaper has a future even-though there is talk amongst the intellectuals that internet is taking over.      

DEON: With the pioneering spirit of John Tengu with Imvoza Bantsundu centuries ago, and apart from the enduring newspaper like Ilanga do you see any new entrants into this highly competitive market?

LECHESA: So far the evidence suggests that the Zulu language is still vibrant. Many Zulu speakers and readers buy large numbers of newspapers written in Zulu language. I was very impressed to learn recently that the Sunday Times was launching the first ever Zulu edition of the paper. Remember in the past, the great Sol Plaatjie made enormous sacrifices to ensure that the Tswana languages could be read around the world but many did not support him, and he made incredible financial loss in the end. The situation is not different now; it is much worse now. In the Free State which is predominantly Sesotho speaking you can hardly see any publication in this language.  I remember a few years ago there was a gentleman who tried to publish a small Sesotho paper every now and then. The publication came out once in a blue moon and after the guy died the paper just folded. It is shocking that there are dozens of papers in the Free State, and none is in Tswana and Sesotho. When you talk to Tswana speakers they will tell you that it is so difficult to read papers written in their language!  A start has been made by the publication of Mosotho which started as an insert of Public Eye newspaper distributed in the Free State.

DEON: With the great success of Die Son, an Afrikaans newspaper that entered the market a few years back. Do you think investors are not keen on funding, for example, a Setswana or Sepedi publication?

LECHESA: I think it is clear by now that such sponsors are non - existent. I know potential publishers and I have never heard anyone of them suggesting to have a paper in the African language. Maybe we should try to mobilize awareness in this wise. But how? Young people nowadays love western culture with all their hearts. We have burgeoning young writers claiming that they consider English to be their mother tongue with the advent of all these Facebook, Twitter etc you can be sure that the situation will get worse, unfortunately. Parents, guardians, teachers, community leaders etc must try to re-orientate the mind-set of the young ones; maybe there might be some hope on the horizons. In theory since millions of them are still speaking their mother tongues nothing should stop them from embracing literature based on their mother tongue.

DEON: Apart from your work in preserving Sesotho, is there any emergence of authors writing in African languages?

LECHESA: Unfortunately such writers are very thin on the ground. Take Free State for example this year (2010) we have celebrated the publication of many books produced by talented black writers - NMM Duman, Masakala, Hector Kunene,  Raselebeli , Jah Rose - all of them have been publishing in English and they are very proud of this. This does not mean that younger writers do not write in Sesotho. I have to commend Thabo Mafike for contributing his own quota to the growth of Sesotho writing; his major work includes Boo Bophelo! Motho ke motho. The problem is that the writers like him are very much a rarity despite the fact that government is trying to promote writing in indigenous languages. I want to applaud The director of library services in the Free State, Jacomien Schimper who has been magnificent in encouraging the local writers to write in their mother tongues. She has always been respected for promoting multi-lingualism.

DEON: The publishing industry is one burdened with declining readership. As a result, business models change in many forms to address such problems. This is for English book titles. How do you envisage African language writers staking a formidable position in this environment and surviving beyond the mere aesthetics of language?

LECHESA: As I have said before, this can only happen if our parents can encourage their children to read from an early age and this habit will make them go and buy books even when they grow up.  But at the moment we have to admit that the situation is bleak in our townships and even amongst middle class blacks in the suburbs. You go to European countries like England and France where every home has libraries teeming with hundreds of books published in their own languages. How many libraries in private houses do we see amongst our people; and you will be very lucky to see more than one or two books in African languages in these so called private libraries.  

DEON: The digital age has undoubtedly revolutionized publishing in many ways. How can this powerful and universal medium be used to entrench pride and readership in African languages?

LECHESA: As I have alluded earlier, the digital revolution if anything has worsened matters. All these wonderful marvels of technology come from the western world, so naturally they are more concerned with their heritage and culture. There is no way anyone can suggest that Facebook has contributed to the advancement of African indigenous growth. Virtually all the articles from the vast internet are written in the major international languages and our African languages are not considered as such genre. But if we use our own innovations, digital technology might benefit us. What stops us from having our own Wikipedia in our own languages? I know that African languages such as Yoruba and Swahili have their own Wikipedia written exclusively in such languages, we need our Universities, Academics and the researchers etc to make sure that we also benefit from such opportunities. But the problem is even if this is done, how many of our readers will prefer to read the pertinent information in African languages rather than go to the English versions automatically?

DEON: Do you find black people reading books written in their languages?

LECHESA: I remember many years ago when we Sesotho writers went to the University of Free State to launch Moabapuo (Association of Sesotho writers) I talked about literary criticism and they all jostled and bullied me down. You could see that the black writers do not want to be criticised! They only want to be praised     

DEON: The one Sesotho book that I enjoyed reading immensely is Tahleho le Thaba e Halalelang, a translation done by R.J.R. Masiea from Cicely Luck’s Tajewo and The Sacred Mountain. Is this something that we should do often to accommodate indigenous language readers in the same way that English writers do with other languages?

LECHESA: Translation is an art that needs someone who masters it. Too often you will realise that if you read both versions you will realise that they might not be the same.   A famous international example that comes to mind is Camara Laye the celebrated novelist who wrote a novel called, The radiance of the King. In the original version in French there was hardly any sexual overtones but surprisingly in the English version many critics have pointed out that the translated version had much sexual allusions which the author did not have in the original version.  

DEON: Going back to television and the power it possesses, I'm reminded of the charismatic and highly articulate Sesotho actor/director/scriptwriter, Khotso Nkhatho. With his absence on TV, do you think that the Sesotho light is kept alive in any way?

LECHESA: I do not know if you are also aware that Mr Nkhatho is also a great Sesotho writer to boot. He has written one of the interesting books called Mofula-Tshepe. Weso or rather Mopheme as he is known amongst his faithfuls is the best thing that has ever happened in the Sesotho film industry. I think Sesotho actors can learn a lot from him as you will remember that he was able to display a rare talent when he was portraying three charecters in Mopheme drama. His absence is felt but that does not signify the end of talented Sesotho actors.   

DEON: Free State, Bloemfontein to be precise, has had a vibrant writing spirit with a number of writers publishing books and having important discussions on literature. Can this admirable spirit be used as a means of encouraging writing in indigenous languages?

LECHESA: It can, if it starts from the grassroots at an early age with the teachers in schools ensuring that such vibrant reading and critical discussion. Teachers must find time to do this, otherwise the pupils from a young age cannot be expected to take the initiative themselves. It is also important that exciting books should be read and be recommended in schools so that reading can be more of a pleasure than pain to pupils. Literature in African languages must be promoted in the media both electronic and print. The writings of books should be encouraged generally and libraries must go out of their way to encourage and support literature in our indigenous languages. We have heard it many times examples of important people boasting that after they left school they have never read a book; such an admission should be treated with contempt and disgust. The young ones should make the library a second or third home. 

DEON: You founded and ran Phoenix Press Publishers which published fiction and poetry, among other genres. Were there writers who were sending manuscripts or poems written in indigenous languages?

LECHESA: There were whole lot of them. To mention but a few Florence Mphadi, Marabane Matabane, and the list is endless. I successfully published some of them and sold the titles to sundry libraries.     

DEON: I hear you’re working on another big project where you’ll be translating yet another book into Sesotho. Do you mind telling us more about that?

LECHESA: Actually I finished translating a number of books into Sesotho even years ago. It is just that I do not want to rush things. I want to polish and prune such translations with such excellence as I can muster, for example I have translated Mr Bolaji’s People of the townships into Sesotho and hopefully within the next few months it will hit the shelves. I remember I was very impressed to see the great Wole Soyinka translating one of the Yoruba classics into English. It is like we always want to satisfy the western world. Why can’t we translate the important works written in these European languages into our indigenous languages sometimes?

DEON: Do you have any advice that you wish to share with cultural activists advocating for recognition, preservation and development on African languages

LECHESA: What I can say is that just because one embraces – or seems to embrace - European languages does not mean that our mother tongues should suffer in any way. I feel very much at ease speaking and writing Languages like English and Afrikaans just like my facility in my mother tongue Sesotho. The important thing is to feed one’s mind with literary and literate material in the languages they are most familiar with. We must consider it a great shame if we are very good in foreign languages but can hardly read or write our own mother tongue. Intelligence, expressions, facility in our African languages should be more or less spontaneous the same way an English man or woman in his/her country will easily read newspapers and magazines and books in their own mother tongue. We should nip in the bud the feeling that African languages are inferior; look at the world-wide respect and recognition the Ibo language in Nigeria has now. Thanks to Achebe’s novels many white people after reading this book go on to learn as much as possible the Ibo language. This shows that first and foremost Achebe was perfect with his mother tongue before he began churning out masterpieces which celebrated his mother tongue! 

DEON: Thank you for this opportunity to address these important issues of language. Your contribution in the literary sphere is greatly appreciated. As a Sesotho speaker, I’m greatly inspired by your endeavours in preserving one of the indigenous languages through your sterling work. Best wishes in all your projects.

Some of Pule Lechesa's work feature on these site: Free State Writers, Black African Literature, Kagablog.
Photo use courtesy of Pule Lechesa
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Woodstock Diaries 16/12/2010 (4)

The Musical Maestros: By Omoseye Bolaji

“T’emu ba funfun balau ninu igba
Kan mi igba kan
Se kan ko mi, ko tun se kan ko ra re
K’a jo ma mu lo!!!”

Since members of my particular generation were kids, we have been captivated by the extraordinary brilliance, brio and prowess of “King” Sunny Ade with the guitar; and his complementary lyrics as exemplified by the above quote.

There was always an acute, irresistible rhythmic perfection in Sunny Ade’s songs – he was more than a legend in Yorubaland, so to speak. Kids and adults reeled off the memorable, even esoteric words from his many songs over the decades – all over the world really. But it was his artistry with the guitar that set him on the way to what one might even call his apotheosis.

Wherever you see Yoruba people anywhere in the world (including in South Africa here) you can be sure Sunny Ade’s songs, his old classics, would still be treasured. Tales are still told about live performances dished out by the great man; as he strummed on his guitar many people seemed to go crazy!

It has always fascinated me the intriguing personalities of those enamoured with the guitar, no matter their colour or nationality. “Guitar men and women” always seem to stand out. Their transcendental devotion to their craft, their unique personalities, the general way they seem to be wrapped up in their own world...

Like my friend Deon Simphiwe, multi-talented South Artist based in Cape Town; who would put it this way: “Acoustics strings – strumming on life with all its follies and triumphs – don’t intend to hit a note” Whatever this means! These artists many times seem to exist in their own arcane world.

And again like my pal, Seleke in the Free State, such a fine, accomplished guitarist. A man who has given so much to music; a familiar respected figure with his guitar in South Africa; he has also belted out series of moving songs. He also has that ethereal feel about him – though he can be worldly wise!

We often take our friends for granted, and seem not to appreciate them intermittently. Seleke has supported me, or been beside me at so many crucial moments, eg when I was conferred with the Chancellor’s Medal by the University of the Free State. We even appear together on one of the covers of my books! But on my own part, I don’t think I have supported him enough. But we are still close pals.

The point is that Seleke is a brilliant musician and guitarist, one of South Africa’s best. He is at his happiest and best when he performs at major musical events, like the mammoth Vuka (Music) Festival that took place in the City of Roses in South Africa in December (2010) How proud of him I was! How he lapped up the applause!

Hmm...these guitarists. Yet there is a difference between guitarists in Nigeria and their South African counterparts. Here in South Africa it seems they are more subdued, staid, “intellectual”, perhaps more cosmopolitan. But Nigerian guitarists, musicians, are often so off the cuff, even whacky, a whirlwind of spontaneity, playing to the gallery – epitomes of jabulane!! (fun)

This article first appeared on Chief Bolaji's blog Letter from South Africa.

You

I love
you more
because you're
an independent thought

Deon Simphiwe Skade

Woodstock Diaries - 16/12/2010 (3)

Migrations

Malika Ndlovu and Lodi Inga's show, Migration, is a spiritual journey into the intricacies of human movement and settlement done through song, film and poetry. Watching the duo perform their second installment of a 4-day journey in Observatory last night (16/12/2010), got one enveloped into a space filled with lament, wonder, celebration and hope all which go with the frustrations and triumphs of the human race.

The tragedy of intolerance towards African brothers and sisters who came to South Africa seeking refuge is revisited, confronted and scolded in mournful voices that are accompanied by percussions. But the ultimate deal is the celebration of life which this act does impressively well.

The performance was an emotional epic journey characterized among other things, by ancient wisdom, which the performers shared through the memory of Lodi’ grandmother’s storytelling skills and Malika’s remembrance of a life lost through what seemed like suicide a few years back.

In the many themes carried in this piece, the clear sentiment is that of a need to better this world for the success of the human spirit.

If you woud like to experience this moving show (Cape Town), you may contact Emma Arogundade at 083 376 9106 to book your seat for merely R60 per person.

For more info visit Malika's site here

'No in-betweens' - Milnerton, 12/12/2010

Taking an offence

Taking offence may be a personal decision.
Whatever is said shall remain that which is said until the self takes offence.

Deon Simphiwe Skade

 

Woodstock Diaries - 16/12/2010 (2)

One of Africa's gloden voices: Suthukazi Arosi

Suthukazi Arosi was born in the heart of the Transkei, a place called Cala. Her interest in music started very early in her life, and has continued to grow from strength to strength. She studied ballet and modern jazz in Cape Town before moving to Johannesburg to pursue a musical career full-time.

Although Suthukazi stands before us today as one of Africa’s leading female voices, she is also an accomplished actress, having performed in many superb South African productions, including taking the lead in the amazingly successful “the Lion King”. (More on her eventful background below)

Her new album “the Journey”, is a slight diversion for this amazing talent. Produced by D-Rex (David Campos), of Mapaputsi fame, as well as featuring the touches of maestro guitarist Bheki Khoza – with two additional songs produced by Joe Nina as well - we see an album that fuses modern urban African rhythms with the raw magic and rural flavour that Suthukazi is so famous for, and delivers so magically both live and in studio.

A perfect blend that creates music that is danceable and holds appeal for all, whilst still maintaining its identity and integrity as truly African music with strong and conscious messages delivered with amazing power!

Suthukazi’s first musical release was with “Cheek to Cheek”, the album, ‘Oshakati’. The recording was followed by an extensive local and international touring schedule that included Zambia, Zimbabwe, USA, United Kingdom, Germany, France, Portugal, Switzerland, Singapore, Japan, and The United Arab Emirates. This trend of traveling extensively is one that she has maintained to the present day, with many stage and musical productions having taken her to too many places and countries to list here!

She has featured in many successful projects with the likes of Chicco Twala, Caiphus Semenya, Letta Mbulu, Hugh Masekela, Jonas Gwangwa, and Miriam Makeba. Among these projects, she featured prominently in “Laduma” that toured Japan for the World Indigenous Music Festivals, the FNB Vita Award winning stage production called “The Game”, as well as the highly acclaimed, and SAMA nominated African big band Mahube.

Awards Received include the KORA Award as the Best Southern African Artist in 1997. Suthukazi was the first female to have received this Award in South Africa. She also received the FNB Vita Award for Best Leading Actress for “The Game,” 1997.

Suthu draws her inspiration from many different facets of her life. “This is music of the people for indeed the people are most influential to my writing. Because of their everyday life experiences, I am able to put a song together.”
Her former project, “Ubuntu” released by Sheer Sound, speaks of many things, from the struggles waged by South Africans, to the healing of the many wounds inflicted by our troubled past.

Suthu says of her last album, “…it’s about people’s experiences in life, what they have gone through and what they have become. This is the music for the people. Each song on the album tells a story that people can relate to. It is healing, educative, as well as entertaining. We have lost that special gift that God blessed us with, that is ubuntu, humanity, and yet ubuntu is the key for our lives.”

For this album Suthukazi was awarded a South African Music Award for “Best Xhosa Music”. She was also nominated for Best Female Artist & for Best Adult Contemporary Album.

Suthu has never looked back. Her messages and ethics remain true to her community and the lives people lead in her new album, and its certain that she will scoop many awards for her latest, and arguably greatest offering to date.

Suthukazi is a consummate performer; her live act truly a spectacle worth beholding. Her raw energy and power on stage always excites the crowd and gets people moving to her rhythms and beat. Her background in the theatre and vast live performance experience musically as well certainly has assisted her here! She has performed at many venues and several major festivals over the years and this trend looks set to continue and grow with her latest offering.

This biography appears on the Sheer Sound website

Woodstock Diaries - 16/12/2010 (1)

Common ground

on the basis of our language
we found common ground
something to bind our differences

only for a short while

Deon Simphiwe Skade

J Dilla ft. Bilal Oliver (Prod. Pete Rock)

Migrations: Original poetry "music" projection, created and performed by Malika Ndlovu and Lodi Inga

Cape Town performance poet Malika Ndlovu and Congolese musician and graphic artist Lodi Inga first collaborated on a multi-media performance entitled I am Not Your Enemy, based on Lodi’s animation film about refugee experiences in Cape Town. This was launched at the first Amani Arts Festival in October 2010. Migrations, is a brand new multi-lingual performance extending the same elements of music, poetry and film projection to explore various forms of migration. Their combined original songs and spoken word are accompanied by symbolic animations, reflecting literal movements of people and diverse animal species as well as more ethereal voyages into the territory of dreams, imagination and the heart.


Ashes and Snow

A free screening of this breathtaking film will follow the Migrations performance and 20min interval. Written and directed by Gregory Colbert, using both still and movie cameras to capture extraordinary interactions between humans and animals, this 60-minute feature is a poetic narrative rather than a documentary. It aims to lift the natural and artificial barriers between humans and other species, dissolving the distance that exists between them. The film was first released in the USA in March 2005 featuring Laurence Fishburne as narrator.

Raselebeli "Magic" Kotseng's new book: Hold Back Your Tears

For over a decade now, many pundits of poetry have reckoned that Raselebeli “Magic” Khotseng is probably the most outstanding black poet in the Free State. This feeling has been reinforced because of the variety, fecundity and sagacity of his poems which are saturated with political undertones and palpable imagery.

Over the years, a fair amount of Mr Khotseng’s poetry has appeared in a miscellany of newspapers, magazines, journals and on the internet. His far ranging subjects and topics straddle not only politics, but socials, sports, gender affairs, and even politics. This is the first collection of his dense poetry in book form - titled Hold back your tears ~ A blurb from the book

“This collection is a celebration, bounteous mirth and density of poetry...for years on end, Ntate Khotseng has been a great, if rather unsung poet. We are all delighted to see his maiden collection of poetry in book form,” literary commentator Flaxman Qoopane says.

Another tree dies ('An alien tree') - Milnerton - some time in August 2010

Bordeline: 04 December @ Obz. Community Centre

St George's Mall, Cape Town (Shrt: the rly shrt flm fstvl) - 01/12/2010

Tomorrow

i could wish for a new world
one without the memory of Yesterday
but one brimful with nothingness of Tomorrow
perhaps there'd be much more to live with then
but again, Tomorrow may be a lie of yesterday's hopes
Tomorrow, come anyway - we need a new thought
for this is the only world we have

Deon Simphiwe Skade

Tlokwe Sehume's wisdom

''He mogotsi ha re ratane re ba bolaise pelo,''

Extracted from the song Masepalati, lifted off the album, Naga ya Fsa.

An interview with Dave Chislett

Dave Chislett, a journalist, public speaker and author, agreed to an e-mail interview to share knowledge on the concept of self-publishing in South Africa. He is the mastermind behind the Urban Series ((Urban 01, Urban 02 and Urban 03), which brought out short story compilations that saw comedian Tshepo Mogale showcase his work among others writers.
This interview was done before Dave launched his book, 1,2,1,2: A Step By step Guide To The SA Music Industry.

Deon Skade: How would you say self-publishing is received in South Africa; that is from book sellers to the entire literary community?

Dave Chislett: I think that, seeing publishing as a whole is generally based on the reputation of the author, that the book buying and reading public at large has no issue with self-publishing as long as a recognisable and quality product is delivered. It is true that book sellers may have struggled with it in the past, but as digital publishing makes self publishing more affordable we are starting to see a change in this as well. Self published authors typically face big logistical challenges with distribution, but if these are overcome, book sellers are usually happy to carry their works. But from both points of view, as long as you are talking about a quality product from a recognised name, for most there is no difference.
 
Deon Skade: Self-published authors do not generally receive the same attention as those published by major publishing houses for many reasons. Is it not appropriate for self-published authors to get more recognition for their work, bearing in mind the amount of energy and time they dedicate to getting their work out there?

Dave Chislett: No, I don’t believe it is appropriate for them to get more attention. After all, this is about the writing, it’s not a book exposure competition. If the book is good enough, the quality of the writing, printing, design and layout are all there, why should anyone receive preferential treatment? Typically self published authors will struggle with media exposure because they lack the network and the infrastructure the major publishing houses have established over time. But a self published author can also develop these relationships, it just takes work.

Deon Skade: What has been the greatest challenge for you as a self-published author in an environment that still grapples with 'low book sales'?

Dave Chislett: Low book sales are a challenge to everyone. I think the key to dealing with our publishing environment is to understand exactly what you are facing and strategise accordingly. I am not relying on my sales royalties to be my retirement fund. But I am using the momentum generated by the books sales and media to fuel my career in general and my public presence in general.

Deon Skade: Now to your book, A Body Remembered. How has the reception been so far?

Dave Chislett: A Body Remembered wasn’t a self published volume. What it was, was a unique collaboration between author and publisher where I had way more control over matters like marketing, editorial input and design and layout in a short term, mutually beneficial deal, which is why many mistook the book for being self published. Ge’Ko is a small imprint based in Johannesburg, but an established publisher. However, they recognised the potential of my public persona to allow a unique experiment in publishing that gave me almost more control over the placement, marketing and exposure of the book than they did.
Notwithstanding low sales, the book was received well critically, and sold as well as could be expected for a debut anthology and did the job of getting my name back out there as an author of fiction.

The next book, “1,2,1,2: A Step By step Guide To The SA Music Industry” is a complete self publishing project, and has been received VERY well, even ahead of its publication date (29 September) This is due to the fact that it is a highly niched publication aimed into a market that desperately needs such a volume of work. Only time will tell how well it sells, but pre-indications are very strong.
 
Deon Skade: Short stories are said to be the least selling of literary works. What motivated you to publish this volume?

Dave Chislett: In 2001 I created Urban One, a showcase for previously unpublished fiction writing talent. That book went on to sell out its 1500 unit print run in 2002. I edited Urban 2 and in 2003 Urban 03. After a long break from publishing with those books, I felt it was time to release my own anthology containing only my work. The stories in it date from my university days right up to the year of publication. It was time to introduce the idea of me as a fiction author in my own right, an objective which the book accomplished.
This was intended to create a platform of awareness from which I could launch a series of publications. The next one is, “1,2,1,2: A Step By step Guide To The SA Music Industry” at end September 2010, with an anthology of poetry in early 2011 and a book on the history of SA punk in mid to late 2011. Now that I have gone self-published, these will all be self published titles.


Deon Skade: What was the idea behind the form of the stories in this volume? I mean they are frank and easy to read in that one moves from one page to the next with relative ease.

Dave Chislett: The form of the short story collection is conveniently accidental. Literally they are the best stories from a 20 year period of writing and were selected from a much body of work. So in essence, retrospective greatest hits if you will. I am glad to hear there is flow as we did think pretty hard about the order, but with no dominant theme this was done for rhythmic rather than content reasons.

Deon Skade: Aryan Kaganof and Omoseye Bolaji are two prolific authors that come to my mind when I think of the next question: Is it true that only a few hard working individuals survive in this business of self-publishing?

Dave Chislett: In the information over-load that we live in, only the hard working survive anywhere! Having a publisher does not make you immune from media invisibility, slow sales or public scepticism. The antidote to all of these things is hard work, with publisher or not. Anyone who thinks otherwise is doomed to failure.

Deon Skade: As a music journalist, do you see self-publishing rising in this industry too?

Dave Chislett: The concept of independent music or self releasing with music is well established and has become the fulcrum upon with modern music relies for progress. Without the Indies there would be no feeder chain to the mainstream media and the big labels, it forms a continuum of growth. Hopefully we will see similar things develop in publishing where reputable small imprints or individuals begin to develop a reputation for cutting edge, forward thinking, high production value work and start to change the business from the underground.

Deon Skade: The Urban series was an exciting project which showcased fresh voices which included the late Phaswane Mpe, among others. What has lead to a discontinuation of such a great idea?

Dave Chislett: The Urban series is not dead; it is just in a vegetative state waiting for new technology to revive it. Essentially it was discontinue when my relationship with that publisher broke down. Plans to revive it were stymied by financial and logistical obstacles. However, I have every intention of resurrecting it as a multi platform initiative in the near future.

Deon Skade: Was it commissioned work or more an idea you birthed and ran with?

Dave Chislett: The Urban series was my idea, born over lunch in conversation with my friend Eve Grey. It was conceived out of frustration over the fact that, as someone with no reputation in the publishing industry, it is impossible for new talented writers to get published. The 1st book and indeed the series was designed to be a vehicle to change that. So, while a lot of writers got published, it failed as a feeder for publishers, but it worked very well for individual reputations, I think. It certainly met its career objectives from my perspective.
 
Deon Skade: Do you have any advice you may want to share with writers who wish to self-publish their work?

Dave Chislett: Being self published cannot mean not being self critical or delivering sub standard work. Just like in the music industry, not going with a major has a good financial basis as a decision. You will earn way more per unit sold as an independent. The distinction needs to be drawn between self publishing and vanity publishing. I do not do vanity publish, I run a business and work hard to deliver a proper product that will make an impression as I have every notion of rooming a long term career in this arena.

If you are not prepared for a lot of hard work, have no long term strategy and no real idea of what to expect in terms of sales, I would discourage you from self publishing; you will just lose a lot of money. However, if you want to seize control over your career and are well informed, hard working and serious, why bother with a publisher? Marketing has never been their strong point anyway, and if you can solve that riddle the rest of their functions are easily replicated by a team of freelancers.

Deon Skade: Thank you once again for your time David. Good luck with your book and future projects.



For more info on the new book and the author, visit www.davidchislett.co.za 

Photo use courtesy of Dave Chislett.

Leela James performing Sam Cooke's "A Change's Gonna Come"

Her ideas

She walks within all these people, but she doesn't see herself as one of them.
Her ideas of herself are much bigger than what they think of  themselves.
She may be their unacknowledged aspirations. But she's her worst fear; an eternal inefficiency because she doesn't want to open herself up to the light and the simplicity of this universe.