Video source: YouTube
30 October, 2011
29 October, 2011
An interview Acoustic Strings could conduct with Simphiwe Dana
If the Administrator of Acoustic Strings, Deon-Simphiwe Skade, were to be given an opportunity to interview the immensely talented and equally frank Simpiwe Dana on her music and other social issues, Deon would ask the following few among a million questions:
Deon: Thank you for the opportunity granted to Acoustic Strings to conduct this interview with you. It is a great honour! I’m sure you have been asked a lot about your music since you began performing; so my focus is mainly going to be on your general consciousness and advocacy for the marginalised people of South Africa. Allow me to inform you that I’m greatly fascinated by this aspect of your life, apart from your brilliance in music too. Do you find people receptive to this side of you without what may be referred to as the mediating effect of music, which in many ways articulates similarly pertinent issues?
Simphiwe Dana would respond
Deon: Looking at Africa, or more specifically, South Africa; do you think we’re doing enough to engage each other through crucial issues afflicting us? By us I mean all of us as a people despite the fact that others in this whole may be highly privileged and may not worry about the plight of the multitudes. Are we honest enough in our dialogues, the many that have erupted since 1994?
Simphiwe Dana would respond
Deon: The mass media has the power and ability to spark issues of great importance. Various news outlets have encouraged people to engage each other on such issues and continue to do so even today. This phenomenon is crucial for a country like South Africa, which is still in its infancy stages of what is termed a democratic life. How best do you think the audience of the mass communication media may help this course?
Simphiwe Dana would respond
Deon: Hoping not to repeat the preceding question, allow me to specifically focus on the audiences' response to reports in the media. There are many irrational and unsavoury comments that are posted on many online news outlets, which may perhaps indicate the extent of anger we have towards each other as a nation, especially along the colour lines. How do you think this important function of being allowed to share one's views with the multitudes could be constructive and effective?
Simphiwe Dana would respond
Deon: As much as I don't personally aspire to amass wealth, I'm very aware and understand that others have such dreams and should be allowed to achieve them through equal opportunities which for some reason the government is not availing to all, judging by the continued poverty that is plaguing black people. Why do you think some people are opposed to conversations that the ANC Youth League president is trying to stimulate regarding the nationalisation of mines, as one way of broadening this field of opportunities? Because right now, it feels pretty much like a taboo for people to talk about this issue and other similar ones. Why do you think this situation is like this, if at all you’ve seen the same? Or alternatively, please tell us about what you have observed on the issues of wealth re-distribution.
Simphiwe Dana would respond
Deon: I wish for us to shift the focus to what the late Nat Nakasa would refer to as the officialdom (meaning authorities or officials) I’m always concerned with how the “officialdom” reacts towards issues affecting civilian life, especially when such issues are of crucial importance. I say this having your Twitter exchange with the Western Cape Premier, Helen Zille in mind. Now, her response to what I thought was a valid concern from you over how the Western Cape is run, presents a number of troubling questions (this of course goes further than this particular case – officials in various positions). Does it mean that you or any other member of our society is not allowed to express yourself/ves on political issues because you're not a political analyst or a politician for that matter? What's your take on this issue and how has it been resolved, if at all any?
Simphiwe Dana would respond
Deon: South Africa is deeply divided along colour and economic lines as we’ve seen. This becomes more evident when certain stories break in the mass media. The recent firing of Eric Miyeni, which in some ways is similar to how David Bullard was relieved of his duties, presents a very interesting talking point on how we deal with issues where there is a great deal of polarisation of perspectives. One can’t help but ask the following: Does firing people without comprehensively dealing with what may have lead to their dismissal help us build a better country? Or are we just disassociating ourselves from people who spark these “controversies” without correcting what may need adjustment? How do we eradicate sexism, racism, violence and many other ills plaguing us without engaging in robust and frank debates on such issues? (I’m not in any way taking a position in these two cases stated above, but merely challenge people to talk openly)
Simphiwe Dana would respond
Deon: Now, closer to the music. You and Thandiswa Mazwai are arguably the most sought after local artists in terms of your commitment to African heritage in a pool of just a few of similar commitment. Your respective artistic freedom is evident in your projects, not to mention the frankness and honesty your expressions carry. Miss Mazwai sings about the flaws of a political system of voting in her song, Ngimkhonzile. And you on the other hand, sings about the continued poverty of black people in Sizophum’ elokishini (my most loved of your songs by the way). As highly talented and articulate artists, you are both not hesitant about taking a firm stand against the injustices the marginalised people are made to suffer (Please excuse my reference to people as marginalised I hate to use the word poor). Are there moments you feel many others should advocate for similar courses and how do you feel about the aspect of advocacy in music today?
Simphiwe Dana would respond
Deon: What drives your commitment toward these expressions and what shapes your consciousness? I pose this question having seen how as a people we end up ignoring others’ suffering because we’re in privileged positions.
Simphiwe Dana would respond
Deon: Perhaps we should specifically divert our attention to your music a bit. I get a feeling that some people did not understand what you were trying to do with The One Love Movement on Bantu Biko Street; which for me is your most poignant record. Where do you think there may have been an oversight from the audience side, including the reviewers? I mean you had an impressive ensemble that featured the likes of Keiko Matsui, Feya Faku, Bheki Khoza and many others. Was the mixed reaction perhaps from the great success that was achieved by Zandisile?
Simphiwe Dana would respond
Deon: How has the reception of Kulture Noir been like? Do you feel you've gained many new audiences? What I can sincerely tell you with regards to this record is that it’s wonderfully progressive and highly matured, not to mention beautiful.
Simphiwe Dana would respond
Deon: How much of South African social conditions and perhaps the world’s too, affect your music and life; and to what extent is this effect? In essence, what inspires Simphiwe Dana both artistically and personally?
Simphiwe Dana would respond
Deon: Now back to the politics again and almost wrapping up. Post Apartheid South Africa professes to have liberated so many elements of our lives; which when one looks around at the evidence in the streets, seems to see contradictions. I wish to take you back to the Truth and Reconciliation Commission, if you may allow me; which I think had flaws that were not addressed when a few people pointed them out if I recall well. Do you think we may have gone wrong at the commission, where we did not thoroughly deal with justice? Or was is it more a case of exaggerated excitement of having become a so-called democratic society that we lost that critical eye of reflection?
Simphiwe Dana would respond
Deon: I understand you have a national tour of schools hosting concerts, and are planning to host motivational talks for school kids in the near future. From what I've read, the financial support has not been forthcoming. What can you attribute this to, and also tell us more about how your journey in this regard has been like thus far.
Simphiwe Dana would respond
Deon: How can interested people get involved in this project?
Simphiwe Dana would respond
Deon: Miss Dana thank you generously for your precious time and responses to the above questions. It was an honour indeed! Best of luck with all the future projects.
Simphiwe Dana would respond
Note: These questions were written in August 2011.
Deon: Thank you for the opportunity granted to Acoustic Strings to conduct this interview with you. It is a great honour! I’m sure you have been asked a lot about your music since you began performing; so my focus is mainly going to be on your general consciousness and advocacy for the marginalised people of South Africa. Allow me to inform you that I’m greatly fascinated by this aspect of your life, apart from your brilliance in music too. Do you find people receptive to this side of you without what may be referred to as the mediating effect of music, which in many ways articulates similarly pertinent issues?
Simphiwe Dana would respond
Deon: Looking at Africa, or more specifically, South Africa; do you think we’re doing enough to engage each other through crucial issues afflicting us? By us I mean all of us as a people despite the fact that others in this whole may be highly privileged and may not worry about the plight of the multitudes. Are we honest enough in our dialogues, the many that have erupted since 1994?
Simphiwe Dana would respond
Deon: The mass media has the power and ability to spark issues of great importance. Various news outlets have encouraged people to engage each other on such issues and continue to do so even today. This phenomenon is crucial for a country like South Africa, which is still in its infancy stages of what is termed a democratic life. How best do you think the audience of the mass communication media may help this course?
Simphiwe Dana would respond
Deon: Hoping not to repeat the preceding question, allow me to specifically focus on the audiences' response to reports in the media. There are many irrational and unsavoury comments that are posted on many online news outlets, which may perhaps indicate the extent of anger we have towards each other as a nation, especially along the colour lines. How do you think this important function of being allowed to share one's views with the multitudes could be constructive and effective?
Simphiwe Dana would respond
Deon: As much as I don't personally aspire to amass wealth, I'm very aware and understand that others have such dreams and should be allowed to achieve them through equal opportunities which for some reason the government is not availing to all, judging by the continued poverty that is plaguing black people. Why do you think some people are opposed to conversations that the ANC Youth League president is trying to stimulate regarding the nationalisation of mines, as one way of broadening this field of opportunities? Because right now, it feels pretty much like a taboo for people to talk about this issue and other similar ones. Why do you think this situation is like this, if at all you’ve seen the same? Or alternatively, please tell us about what you have observed on the issues of wealth re-distribution.
Simphiwe Dana would respond
Deon: I wish for us to shift the focus to what the late Nat Nakasa would refer to as the officialdom (meaning authorities or officials) I’m always concerned with how the “officialdom” reacts towards issues affecting civilian life, especially when such issues are of crucial importance. I say this having your Twitter exchange with the Western Cape Premier, Helen Zille in mind. Now, her response to what I thought was a valid concern from you over how the Western Cape is run, presents a number of troubling questions (this of course goes further than this particular case – officials in various positions). Does it mean that you or any other member of our society is not allowed to express yourself/ves on political issues because you're not a political analyst or a politician for that matter? What's your take on this issue and how has it been resolved, if at all any?
Simphiwe Dana would respond
Deon: South Africa is deeply divided along colour and economic lines as we’ve seen. This becomes more evident when certain stories break in the mass media. The recent firing of Eric Miyeni, which in some ways is similar to how David Bullard was relieved of his duties, presents a very interesting talking point on how we deal with issues where there is a great deal of polarisation of perspectives. One can’t help but ask the following: Does firing people without comprehensively dealing with what may have lead to their dismissal help us build a better country? Or are we just disassociating ourselves from people who spark these “controversies” without correcting what may need adjustment? How do we eradicate sexism, racism, violence and many other ills plaguing us without engaging in robust and frank debates on such issues? (I’m not in any way taking a position in these two cases stated above, but merely challenge people to talk openly)
Simphiwe Dana would respond
Deon: Now, closer to the music. You and Thandiswa Mazwai are arguably the most sought after local artists in terms of your commitment to African heritage in a pool of just a few of similar commitment. Your respective artistic freedom is evident in your projects, not to mention the frankness and honesty your expressions carry. Miss Mazwai sings about the flaws of a political system of voting in her song, Ngimkhonzile. And you on the other hand, sings about the continued poverty of black people in Sizophum’ elokishini (my most loved of your songs by the way). As highly talented and articulate artists, you are both not hesitant about taking a firm stand against the injustices the marginalised people are made to suffer (Please excuse my reference to people as marginalised I hate to use the word poor). Are there moments you feel many others should advocate for similar courses and how do you feel about the aspect of advocacy in music today?
Simphiwe Dana would respond
Deon: What drives your commitment toward these expressions and what shapes your consciousness? I pose this question having seen how as a people we end up ignoring others’ suffering because we’re in privileged positions.
Simphiwe Dana would respond
Deon: Perhaps we should specifically divert our attention to your music a bit. I get a feeling that some people did not understand what you were trying to do with The One Love Movement on Bantu Biko Street; which for me is your most poignant record. Where do you think there may have been an oversight from the audience side, including the reviewers? I mean you had an impressive ensemble that featured the likes of Keiko Matsui, Feya Faku, Bheki Khoza and many others. Was the mixed reaction perhaps from the great success that was achieved by Zandisile?
Simphiwe Dana would respond
Deon: How has the reception of Kulture Noir been like? Do you feel you've gained many new audiences? What I can sincerely tell you with regards to this record is that it’s wonderfully progressive and highly matured, not to mention beautiful.
Simphiwe Dana would respond
Deon: How much of South African social conditions and perhaps the world’s too, affect your music and life; and to what extent is this effect? In essence, what inspires Simphiwe Dana both artistically and personally?
Simphiwe Dana would respond
Deon: Now back to the politics again and almost wrapping up. Post Apartheid South Africa professes to have liberated so many elements of our lives; which when one looks around at the evidence in the streets, seems to see contradictions. I wish to take you back to the Truth and Reconciliation Commission, if you may allow me; which I think had flaws that were not addressed when a few people pointed them out if I recall well. Do you think we may have gone wrong at the commission, where we did not thoroughly deal with justice? Or was is it more a case of exaggerated excitement of having become a so-called democratic society that we lost that critical eye of reflection?
Simphiwe Dana would respond
Deon: I understand you have a national tour of schools hosting concerts, and are planning to host motivational talks for school kids in the near future. From what I've read, the financial support has not been forthcoming. What can you attribute this to, and also tell us more about how your journey in this regard has been like thus far.
Simphiwe Dana would respond
Deon: How can interested people get involved in this project?
Simphiwe Dana would respond
Deon: Miss Dana thank you generously for your precious time and responses to the above questions. It was an honour indeed! Best of luck with all the future projects.
Simphiwe Dana would respond
Note: These questions were written in August 2011.
27 October, 2011
The joys of doing Dipalo
Neo Muyanga's decision to structure Dipalo in its current form seems set to create rippling effects on the listener. The omission of silent spaces that ought to mark the end of songs adds an interesting dynamic to this presentation. This is simply due to the diversity of the compositions driving the music and how they each blend into each other, thus not allowing the music to die. This presentation may also discourage listeners who may want to skip certain songs for not relating to them the chance to do so. This way the listeners’ attention is held throughout the record.
This concept seems to tie in with part of the motivation behind the Chimurenga Chronic, a speculative newspaper in which Dipalo is supplied as a supplement. This newspaper project dated 18-24 May 2008, marks issue 16 of Chimurenga magazine. The main inspiration behind the publication is the devastating xenophobic attacks that erupted in South Africa in 2008. The Chronic also seeks to offer an alternative view to mainstream representation of this event and other issues around the continent -- the way the news has become formularistic. One may see Dipalo as the musical intervention of the Chronic. What is clear from how the music is composed, arranged and played is that this offering seeks to challenge intolerance and prejudice, apathy and ignorance.
Muyanga's pieces, reflective of various cultural influences, offer an important alternative to consuming music. Some of these compositions are melancholic, while others are vivacious. There are those that are eclectic, whereas others are deeply introspective. The depth in the music is only admirable. One is easily taken on a journey that explores the beauty of people and their cultures, despite years of conflict and strife. Wars have torn up lands; hostilities are relentless. But the music has always been there like an antiseptic that attempts to cleanse our wounds so that we may heal. Thus one is confident that Dipalo may bring a different kind of healing when all the sums add up.
The compositions are intricate for the intolerant and parochial ear, but extremely delightful for those who always relent to the power of music. The shift between the moods, the thoughts and the attitudes of the songs, seems like a calculated meditative exercise. Perhaps that is why this offering feels so ingenious. It takes absolute talent, intelligence and foresight to achieve such complicated simplicity, which Muyanga demonstrates through this project. The whole album is delightful, but one has to highlight the last piece, A Perfect Circle, as the ultimate winner through its sheer deep beauty. Somehow, this gentle piece seems to take away one’s inclination of wishing to run away from the sorrows of this world. The melancholy of the melody feels like a soothing balm when one’s heart fights not to acknowledge bruises caused by the many cries of those suffering injustices throughout the world.
Muyanga is a musician of immense talent that always seems to reach new musical frontiers. His previous projects reflect his depth both as an artist, composer and a visionary. Among these many projects are two Blk Sonshine albums, several solo projects and many scores for theatre and contemporary dance -- a bona fide composer.
The way the tempo of his composition changes in Dipalo, adds an interesting experience to the journey of adding thoughts and experiences up, as the Sesotho album title suggest. In my case, all the sums I attempt to make from at least ten listening sessions, lead me to a different conclusion in which I reflect on the victories and defeats of people, but mostly victories. Perhaps the intended effect with this offering is for us to see where we fit in with all these exercises in Dipalo and beyond – on how we can effect change through opening up to new ideas and ways of thinking.
I just wonder what other listeners get once they've added everything up in their listening sessions. All I know is that I'm taken by Muyanga’s compositions – he is the future!
To learn more about the Chimurenga Chronic, click here.
26 October, 2011
Nathi Xinwa reviews A Series of Undesirable Events
“The moon watched us caress. It lit over the perfect world of perfect persons, a man and a beautiful woman under its unwinking stare and the stars who winked as if celebrating our glorious kiss. Table Mountain could have peeked over that balcony to witness us under the conspiratorial luminescence of the moon.”
In Deon’s first book, nothing is as it seems. Dreams aren’t dreams and the vivid happenings are as real as the ghosts that the six friends face. The line between reality and fiction is as jaded as the start and end to each chapter. The reader is forced to read first person accounts from six points of view. At times you are confounded as to whose eyes you are looking through.
But the turn of each page delivers more than the reader can imagine.
Moshe’s story reads much like a surrealist painting. “An Old Flame That Went Out” sets the stage for all the characters the author introduces. Deon’s writing is like the ice-cold water that the protagonist uses to bring life back to his vocal chords in the haunting hours of the night. It is fluid and strikes a stark picture in the mind’s eye...
This review continues on Freeriddim, where it was source. Click here to read further
The Chimurenga Chronic is out!
Chimurenga Magazine‘s new issue, the Chimurenga Chronic, a speculative newspaper set in May 2008, is now available online via the Chimurenga Shop, and on the streets, in spaza shops and in bookstores.
For more information about this publication, including where to buy a copy, visit The Chimurenga Newsroom here
24 October, 2011
Mxo's Peace of Mind
"My vision from the start was to move into a more experimental mode - mixing what I know with new flavours to create something special and different," says MXO (real name Mxolisi Lokwe). "I want people to hear my music and get real peace of mind for the time that they are listening to it and long afterwards too."
The above extract was sourced from Skeelo.co.za. You may click here to read more about Mxolisi.
23 October, 2011
Capote
Perhaps what stands out more from the film, Capote, is the profound portrayal of Truman Capote by the immensely talented Philip Seymour Hoffman.
Maybe the true appeal rests with the impressive cinematography of the film. Perhaps it's the actors. It could also be due to the nature of the conflict addressed by the story; that of trust and betrayal. Indeed! It may very well be about morality, a very contentious subject for many societies.
Perhaps the true answer is held by the whole package. Either way, the screen adaptation is a superbly fine job indeed.
Deon-Simphiwe Skade
Thandiswa Mazwai on freedom (and the city of Johannesburg)
“... It’s always been really important for me to not only be free but to feel free. I think as South Africans we always say that we're free, but I think it's a lot harder to be free. So, in my work I try and find ways towards my freedom. And so, I always look at the city in two ways. It represents my freedom, but it also I guess represents the legacy of my oppression. That's essentially what my work is about; it's about finding a way through the freedom, because I find freedom a restless place you know. I think oppression was a lot easier because I knew what I was in oppression and what I didn't want to be. But freedom is a lot more tricky because I have to be the one that defines it I have to be the one that breaks it down. And it’s a lot more restless I think because of my expectation of what I thought freedom would be. And so, instead of being comfortable in my freedom, I find myself fidgety; trying to understand it; trying to break it down; trying to make it into what my vision was of this freedom...”
Thandiswa Mazwai
The above extract was sourced from Thandiswa Mazwai's live performance DVD, Dance of the forgotten Free.
The above extract was sourced from Thandiswa Mazwai's live performance DVD, Dance of the forgotten Free.
Party People Feat. Simphiwe Dana
Venue: Zula Sound Bar
Date: 28 Oct 2011 - 21:00
Location: 98 Long Street, Cape Town
PARTY PEOPLE returns once again to Zula Sound Bar:
As always DJ Ken Zhero will be laying down your favourite dancing tunes all night long.
PLUS:
The beautiful twist is that the legendary SIMPHIWE DANA will also be taking the stage and blessing us all with her unique and extraordinary talent.
Miss Dana has received an impressive 6 SAMA Awards, including Best New Comer in 2004 and Album of The Year in 2007 for The One Love Movement on Bantu Biko Street. Her new album, Kulture Noir comprises thirteen new songs and builds on Dana’s trademark fusion of deep African musical roots, inspired melodies and a stunningly unique contemporary voice. The result is another beautifully crafted collection to add to the South African songbook.
Join us for a night you will never forget!
R60 on the door
Mmatshilo Motsei at the Artscape
On 27 October, 1pm to 2pm South African spiritualist, author and poet, Mmatshilo Motsei, will discuss African values, worldviews and spirituality and how these contribute to change in Africa. This is a FREE Lunchtime Lecture as part of the Africa 101 programme taking place at Artscape and surrounding venues from 24th -29th October 2011.
Mmatshilo Motsei is an author, poet, speaker, healer and rural development practitioner based in Limpopo. She is also a creative strategist with numerous awards in the field of gender, gender violence and health who has founded two local advocacy and women's right organisations. Over the past decade she has worked as a counsellor, trainer, gender consultant and a rural development practitioner, introducing the concept of art in healing.
She has two books published with South African publisher Jacana, The Kanga and the Kangaroo Court –Reflections on the Rape Trial of Jacob Zuma and Hearing Visions Seeing Voices, a book looking at the breakdown in African ancestral beliefs and how that impacts on community violence. Her newest book is a self published collection of Setswana and English poetry called Sesesedi Whirlwind. (See attached for further info.)
To access regularly updated schedule, pricing and booking form for all Africa 101 events , click on poster below or visit www.africanartsinstitute.org.za. For enquiries and to request a booking form, email info@afai.org.za or call 021-465 9027.
20 October, 2011
Book launch and photo exhibition at AIDC Solidarity Centre on 22 Oct 2011
AMANDLA! Magazine and Botsotso Publications invites you to DOUBLE BILL EVENT
BOOK LAUNCH:
The launch of A SERIES OF UNDESIRABLE EVENTS by Deon Simphiwe SkadeStories set in Cape Town weaves together six stories of close friends,each dealing with unfortunate events in their lives.This is Deon's first book and is completely self published.LETS SUPPORT LOCAL WRITERS
RED ANTS
An atrocity exhibition of photographs and poems of inner city evictions on housing and the homeless.
OPEN MIC SESSION -- Bring your poems and music
Date: Saturday 22 October
Date: Saturday 22 October
Time: 6pm
Venue: 129 Rochester RD ,Obsrevatory
Contact Andre Marais @andre40marais@gmail.com/Ph 083 886 7164
Venue: 129 Rochester RD ,Obsrevatory
Contact Andre Marais @andre40marais@gmail.com/Ph 083 886 7164
Nxele's Prayer of Submission and Triumph
Father!
I am falling; I pray I fall into your hands,
now that it is too late to find balance.
Father!
I find myself in Flames; if I must Burn further,
I pray my glow Lights up the House of my Ancestors!
Above all, I pray you teach me the Secret of Letting Go.
Camagu
Monde Mdodana
I am falling; I pray I fall into your hands,
now that it is too late to find balance.
Father!
I find myself in Flames; if I must Burn further,
I pray my glow Lights up the House of my Ancestors!
Above all, I pray you teach me the Secret of Letting Go.
Camagu
Monde Mdodana
18 October, 2011
15 October, 2011
The issue of empathy in writing - an extract from an e-mail conversation
"... The dynamics of writing are very interesting indeed. One may be the most empathetic and compassionate person in real life, but may not necessarily be able to translate that into the writing discipline of his/her texts. Perhaps that is why I'm so drawn to the first person narrative; it allows me to surrender so much of my own in trying to get into the mind of the character relating the story. This does not necessarily mean one succeeds all the time in this, but, the separation between the character and the writer become clearer; at least for me the writer who has spent the whole lifetime with myself. I become very conscious of these separative traits that emanate from the characters I write about in the first person, when I surrender to their stories..."
~ Deon-Simphiwe Skade
~ Deon-Simphiwe Skade
The Forest and the Zoo – a Blue Notes tribute concert launching the Chimurenga Chronic
Chimurenga Magazine launches its new issue, the Chimurenga Chronic, a speculative newspaper set in May 2008, with a Chronic Library exhibition and a live music event in Johannesburg from 19-26 October 2011.
The Forest and the Zoo” – a Blue Notes tribute concert
Friday, 21 October 2011, from 8pm
at the Drill Hall (14/15/16 Twist Street, Joubert Park, Johannesburg)
Under the direction of composer/trumpeter Marcus Wyatt, some of Johannesburg’s leading jazz musicians, including Siya Makuzeni, Andile Yenana & Ayanda Sikade, explore Chimurenga Chronic themes such as history, exile and memory in their tribute to the freedom and prolific musical imagination of South African jazz legends, the Blue Notes.
Chimurenga editor Ntone Edjabe and DJs Nok and Soul Diablo will be on the decks, selecting gems from the Blue Notes’ and Brotherhood of Breath’s discography and more.
R20 at the gate.
The “Chronic Library” exhibition
19-26 October
at Goethe-Institut Gallery (119 Jan Smuts Ave, Parktown, Entrance on New Port Road).
The Chronic Library is an installation of posters, books, journals, music and films that trace the research and evolution of the Chimuenga Chronic. Presented as an interactive reading room, it provides background and context to the project.
The Chimurenga Chronic is the once-off edition of an imaginary newspaper which is issue 16 of Chimurenga.
Set in the week 18-24 May 2008, the Chronic imagines the newspaper as producer of time – a time-machine – which travels backwards and forwards, to place these events within a broader context and thereby to challenge the logic of emergencies and immediate needs that characterise contemporary African media. It is realised in collaboration with Kwani? (Nairobi), Cassava Republic Press (Abuja) and Glänta (Gothenburg).
www.chimurenganewsroom.org.za
10 October, 2011
Monde Mdodana shares “A perspective on A series of Undesirable Events” (A collection of short stories by Deon-Simphiwe Skade)
There is arguably no era in the development of human culture(s) when art in its varied forms has not played an essential role in reflecting society to itself. Art has always played the role of a mirror, with the artist as the sensitive individual who expresses that which is latent or unconscious in the minds of his fellow men. The paradox of the artist is that although he has to be one of differentiated individuality, he is nonetheless indispensable as a social function; a society without artists would be a society unconscious of itself.
The literary artist is no exception here. His relevance as a writer lies in his confrontation of the most urgent themes in his era. I believe that the author of A series of Undesirable Events tackles some of the most urgent concerns of our era with literary marksmanship. Although there is an underlying unifying theme, the book deals with a variety of human concerns. My discussion however, will be limited to themes such anxiety, vanity and superficial human relationships.
Anxiety is one of the most recurring themes in modern literature and philosophy. Unlike the enlightenment “Age of Reason” that came with the cultural and intellectual Renaissance that gained momentum in Europe around the seventeenth and eighteenth centuries, our era is, in the words of W.H. Auden “The Age of Anxiety”. But we can never have a creative discussion of anxiety without referring to actual individuals who have to struggle with it. This is where the literary artist is indispensable as the source of insight into the struggles of his era; to his stories and characters we now turn to see if Auden's designation of modernity is justified.
The first source of anxiety in the series is the HIV/ AIDS epidemic. Circumstances force the narrator of the first story (An Old Flame That Went out) to acknowledge the epidemic as a post modern human crisis of tragic proportions. His reaction is that vague, gnawing feeling; “If it was sadness that griped me at that stage, it was not for a former lover . . . It was sadness I could not fathom, sadness too strange to comprehend.” Such feelings are not exaggerated neurotic reactions; in fact I think it would be more neurotic to be immune to such reactions with an epidemic of such proportions on our hands.
Another source of anxiety is the need to conform. The need to conform engenders anxiety because one can not become what one is not. Lorraine (a character in the story Class Act) is a social climber who wants to hang out only with the “right people” and is anxious to be accepted into high society. She has a couple of failed suicide attempts below her belt. But she looks outside of herself; she focuses on appearances and fails to comprehend the lesson of her anxiety: that one can not overcome one's past by running away from it.
“There's always a sense of urgency”. There is also insomnia; “I found myself awake in the middle of the night.” The narrator of the story Suspension cannot rest because he is “working overtime”, and he is anxious about the procurement supervisor position that he applied for. “I could also rent a bigger flat in Parklands, Table View.” The relentless upward climb is the theme of our post modern tragedy or comedy. It engenders alienation. The narrator, finding himself awake in the middle of the night, suggests that he was beside himself, like people say figuratively; “I'm beside myself with joy”, the narrator is beside himself with anxiety. He does not leave his work at the office; he takes it to bed with him. The consequence of this attitude is that man becomes nothing but the social role that chance happens to throw his way. Now we fail to see that no man is just a lawyer or a businessman or a “procurement supervisor”.
When ever an individual represses part of himself, his whole personality is affected because we are whole entities, not compartments as our machine age would have us believe. The unacknowledged anxiety in one of the characters of this series has catastrophic consequences when it finally erupts as rage and jealousy. Kgotso (a character in the story A Broken Man) finds himself in a tragic situation because he could not own his anxiety by confronting his insecurities.
Vanity and superficiality are embodied in Lorraine as in no other character: “I put my Louis Vuitton handbag between me and them as a border . . . Next to my handbag I consolidated the territory I occupied with my I-phone. I wore my face dusty caramel. Being light in complexion, I know my Estee Lauder blends well with my skin tone and does not scream like some cheap make-up in the market. My lips, glossed light pink, gave me a much younger look, but remained majestically sophisticated and perfect. I was Tyra Banks with that sophisticated look!” Lorraine has no depth. Emotional relationships are like transactions to her; whether or not she will “love” a man depends on the state of his finances. If the finances are not in order good looks and charm will do, anything that will help her break into high society. She can not feel because part of her is repressed and like I pointed out earlier, we are whole entities; one can not repress portions of oneself and have others perfectly in tact. If one is repressed, then one is systematically repressed. Systematically repressed means that one cannot feel oneself, that one has failed to surmount the most elemental requirements of genuine human relationships.
In conclusion, I would like to say that for me the most inspiring fact about the book is the fact it was written using a cell phone, a testimony of the undying and innovative spirit of the artist.
Monde Mdodana
About the author:
Monde Mdodana is an Eastern Cape-based writer. You may read some of his writings here.
09 October, 2011
07 October, 2011
Paul Lothane reviews A Series of Undesirable Events
Books, specifically works of fiction, have their special allure and can be forever. For example when millions of people worldwide think of Mark Twain, their minds immediately go to his work, Huckleberry Finn.
In Africa here a book doesn’t come more popular than Achebe's Things fall apart. Tsitsi’s Nervous Conditions seems to have assumed a life of its own too. Such is the attraction, and importance of works of fiction.
Many a time as readers, a book reminds one of others, whether in reality there are links or not. Reading this new book, A Series of Undesirable Events, my mind kept on going to Wole Soyinka s novel, The interpreters. In this wonderful work, Soyinka creates a group of young artists and intellectuals.
They include Egbo, the young aristocrat, Sekoni, the engineer turned sculpture Sagoe the journalist, Bamidele the lawyer, Kola the art teacher, etc. Their intellect lights up this book.
In Skade’s new book, we also have a group of such people - Tumi, the lawyer, Tshitso, the photographer, Sechaba, a popular fine artist, Moshe, Kgotso the graphic artist...
Not to forget the ill-fated lady, Pulane. “Pulane had not followed through on her high school dream of becoming a doctor. Her fear of blood was too all consuming for her to continue along that path. She changed to working with charity organizations after her Communication Science honours degree,"
So here we have a group of intelligent well educated people, no doubt initially very confident and happy before things begin to fall apart. That art is very important to them is clear enough, eg Thabo and his passion for jazz.
I feel the following passage says it all:
“Art has always been a critical aspect in resistance movements wherever there has been oppression, where the masses had been deprived of dignity and subjugated and killed, art was their lifeblood - a restoration of their spirits. Art shouts the loudest. The law was often inspired to change through art. “ (Page 79.)
This work is an impressive, skilful debut. Just like in The Interpreters, there is a lot of despair and unhappy episodes. In Deon Simphiwe Skade's A Series of Undesirable Events it does seem too contrived and unrealistic.
This review was first published on FreeState Books
Siphiwo Mahala on why he writes short stories
Writing short stories for me is liberating and ignites my creative juices more than any other form of creative expression. With this book I wanted to experiment and come up with innovative approaches of presenting a book of short stories. The result of that experiment is a collection of four trilogies that are chronologically diverse but remain thematically and stylistically cohesive. This is something that I have never seen before and the effect of it is that there is something for everyone. Reading the collection is almost like reading four different novels within a single publication. Most importantly, I wanted to create a work of all times. As Njabulo Ndebele puts it: “It will outlive many of the social, political, and economic dramas of the time. The power of African Delights lies precisely there.”
~ Siphiwo Mahala
The above extract is part of the interview published on the Mail & Guardian. You may read the whole text here.
~ Siphiwo Mahala
The above extract is part of the interview published on the Mail & Guardian. You may read the whole text here.
Dj Richie Colin album launch: before and after the show
Pictures taken by Mpho Ralethohlane, James Ralethohlane, Pertunia Kholotsa and Rethabile Kholotsa
06 October, 2011
A Series of Undesirable Events: Key concepts
Scope and Language
Scope: With a limited focus in relating a series of undesirable events that befall a group of friends, the short story mechanism became the best option to use.
Language: In representing different characters with their intellectual, spiritual, physical and emotional standing; a certain kind of language had to be used to communicate the dynamics of these individuals.
In its capacity to communicate messages, English language had to be used in such a way that reflects its relationship with each character in the book. In the same breath, this code of communication had to demonstrate the flashes of profoundness or lack of that people display based on their reaction to circumstances around them.
In simple terms, language in this publication was used in a manner that would resonate with the scope of the story, thus the objective is fulfilled.
~ Deon-Simphiwe Skade
04 October, 2011
Aryan Kaganof on the conventional film-making techniques
‘I don’t know anything about conventional film-making techniques. I never made a conventional film so I can’t compare...’
~ Aryan Kaganof
The above extract appears in the 'extras section' of Kaganof's film, SMS Sugar Man.
~ Aryan Kaganof
The above extract appears in the 'extras section' of Kaganof's film, SMS Sugar Man.
The Melville Poetry Festival
Now that poetry has leaped out from between the covers and started thrilling adults and adults-to-be with its new image, both printed and staged, The Melville Poetry Festival gives us access to poetry in all its forms. And some to be imagined by new means.
As this year's theme is So, What's New?, exhibition visitors and participants can expect updates on the poetic languages, writing, the styles, presentations, vocalisation, publishing and media, even our national poets themselves.
The Melville Poetry Festival features poets from as many parts of South Africa as possible, the academics, the wonderfully skilled, the entertainers, the demonstrative, the adepts, the wanna-bees, the writers, the performers, the dancers (yes), the extroverts, the intros, the musicians, the dramatists, the actors and the people with pencils behind their ears.
Melville is used to hosting large events that utilise its famous streets, also interesting buildings and restaurants, everywhere, even the rooftops. Melville is an ideal venue for this national poetry festival, very central within Johannesburg, blessed with 117 guesthouses and more poets per square kilometer than anywhere else in South Africa.
Bookings for accommodation can already be made through the Melville Visitors Centre 072-305-0281. Bookings for the very wide variety of poetry events will open shortly.
Spring in Melville, when the poets are all there. The dates for The Melville Poetry Festival are Friday October 7 till Sunday October 9, 2011.
Whatever your poetic interest or curiosity, The Melville Poetry Festival has the fundis, the fun entertainments and the funny. There are various kinds of workshops, for writers by national, published poets, for performers by national performance poets, some practising South African haiku, guided creative wanderings of the vicinity, There are readings by our most namous and famous.
Find the hi-tech and new-tech ways of enhancing your own poetic experience. Book for the Poets' Picnic on the Melville Koppies. Hear who's newly who! Be there at the collection and book launches and publishers' events.
There are garden courts – learned outdoor discussions about the new directions of poetry and poesy. Experience poetry through music. Enjoy it as ballet, choreographed and danced by Itumeleng Mokgope with poet Charl-Pierre Naude.
Wonder about it as a daunting art installation. See it as theatre, both staged and as street theatre. Participate in timed performance events or bask in other's practised glory. Hang out on the streets at the stalls and market, the street cafe's and restaurants, experiencing the poetry of everyday, or just looking for your muse.
Information source: My Melville
03 October, 2011
The challenge of writing in the first person
Writing in the first person presents a situation where I inevitably confront my biases. And what becomes the guiding light in the process of storytelling is when I surrender my biases, thus allowing the protagonist character to tell his/her story without much condemnation on my part.
~ Deon-Simphiwe Skade
~ Deon-Simphiwe Skade
Omoseye Bolaji reviews A Series of Undesirable Events
This is a series of linked short stories with interesting characters and which deal with topics such as AIDS and infidelity. This author shows exceptional talent... “
So writes a perceptive reader from the Centre of the Book in Cape Town whilst warmly recommending the publication of this book by the sponsors. Those familiar with the lambent talent of the author, Deon-Simphiwe Skade would not be surprised in anyway.
This is the first published book of Deon-Simphiwe Skade, prolific and proficient blogger, reviewer, poet, philosopher, and intellectual. Here he not only confirms his awesome potential, but also whets the literary appetite of voracious readers.
This book is a collection of well-written short stories jostling alongside complementary poems. Titles are: An old flame that went out, My Epidemic, your Epidemic, Last Night, It’s a Secret, Class Act, Her Attitude, His Face.
Others are - A Broken Man, Matters of the Heart, In Need, Yesterday, Suspension, Time Keeps Its Own Time, It never rains but Pours, and Our Today, The Future.
The disparate stories here are essentially told in the first person, with the author showing astonishing skill and empathy with his characters, male and female. Arguably this reaches a peak in the story, Class Act.
The author is famed for his propensity to call himself a “dreamer” in real life, and dreams certainly loom large in this work. The pertinent question is: are they successfully integrated into the warp and weft of the stories?
Here, one might well be subjective, adumbrating the furore over the late Lenrie Peters work, The second round with its profusion of dream-like sequences...and of course Ayi Kwei Armah s early classic, The Beautyful ones are not yet born. Then there is the hilarious, finely written story, Last Night. It is also tinged with irony, and redolent with sexual undercurrents. And how’s this for a touch of the great D.H Lawrence:
“The moon watched us caress. It lit over the perfect world of perfect persons, a man and a beautiful woman under its unwinking stare and the stars who winked as if celebrating our glorious kiss. Table Mountain could have peeked over the balcony to witness us under the conspiratorial luminescence of the moon.”
(Page 28, A Series of undesirable events)
As one would expect from a grammarian like the author, and a fastidious craftsman to boot, the book is well edited and immensely readable, with fine descriptions. How about “the ping ping against the porcelain.” “the gulp I took snailed down my throat as if it was a hard bubble constrained by meagre space preventing it to move downwards,”…
For those who think this review is more like a panegyric, let me end by stating what I do NOT like about this book - its title. I really don’t know, but the title, though apt, just does not do it for me. So now you know!
This review was first published on Raselebeli Khotseng's blog, Black Africa Literature.
02 October, 2011
Barungwa-The Messengers
Nice concept jazz from a mixing of British grooves and South African jazz (and more). A trio of London's session musicians is joined by a guitarist, a vocalist, and a pianist (the late Moses Molelekwa, who died along with his wife/manager in tragic and seemingly unresolved circumstances in 2001) from South Africa, with a handful of other musicians from both continents providing some of the backing tracks. The result is a surprisingly good fusion. The sound is somewhat closer to the British end of things in general, with a sophisticated production and hankering for effects and surprise. Nonetheless, the South African tendencies for tight parallel horns and socially conscious lyrics make themselves known as well. The tone can shift from the use of simple funky horn grooves to more complex marimba melodies to beat-heavy thumps of smooth jazz with electric guitar solos laid out over the top. A very wide range of abilities is displayed, and all at a consistently high quality. This album is unlikely to be everyone's cup of cross-cultural tea, but it's not bad at all. Certainly worth hearing for progressive jazz lovers.
~ Adam Greenberg
Adam's sentiments on The Messengers were sourced from All Music
Mark Esterhuysen's views on civilisation and more
Civilisation may be a sick joke, but it’s a joke nonetheless. Once I finally understood the pathology of civilisation I felt liberated and enlightened. What a wonderful feeling! I couldn’t wait to share this epiphany with the world!
I got into my car and went straight to the anthropology department at the University of Pretoria. At that point I didn’t even know exactly what I wanted to do. I just knew that I wanted to find a way to get as far away from civilisation as possible. At that point I knew that civilisation was destructive to life on the planet, but I didn’t understand the full extent of the ecocide currently taking place.
I was happy to see an open door on the floor of the Anthropology and Archaeology Department. I knocked and went in. Generally, I would have been the type of person to wait for a period of time before taking action. This epiphany was so wonderful, however, that I just couldn’t fucking sit still!
I told the Anthropology lecturer about the article and the epiphany. I wasn’t naïve enough to think he would understand my wanting to bugger off as soon as possible, so I made up some crap about wanting to study tribal people and write books about it. He couldn’t seem to understand my case against civilisation. At that point, of course, I hadn’t read any books by John Zerzan or Derrick Jensen. I also hadn’t realised how difficult it is to explain the pathology of civilisation to one of the system’s prisoners.
I thought for a second, and said: “Is it not obvious why I hate civilisation? Humans are unhappy, animals are unhappy, the environment is unhappy. What the fuck are we doing trying to perpetuate the misery of civilisation?”...
Mark's article continues on his blog, Looking at the World from a Distance, where it was sourced. You may read further here.
I got into my car and went straight to the anthropology department at the University of Pretoria. At that point I didn’t even know exactly what I wanted to do. I just knew that I wanted to find a way to get as far away from civilisation as possible. At that point I knew that civilisation was destructive to life on the planet, but I didn’t understand the full extent of the ecocide currently taking place.
I was happy to see an open door on the floor of the Anthropology and Archaeology Department. I knocked and went in. Generally, I would have been the type of person to wait for a period of time before taking action. This epiphany was so wonderful, however, that I just couldn’t fucking sit still!
I told the Anthropology lecturer about the article and the epiphany. I wasn’t naïve enough to think he would understand my wanting to bugger off as soon as possible, so I made up some crap about wanting to study tribal people and write books about it. He couldn’t seem to understand my case against civilisation. At that point, of course, I hadn’t read any books by John Zerzan or Derrick Jensen. I also hadn’t realised how difficult it is to explain the pathology of civilisation to one of the system’s prisoners.
I thought for a second, and said: “Is it not obvious why I hate civilisation? Humans are unhappy, animals are unhappy, the environment is unhappy. What the fuck are we doing trying to perpetuate the misery of civilisation?”...
Mark's article continues on his blog, Looking at the World from a Distance, where it was sourced. You may read further here.
Baaba Maal and Mansour Seck's finest: Djam Leeli
Recorded in 1982 and originally released in 1984, Djam Leelii reappears in 1998 with all its graceful glory intact--and a little added on. Adorned with three previously unheard remastered tracks from the original sessions, this atmospheric masterpiece is carried along by the complementary voices and guitars of Baaba Maal and Mansour Seck, two of West Africa's leading lights. A sense of mystery permeates this classic of acoustic world music. -- Steven Stolder
Track List
1 Lam Tooro
2 Loodo
3 Muudo Hormo
4 Salminanam
5 Maacina Tooro
6 Djam Leelii
7 Bibbe Leydy
8 Sehilam
9 Kettodee
10 Ko Wone Mayo
11 Daande Lenol
12 Taara
Steve Stolder's sentiments were sourced here
Dentist Conspiracy revisited: A letter to the organisers
Dear Sir
I write to you on behalf of my nameless organisation, I'm trying to find an appropriate name for it, as you know , you founded this auspicious institute and I'm feeling lusterless trying to figure out how to define it for you.
Some say you are black. Some say you are an African or Afrikan. Some say you must hoist your tribal crest high above everything else in this world. Yet again and again many define themselves by the colours found in a standard 12 piece pencil crayon set, like those free stationery packs we used receive in Sub A when I started primary school in 1991. Some claim their tongue is their identity, it unites them, it defines them others even swear that their tongues never slip nor slide, let alone stumble upon myopic pluri-syllables like- "national consciousness" or even the popular "black consciousness" and the ever medical "unconsciousness" or Freud's "subconciousness".
Some I know swear by their Kings, Chiefs and Princes... anyone with flavoured blood and an ostensible appetite for luxury and riches, but even here too I gather that blue is the flavour of the month, anything skyward really earns people's trust and sometimes even a penny or two.
Some swear by their German made motif cloths, as their authenticating stamp, of "This-ness and That-ness," without a Made-In-China logo stitched to your thoughts, I'm sorry but your chances of globalising are as thin as the spreadsheet documenting Africa's exports to its neighbours.
Talking about skyward, apologies if you find my ideas rather backward but could you explain to me the actually difference between elections and selections? My knowledge of politricks is rather infantile indeed, I often scratch my head when I visit the local school and I find children who cannot read nor mould their thoughts using 26 Gregorian letters.
Sir, you know I dwell in your mind. I am a permanent tenant of sorts albeit I'm always at odds with your thoughts, you are open to even the strangest of ideologues, some are intrepid evangelists of mythical dogmas, some are clean shaven marxists, others are bearded capitalist, stubborn reformers, and funny fundamentalists... some as I tried to explain earlier baffle me, I do not have as yet, a suitable pigeon-hole for them, yourself my esteemed Excellency are included as well. Can you imagine how heinous a crime that would be to exclude a narrow minded pigeon like yourself from his dedicated hole?
This Africa Day business, what does it seek to celebrate, commemorate, what does it highlight or perhaps what is trying to detract attention from? I too attempted to buy a set of colouring pencils with my vote lately, but shops seem to carry the official government issue of 11 languages in a national set with just four colour options available. To my surprise even the so-called coloured are colourless, deemed tongueless...
You may continue reading this letter on Unathi's blog, Un8speaks where it was source. Click here to continue.
I write to you on behalf of my nameless organisation, I'm trying to find an appropriate name for it, as you know , you founded this auspicious institute and I'm feeling lusterless trying to figure out how to define it for you.
Some say you are black. Some say you are an African or Afrikan. Some say you must hoist your tribal crest high above everything else in this world. Yet again and again many define themselves by the colours found in a standard 12 piece pencil crayon set, like those free stationery packs we used receive in Sub A when I started primary school in 1991. Some claim their tongue is their identity, it unites them, it defines them others even swear that their tongues never slip nor slide, let alone stumble upon myopic pluri-syllables like- "national consciousness" or even the popular "black consciousness" and the ever medical "unconsciousness" or Freud's "subconciousness".
Some I know swear by their Kings, Chiefs and Princes... anyone with flavoured blood and an ostensible appetite for luxury and riches, but even here too I gather that blue is the flavour of the month, anything skyward really earns people's trust and sometimes even a penny or two.
Some swear by their German made motif cloths, as their authenticating stamp, of "This-ness and That-ness," without a Made-In-China logo stitched to your thoughts, I'm sorry but your chances of globalising are as thin as the spreadsheet documenting Africa's exports to its neighbours.
Talking about skyward, apologies if you find my ideas rather backward but could you explain to me the actually difference between elections and selections? My knowledge of politricks is rather infantile indeed, I often scratch my head when I visit the local school and I find children who cannot read nor mould their thoughts using 26 Gregorian letters.
Sir, you know I dwell in your mind. I am a permanent tenant of sorts albeit I'm always at odds with your thoughts, you are open to even the strangest of ideologues, some are intrepid evangelists of mythical dogmas, some are clean shaven marxists, others are bearded capitalist, stubborn reformers, and funny fundamentalists... some as I tried to explain earlier baffle me, I do not have as yet, a suitable pigeon-hole for them, yourself my esteemed Excellency are included as well. Can you imagine how heinous a crime that would be to exclude a narrow minded pigeon like yourself from his dedicated hole?
This Africa Day business, what does it seek to celebrate, commemorate, what does it highlight or perhaps what is trying to detract attention from? I too attempted to buy a set of colouring pencils with my vote lately, but shops seem to carry the official government issue of 11 languages in a national set with just four colour options available. To my surprise even the so-called coloured are colourless, deemed tongueless...
You may continue reading this letter on Unathi's blog, Un8speaks where it was source. Click here to continue.
Mobile Phone Film Competition
Arterial Network and the DOEN Foundation call for submissions of short films shot on cell phones for its first Mobile Phone Film Competition. The films will be evaluated by experts in various fields and public awareness and participation will be increased by on-line voting. So, anyone with a cell phone will now be able to become a filmmaker in the Arterial Network/DOEN Foundation Mobile Phone Film Competition.
Complete the application form here: http://arterialnetwork.org/page/competition
Complete the application form here: http://arterialnetwork.org/page/competition
Words without borders
Words without borders is a poetry reading and discussion about poetry, translation and the many worlds that poetry can transcend. Hosted by the Ilrig Globalization School 2011, the evening will be an introduction to two works: No serenity here edited by Isabel Ferrin-Aguire, Phillippa Yaa de Villiers and Kaiyu Xiao and The way of love, Mphutlane wa Bofelo's most recent collection.
Come hear James Matthews, Shabbir Banoobhai, Dorian Haarhoff, Phillippa Yaa de Villiers read their poems. We will try to have a Mandarin scholar to read the poems in translation, which will hopefully lead to a lively discussion by the activists in the audience.
This will be followed by a launch of Mphutlane wa Bofelo's latest collection, The way of love, which will be translated into Persian later on this year. More to follow.
Date: Monday 3 October
Time: 7pm
Venue: Ilrig Globalization School
Riverview Lodge, Observatory,
Cape Town
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