ameera conrad – on exhaustion over a lack of understanding

ameeraI am tired
God Almighty, I am tired
of being told that we need to move on,
that we need to forget,
that we need to put the past behind us,
that Apartheid is over.

They don’t understand.
We never will.
Our bodies are monuments of centuries of torture,
trauma
terror
these exist in us
we live it every day.
We built this country
slaves
whips at our backs –
The Man holding the whip did not build –
we built.

Apartheid is not over.
No magic TRC wand can bippity-boppity-boo! it away.
Our glass carriage is still a pumpkin,
rotting,
pulled by rats.
A polite revolution over tea and crumpets, good Sir,
‘twas the order of the day.

When could we mourn?
When could we cry?
When could we scream
for our loved ones lost
our chances trampled on?

Please Mastah Baas Meneer,
Asseblief,
Gee my ‘n kans om te huil
vir my ma
en my pa
en my susters
en broers
gee my ‘n kans om te huil.

Let me stand up for myself
and for those who stood before me.
Let me march for myself
and for those who marched before me.
Let me call out AMANDLA
and raise my fist
and let me cry
after hundreds of years
let me cry.

— Ameera Conrad
4th Year
B.A. Theatre and Performance at UCT

Please visit Ameera’s blog, HERE.

UCT black academics: when they arrived!

A substantive account of what students are doing right now at UCT. Fiercely awesome.

briankamanzi's avatarbriankamanzi

Foreword

Forgive me at this moment, it is difficult to not be romantic in my description of what I feel is History in the making. This story is dedicated to my friends and comrades who are making waves at the University of Cape Town on behalf of many students, on behalf of me, on behalf of our children to change the institutional climate from the restrictions it has been gripped with through it’s inception. This latest wave of energy takes its rightful place as one, among many, of the acts of resistance against the systemic forces that resist change and substantive “transformation” as voices take on a new interpretation of the never ending struggle for liberation.

Forgive me in my limitedness, as I am physically unable to recount to you all that happened but I hope you appreciate my account of what I remember.. along with the moments that, most…

View original post 1,412 more words

statement from students occupying uct’s bremner building aka azania house

BREMNER OCCUPATION STATEMENT

We, the Rhodes Must Fall movement, are occupying the Bremner building with the intention to 1) disrupt the normal processes of management and 2) force management to accept our demands. We have chosen to occupy the Bremner building, and the Archie Mafeje room specifically, because of its strategic and historical significance – it is the place where management carries out its activities, and these are precisely the activities we seek to subvert. In addition, the building is a historical site of protest – in 1968 UCT students opposed the university’s decision to rescind the professorship of one of the continent’s leading anthropologists, Archie Mafeje. We have chosen the Archie Mafeje boardroom to recognise his struggle against the very institutional racism we are fighting against.

We have claimed and transformed this space to begin the decolonisation of the university. We are implementing a programme of rigorous political education under the guidance of a group of black lecturers from UCT and other South African universities that interrogates and problematizes the neo-colonial narratives pertaining to Africa. This education forces us to reject these narratives and their normative nature because they re-inforce our displacement both geographically and existentially.

We have begun to question the entire neo-colonial situation, whether South Africa belongs to all those who live in it and whether it is us the people that are occupying this building or whether we are realising the fact that this building and its land always belonged to the people. This education has extended far beyond the falling of the statue and has reached the language of struggle. How do we organise, how do we mobilise and most importantly how do we get what we want. How do we resolve the tensions between Pan-Africanism and intersectionality, moreover how does that implicate our own movement. Management has told us that they are allowing us to stay in Bremner. This building that sits on the land of black people, this building that was constructed on the sweat and blood of black people. If UCT is not afraid at this point all we have to say is NANG’UMFAZI OMNYAMA MAX PRICE!

We are here because we are calling into question the legitimacy of the supposedly democratic process Dr Max Price has put in place to address the removal of the Rhodes statue.

It is infuriating that management is attempting to open up a process of debate through their plan of action. Alumni have been emailed and asked for input, and notice boards have been put up near the statue to allow for comment from the broader student body. This is unacceptable to the black (by this we mean all oppressed people of colour) students, workers and staff belonging to this movement. It is absurd that anyone besides those who experience the statue as a violent presence should have any say in whether the statue should stay or not. White students in particular cannot be consulted in such a process because they can never truly empathise with the profound violence exerted on the psyche of black students. Management is making clear through this process that they are not interested in alleviating black pain unless the move to do so is validated by white voices. Opening up the discussion to an alumni that is overwhelmingly white and male will only prejudice black people, and black women particularly, in the decision-making process. To refuse to explicitly acknowledge these skewed demographics is unacceptable. Our pain and anger is at the centre of why the statue is being questioned, so this pain and anger must be responded to in a way that only we can define.

Further, the ‘Have Your Say’ notice boards have only made UCT’s black community more vulnerable – UCT has crafted a space that allows students to be blatantly racist with impunity, at the expense of a safe space for black people. This shows that UCT either does not know the violence black people face here, or they truly have no interest in our protection. Finally, it is revealing that while black protestors are threatened with and are facing investigations, the racist backlash from white students has been met with silence by the university.

That the presence of Rhodes is seen as debatable shows that management does not understand the extent of the terrible violence inflicted against black people historically and presently. The push for dialogue around the statue reflects the disturbing normalisation of colonisation and white supremacy at UCT.

In his letter “From the VC’s Desk: Rhodes statue protests and transformation”, Dr Price states that there has never been such university-wide discussion on this issue. He does so without interrogating why this is the case. It is the fault of UCT management that discussion has been suppressed for so long. Black students have clearly not had any channels through which to express their pain within the university, and no genuine steps have been taken by UCT to provide such. It is telling that a student had to go to the lengths that Chumani did in order to garner the university’s attention on issues of black pain. The fact that management has clearly disregarded the experiences of black students, staff and workers for the last 21 years on this campus calls into question their legitimacy in dealing with the issue of removing the statue.

The illegitimate nature of this process is also illustrated by our walk-out last Monday in protest of the disingenuous Heritage, Signage and Symbolism seminar. After the walk-out, the remaining members of the seminar stopped the discussion to respect student protestors and our decision that any conversation on the statue can only happen on our terms. The fact that the Vice-Chancellor mentioned this seminar in his letter without contextualising it reveals that he is committed to upholding a process that is clearly to the detriment of black students.

We take issue with Dr Price’s reasoning that “it is a council decision”. Again, the only view relevant to the decision is that of black students, workers and staff, and we refuse to accept the trivialisation of this fact in the form of management prioritising white stakeholders. We are also fully aware that UCT senior management has taken unilateral decisions before with no delay – we refer here to the decisions taken on the admissions policy which was pushed through by senior management.

We stress that this movement is not simply about the removal of a statue, and removing the statue is only the first step towards the radical decolonisation of this university. The removal of the statue is the first condition of our campaign – from which point we will allow management to engage with us. We demand that Management accepts that there is no decision to make: this movement has decided that the statue must fall. We demand that Dr Price organises an emergency meeting of council this week Friday the 27th of March to discuss the processes involved in removing the statue from this campus. We will remain in Bremner building until we receive confirmation of this.

ethel waters – his eye is on the sparrow

Pause to watch, listen and reflect.

Have you ever experienced the weird magic of coming across something obliquely on Youtube, on your way somewhere else, and it speaks so powerfully, so uncannily, to all the things happening right now around you that all the hairs on your body stand on end? This is one of those times. The scene comes from a 1952 film called The Member of the Weddingbased on the book/play by Carson McCullers, starring Ethel Waters, Julie Harris and Brandon De Wilde. I came across it because my housemate Khanyi and I were singing this old hymn, hamming it up Lauryn-Hill-in-Sister-Act-2 style. I wanted to check out some of the older versions… and this clip revealed itself to me, complete with contextual preamble.

Just to tether this to a little of my own current context (I unfortunately don’t have time to write much right now), here is something written by one of my MPhil classmates about the student protests demanding the removal of the statue of Cecil John Rhodes that are currently happening at UCT, and here is the official SRC statement on the matter.

member-of-the-wedding-julie-harris-ethel-waters-brandon-de-wilde-1952

on a “deaf safari” with felix laband

Watch Felix Laband’s brilliant set at the 2015 Cape Town Electronic Music Festival on 8 February (click the hyperlink – the darn embed function doesn’t seem to work properly on WordPress).

Felix opens this particular “Deaf Safari” with a dodgy old recording (that I think I actually gave him!), of Marais and Miranda entertaining a frightfully colonial white 1950s audience with their “knowledge” of “Hottentot” and “Zooloo” linguistics. With a subversive stammer, it segues into an hour-long journey of cut-up sounds and visuals.

Laband displays fluent familiarity with and yet alienation from spectacular capitalist consumer tropes. The oversaturated bricolage of radio preachers, politicians, porn, pulp cinema, big game and exoticised cultural representations is absurd and defaced: eyeless, toothless, festering with skulls. Sound and visuals work in counterpoint: horny assemblages dripping blood and infection; a snatch of Cat Power’s languid “Satisfaction”. His work foregrounds our mindless addiction to and manipulation by these fragments bouncing off the walls onto one another, their banality dismembered, dislocated, demented, discordant, decaying.

A voice in Queen’s English: “I was wondering what it is that you don’t want to remember so badly… To put it another way, what are you trying to forget?”

The response, implied in the guitar run sampled from Nico’s “These Days”: “Please don’t confront me with my failures… I had not forgotten them.”

Felix forces us to examine ourselves honestly. This I love most deeply about what he does: he will not allow us to forget, nor feign ignorance. There are naive melodies, but there is no innocence, no deafness nor blindness. We are taken through his cabinet of jabbering apparitions, racist, patriarchal horror haunting every suburban corner, lullabies, toyi-toyi chants… The valley of the shadow of death… We are not tourists. This is our own back yard. We stare the nightmares down, bopping in slo-mo. The voices persist, demand acknowledgement until they dissolve. It’s a kind of exorcism.

And beyond that, always, despite all the schizophrenic folly and sadness, hope and jubilation live on in the unfinished refrains of blues ghosts captured long ago on wax… Vera Hall, Stack O’Lee, prisoners and murderers alike now free… and there is space to breathe, place to be here now, without judgement… we are bathed in grace and exquisite melody.  This is strong muti for South Africans’ sickness.

deaf safari

Collage: Felix Laband

I can’t wait for his new album, and I highly recommend that you see him live if you get the chance: he’s on form like never before and it’s a profound trip.

P.S. Read Sean O’Toole’s great interview piece for Mahala on Felix’s return (his new album, Deaf Safari, is set for release next month, after an almost decade-long gestation).

life does not die. art does not die. joburg will not die. a tribute to the life of lesley perkes @LesPersonas

Life does not die. From Lesley's 'The Troyeville Bedtime Story' Tumblr. http://troyevillebedtimestory.tumblr.com/

Life does not die. From Lesley’s ‘The Troyeville Bedtime Story’ Tumblr.http://troyevillebedtimestory.tumblr.com/

Lesley Perkes, Joburg’s and Art’s fiercest warrior, has left Troyeville. In the only way she ever would.

But life does not die. Art does not die. And Lesley’s art and life certainly never will. And Joburg never will; because Lesley would never let it. All we can do is continue her work, her energy, her passion, her life, her chutzpah.

When I messaged her after hearing about the cancer and told her I was devastated, she responded: “Don’t be devastated. I’m going to be fine.” Her strength, humour, indefatigable idealistic realism and feistiness implore us to respond to this in the same spirit.

https://www.youtube.com/watch?v=oFYRjRtTYL4

Sleep well, Lesley. You are the Troyeville Bedtime Story, and we will read you like all good oral traditions to generations to come.

Much love to you, Les,
to Chili, Marta, Sonja, the sisters, the Joburg family

Screen Shot 2015-02-13 at 09.12.27

From: https://germainedelarch.wordpress.com/2015/02/13/life-does-not-die-art-does-not-die-joburg-will-not-die-a-tribute-to-the-life-of-lesley-perkes-lespersonas/

so, happy in cape town?

ORIGINAL  (threw up in my mouth a little):

DETOURNEMENT (all that is basically changed is the soundtrack):

http://youtu.be/cXoyHBNMCsM

We want to thank you for flying with us
We know you coulda stayed home, just cried and cussed
May all your guns go off if it’s time to bust
May all they tanks have time to rust
They got the armies turning bullets into gold
They got the hookers turning tricks in the cold
And every time the police kicks in the door
An angel gas brake dips in the O
And even if a d-boy flips him a O
It ain’t enough to buy shit anymore
Sleep in the doorway, piss on the floor
Look in the sky, wait for missiles to show
It’s finna blow cause
They got the TV, we got the truth
They own the judges and we got the proof
We got hella people, they got helicopters
They got the bombs and we got the, we got the

Don’t talk about it
It won’t show
Be about it
It’s ’bout to blow

I just spit the dope lines, I don’t snort ’em
Tell the boss to call police to escort him
You don’t write all them lies, you just quote ’em
Get offline, plug in to this modem
No, you can’t out-vote ’em
The rules is still golden
Only jewels we holding is if we guarding our scrotum
If you press your ear to the turf that is stolen
You can hear the sound of limitations exploding
Please sir, may we have another portion?
We’re children of the beast that dodged the abortion
Neck placed firm ‘tween the floor and the Florsheim
We’ll shut your shit down, don’t call it extortion
Caution — we’re coming for your head
So call the Feds and get files to shred
Every textbook read said bring you the bread
But guess what we got you instead?

Let’s keep it banging like a shotgun
We in a war before we fought one
Now if you’re tired of working so they can play
A common enemy, we got one
Now keep it banging like a shotgun
We in a war before we fought one
Now if you’re tired of working from day to day
A common enemy, we got one

come with us to the edge of wrong tomorrow

I’m part of the South African curatorial/organising team for this series of collaborative multi-medium performances. If you’re in Cape Town, check EOW 9.1 out tomorrow night.

It will involve an insane mash-up of guitarists, violinists, opera singers, noise musicians, circuitbenders, chiptunists, avant-percussionists, pianists, body modification, visuals generated from cellular automata, experimental improv dance, provocative video art and the livecoded sound of the Ebola genome…

More information HERE.

poster2b

 

ravel – shéhérazade, part II – la flûte enchantée

(Bożena Bujnicka – soprano, Paweł Sommer – piano)
A song cycle by Ravel, first performed in 1904. More information about the composition can be found HERE.

The shade is soft and my master sleeps
Wearing a conical hat of silk,
His long yellow nose in his white beard.
But me, I’m yet awake,
Listening to the melody of a flute outside
which pours forth, in turns, sadness and joy,
An air in turns languid or frivolous,
Which my darling love plays.
And when I approach the window,
It seems to me that each note flies
From the flute to my cheek
Like a mysterious kiss.

kay nielsen_arabian_nights

L’ombre est douce et mon maître dort
Coiffé d’un bonnet conique de soie
Et son long nez jaune en sa barbe blanche.
Mais moi, je suis éveillée encor
Et j’écoute au dehors
Une chanson de flûte où s’épanche
Tour à tour la tristesse ou la joie.
Un air tour à tour langoureux ou frivole
Que mon amoureux chéri joue,
Et quand je m’approche de la croisée
Il me semble que chaque note s’envole
De la flûte vers ma joue
Comme un mystérieux baiser.

 

an israeli soldier’s story – eran efrati

This deserves to be heard. The cynical manipulation and deception happening will blow your mind. This talk by ex-Israeli Defence Force soldier Eran Efrati was filmed in Denver, Colorado on March 3, 2014 as part of The Soldier and the Refusenik U.S. tour with Maya Wind. Eran talk about his experiences in the Israeli Defence Force (IDF) and then more broadly discusses Israel, its relationship to the U.S. and the global expansion of militarism. 

Eran Efrati, 28, was born and raised in Jerusalem. After graduating high school he enlisted in the IDF, where he served as a combat soldier and company sergeant in Battalion 50 of the Nachal Division. He spent most of his service in Hebron and throughout the West Bank. In 2009, he was discharged and joined Breaking the Silence, an organization of veteran Israeli soldiers working to raise awareness about the daily reality in the Occupied Territories.

He worked as the chief investigator of the organization, collecting testimonies from IDF soldiers about their activities. He also guided political tours and to the West Bank and worked to educate Israeli youth about the reality of being a soldier in an occupying army. His collected testimonies appear in the booklet “Operation Cast Lead” and their most recent release “Our Harsh Logic”.

Since leaving Breaking the Silence, his investigative reports appeared in The New York Times, The Washington Post and The Guardian. Today he is active with the Israeli groups Anarchists Against the Wall and Boycott from Within.

 

fela kuti & egypt 80 – beasts of no nation

This post goes out to FIFA president Sepp Blatter and all the people aligning themselves with various national football teams in the bizarre competitive spectacle that is the FIFA World Cup.

Happening this time round in Brazil, FIFA bleeds yet another host country’s economy dry, with the willing help of its own government – systematic violence, neo-colonial parasitism. Last time it was South Africa’s turn, and the effects are still being felt here.

BeastsOfNoNation

kola boof

This Ohio bookseller refuses to carry African writer Kola Boof's novels because of nudity.

This Ohio bookseller refuses to carry African writer Kola Boof’s novels because of nudity.

“I don’t agree that I am controversial. What I feel is that most people are not critical thinkers.  The society tells them what to believe, what to think…and their knee jerk reactions are guided completely by that conditioning.  They usually realize later on that what I’m saying is not controversial… when they take time and think in depth.  Even if they don’t agree with me… they understand what I’m saying without all the claims of being shocked by controversy.  I’m not a controversial person if you’re a critical thinker.”

Check out Kola Boof’s website, where you can also read more of this interview.

vice v – mr president

http://youtu.be/WTvc0HI3Mjc

“Mr President” is the controversial first single released on Long Talk 2 Freedom. It is a work of hip-hop protest literature which deals with the failed presidency of Jacob Zuma. The work remixes, and was inspired by, Tunisian rapper El-general’s classic, “Rayes lebled”, which became the theme song of the Tunisian revolution which brought Tunisian Prime Minister Zine El Abidine Ben Ali down in 2011.

Written, produced, mixed and mastered by Sizwe Mpofu-Walsh aka Vice V
Recorded by Tiger.X

Speeches referenced:
T. Lekota, “Response to the State of the Nation Address”, February, 2013.
J. Malema, “They Shot us Behind the Mountain: Address on the First Anniversary of the Marikana Massacre”, August, 2013.

http://longtalk2freedom.com/

being present: patric thormann, mandla mlangeni & niklas zimmer live

Happening this Wednesday, 7 May 2014, at 20h00 at Bolo’bolo76 Lower Main Rd, Observatory, Cape Town, South Africa:

zimmer et al
Dear friends,

We’re incredibly excited to invite you to a special edition of our new Eclecticity sessions – a monthly experimental music evening at bolo’bolo.

This Wednesday we’re hosting an improv set by three musicians who need no introduction: Patric Thormann (Sweden) on double bass, Mandla Mlangeni (SA) on trumpet and Niklas Zimmer (Germany / SA) on drums.

Those of you who were lucky enough to attend the recent Edge of Wrong festival know what to expect from Patric and Niklas, and Mandla should be familiar to everyone who has followed the Cape Town music scene over the last few years. We’re lucky to be hosting three such talented performers and we hope to see lots of you there!

NB: The event is totally, 100% free. We have vegan food and drinks on sale and you may bring your own snacks and drinks as long as you respect the alcohol-free and vegan ethos of our space :-)

3600 a day – asanda kaka & valentina argirò

It is estimated that over 50% of South African women will be raped in their lifetime and that only 1 in 9 rapes are reported. It is also estimated that only 14% of perpetrators of reported rape are convicted in South Africa.

asanda kaka - 3600 per day2

The installation “3600 A Day” at Infecting The City – Cape Town, 2014. Photo: Asanda Kaka

This past week, I experienced a powerfully evocative art installation by Asanda Kaka and Valentina Argirò addressing (no pun intended!) the silent magnitude of this scourge during Cape Town’s annual public arts festival, Infecting The City.

On approaching the rows of dresses hung on crosses, one’s face materialises in mirrors positioned in the “head” space above the dresses, making it impossible to distance one’s own body from the figures represented.

Venue: Cape Town Station
Date: 14 & 15 MARCH 2014

asanda kaka - 3600 per day

The installation “3600 A Day” at Infecting The City – Cape Town, March 2014. Photo: Asanda Kaka

ARTISTS’ STATEMENT

According to a report issued by UNISA, at least one rape case is reported every four minutes in South Africa – this translates into approximately 360 cases per day. 3600 A Day is an installation of women’s’ clothes, donated by women in support of the project. The exaggerated number of 3600 serves to highlight the magnitude of the problem and the number of unreported cases of violence against women and children. In a visual shock of magnitude, the installation warns against the normalisation of such violence.

Installed on crosses, the dresses represent the individual, yet also communal impact that abuse has on all women and children in this country. Reflected in the mirrors on top of the crosses are the faces of those who approach – possible victims, perpetrators or bystanders.