in de werds of another sista I love, respekt en admire so….

unspoken sentiments

I have such admiration for the diversity of character amongst friends [rafikis].

There are the brutally honest, with no filters for hot, sterilizing tongues-the poison suckers who carry loads too painful for the weak,

the soft spoken listeners who take forever and a day to take a stand, they care less (i guess) about being counted anywhere- they’re everywhere.

There are the mediators, the monotony shakers, the promise keepers, the silence breakers, group facilitators, and those with the patience to explain it all, just one more time…

There are the knowers who need a nudge. The worriers who just won’t budge, nose divers, cautious survivors, carefree caregivers, and self-directed newcomers …in/Compatibilities cause for the most magical web of relations.

Some in the net work, some don’t, some seem like they can’t, while some seem destined, but one thing that I have found is that all are capable of communicating, and love appears to be the strongest coach.

In my life I have learned so many preparations of “truth”

sour, salty, sugar sweet, bland, like sand, enough to save a dying man

fire hot red pepper tears

congestion clears

At this point I can honestly confide: I give thanks for every serving.

U know how many truths u’ve read,

on the tip of my tongue

across my forehead,

in my heated connection,

in my nervous stance

in my silent absence

in my raging dance

and, so much more, behind my words, they hide

let the intelligences amongst us be our guide.

[ase, ase, ase…….]

By yene konjit

[daughta of de most high]

The q_t werd : has evolved into dis’ present incarnation from its seeding, in Tdot en Vancouver,

five years ago…

[en in the spaces between, from before, long long long ago, there were 9(+1) dadas na baba na mama

Hadithi? Hadithi? Hadithi njoo…..Sahani? ya…….Giza? ya……..]

Dis’ doc (in the works of becoming a series) is the love child of revolushunary villages

(rebuilding en dialoguing) in Hamilton, Tdot, Nairobi, Joburg & Kampala.

Dis’ is our nekkyd truth, a.k.a  real talks, about these visions we have on our quest of re-educating not only ourselves, but others, in the practice of freedom n’ liberation: where every moon is afrikan hirstory month, every day i(nvolve)s building solidarity within our diversity n peacemaking

[In the spaces between: we develop as a collective with all the means we have, our biomythdramas, inspired by the artists who’ve studied and performed (with the core principles being developed by d’bi young of) anitafrika! dub theatre, nourished by our ancestral memories, nurtured with the legacies of indigenUS en pan-afrikan warriors]

Dis’ is us, no apologies or excuses, jus’ as is, on a journey of  healing(selves) en re/claiming our destinies.

Hadithi? Hadithi?

Hadithi njoo…

So like we’ve blogged  en said before, dis’ documentary/series is a work in progress: like we have a summer’s worth of footage,  yet we’re still developing the storyboard, still deciding (the rest of) our core characters from the 32 (and then some) stories we collected, still trying to get another camera, laptop and editing software, funding, jus’ to start….the bigger point is we hustling to manifest our dreams of a video project and (going) back-to afrika movement/s

[Youtube=http://www.youtube.com/watch?v=ke67lHxPf8A&feature=related]

So far we’ve got our ABCDE/Fn’G’s (H! ….to P will debut in November )

a is for afrika [is for anitafrika dub theatre! is for amai kuda is for audrey mbugua…..]

is the crux of dis’ here doc

En b is for black august [is for blockorama en blockobana is for bredrin en dadas in solidarity]

Are (some of) the visions of our quest

C is for colour spill productions  [is for cee swagger is for cea walker is for chan mubanga]

Some of the real/live legends of this doc

D is for Dini Ya Msambwa: our ancestral memories

En E is for (the spaces between) Elijah Masinde and Elijah Wilson

That’s wussup.

Hadithi? Hadithi? Hadithi njoo…..Sahani? ya……Giza? ya……

Kesho (kutwa) on the Q/t werd, F n’ G en people we’re learning from, who’re educating others in the practice of freedom and reclaiming indigenous afrikan knowledge systems.

[B is for bredrin en dadas in solidarity: our (vision) quest is to implement queer/trans youth arts collective/programs & circles for healing and self recovery in East & South Afrika in collaboration with anitafrika! dub theatre: an intersection of radical creativity, activity, and thought, human positive and moyo wa afrika: a coalition of Afrikans on the continent and in the diaspora who are committed to the reclamation of Indigenous Afrikan spiritualities, knowledge systems, economic praxis, and resources as the only viable means of addressing the colonially-induced dis-ease and dysfunction plaguing our peoples….

Lakini kwanza….]

A is for anitafrika! dub theatre: founded by artistic director d’bi.young in spring 2008 under the mentorship of visionary dub artist ahdri zhina mandiela, adt is a radical arts initiative rooted in the orplusi principles of storytelling, being developed by d’bi.young.

The 7 living/en/working principles are 

language, orality,

political context (or protext),

rhythm, urgency, sacredness, and integrity:

fundamental tools in the (re)emerging genre of bio-myth-solo-performance storytelling or ‘dubbin solo’,

according to artistic director d’bi.young.

[en between the lines: the Q_t werd is a documentary series/work in progress, charting the evolution of these principles  en reclaiming ancestral legacies……]

Through the intersection of these principles, the theatre seeks to explore and expand the relationship between the storyteller, their village(s), and transformation.

herstory

adt! is inspired by the seminal work of dubpoetry visionaries anita stewart and ahdri zhina mandiela. trained during the early to mid eighties at the jamaica school of drama (now the edna manley college of visual and performing arts), anita stewart wrote her thesis dubbin theatre: dub poetry as a theatre form on the progressive movement of dubpoetry into a theatrical realm which radically dramatized both the socio-economic tribulations of the jamaican people, as well as their potential for rebellion against their oppressors.

in her unpublished manuscript stewart identifies four major elements of the then emerging artform of dubpoetry — music, language, politics and performance — as bridges between the personal and the political and vice versa. stewart’s early documentation and analysis of dubpoetry as a working people’s socio-political movement, provide the primary lens through which adt! focuses.

in the late eighties early nineties, ahdri zhina mandiela coined and further developed the term dub theatre in reference to her own evolving work as a dub aatist. in the prelude to her dark diaspora… in dub: a dub theatre piece she defines dubtheatre as dramatized stage presentation comprised of varying performance component, including an indispensable/uniquely tailored dance language threading thru oral/choral work proliferating with endemic musical elements.

d’bi.young is a second generation dubpoet who learnt the artform from her her mother anita stewart and her mentor ahdri zhina mandiela. young is building on the foundational work of stewart and mandiela by developing dubpoetry/dubtheatre theory and practice through anitafrika! dub theatre: a launch pad of artistic training that locates itself within art for social change.

En A is for the legacies of audre lorde, that’s wassup!

Dream/songs from the moon of Beulah land I-V

I

How much love can I pour into you I said

Before it runs out of you

Like undigested spinach

Or shall i stuff you

Like a ritual goose

With whatever you think

You want of me

And for whose killing

Shall I grow you up

To leave me

To mourn

In the broken potsherds

Upon my doorstep

In silent tears of the empty morning?

But I’m not going anywhere you said

Why is there always

Another question

Beyond the last question

Answered

Out of your mouth

Another storm?

It’s happening

I said

II

Whenever I look for you the wind

Howls with danger

Beware the tree arms scream

What you are seeking

Will find you

In the night

In the fist of your dreaming

And in my mouth

The words became sabers

Cutting my boundaries

To ribbons

Of merciless light

IV.

You say I yam

Sound as a drum

But that’s very hard to be

As you covers your ears with academic parchment

Be careful

You might rip the cover

With your sharp nails

And then I will not sound at all.

To put us another way

What I come wrapped in

Should be familiar to you

As hate is

What I come wrapped in

Is close to you

As love is

Close

To death

Or your lying tongue

Surveying the countries of our mouths.

If I were drum

You would beat me

Listening for the echo

Of your own touch

Not seeking

The voice of the spirit

Inside the drum

Only the spreading out shape

Of your own hand on my skin

Cover.

If I ever really sounded

I would rupture your eardrums

Or your heart.

V.

Learning to say goodbye

Is finding a new tomorrow

On some cooler planet

Barren and unfamiliar

And guiltless.

It costs the journey

To learn

Letting go

Of the burn-out rockets

To learn  how

To light up space

With the quick fiya of refusal

Then drift gently down

To the dead surface of the moon.

Kesho……The (A, B, en C’s Of the) Q_t werd in dub video

Wahenga walisema, it is not taboo to go back and fetch what you forgot.

So the series starts before the turn of this century, not so long ago that many would have forgotten the major events in their lives, back in our youth’, when we analysed, questioned and instinctively rebelled, all the way to our growing (up) present selves, and our (collective) visions of the future.

Season one features 31 (+3) biomyth monodrama hadithi.

It only makes sense that we re-introduce ourselves, share the truth about our stories;

So we’ll start somewhere in the middle with these hadithi. In this place here, now…..

There are 4 afrikans (A,D,M en T) behind not only the q/t werd but, principally, the series that inspired dis’ quest for unity (with)in our diversity, Nekkyd.

There are also the growing villages, and the energies of many more who are weaving indigenUS & pan-afrikan narratives of ancestral memories and legacies; this tapestry includes those who are rebuilding healthy, loving, sustaining and sustainable communities.

[ between the lines: in The Q-t Werd is a vision of fundraising for yet another grassroots collective, bredrin en dadas in solidarity whose mission is to work on our own unity first by mobilising & sharing (capacity building) resources with grassroots groups working with queer/trans communities and sex workers in East & South Afrika.  Our inaugural project is the Queer/Trans Youth Arts Collective set to run in Kenya & Uganda from May 2011]

hapo zamani za kale, kulikuwa na (m)wana wa Obatala, Ogun, Olokun na Yemoja…….

hadithi no. 14 is for (the spaces between) nneka en nneke in

neKKyd: Each episode is a different journey inside Nneke’s (Tsholo Khalema) world as her wry observations take us into the mind of a screwed up, loved up, lustful queer world.

Being a lesbian is tough, Being a black immigrant Afrikan lesbian trying to fit in…

well lets just say, to survive you gotta know the RULEZ TA BEIN’ A STUD!

NEKKyD explores the world of Nneke Dumela and her earth-shattering lust for the gorgeous and sassy women

Hadithi no.13 is for Medusa en Molisa

bio(myth)drama: on using a pseudonym

molisa nyakale is a name that comes from my family. It is the name of my great-great-great-grandmother on my father’s side, and a mark-er of my true true home….claiming this name was a way to link my voice to an ancestral legacy of womban speaking

Molisa is originally from the Shona, maybe even the Ndorobo. Partially re/constructed from mawu-lisa. I first read about her in the stories of sista outsiders.

Nyakale was given to me in a marriage vow; I chose to keep the name but rejected the suitor’s proposal.

10 years ago: I was in my last year of high school, full of possibilities and already getting used to rebelling with (self)righteous causes….I was excited to go to the next level, pursue freedom where I thought I was surely bound to get it, in uni.

9 years ago: I was in my first year of university @ the United States International University – Africa,

I had fantasised about this land of (queer) dates, milk en honey/when I got out of ‘here’, dreamed of growing up and getting a loft of my own, like the one that Alex had in Flashdance, where I would grow passion fruit in the backyard and be surrounded by big city scapes; I (en)visioned driving a car like the one that Vanessa Williams drove in Dance with Me, but all that dramatically changed when I finally realised one of my big dreams.

8 years ago: I landed in Tdot –  Canada.

Bio/facts: Timelines that point not only to geographic locations, but also vastly different worlds betwixt en between ideologies, traditions and wealth

7 years ago: I was in my ‘first’ year of university at University of Toronto – Mississauga

Fiction/myths: lie in the names we’ve chosen, and (un)mask(ing)s discarded en nurtured in our quest to wholeness.

Facts: The village is necessary in re/locating our afrikan stories, the baba en mama of this biomyth-drama inspired and trans/formed by bredrin en dadas channelling the truth of their own stories in the practice of arts for revolushunary change en healing.

Bio/drama: My name/s have been rebellions, running to visions of betta lives. I first experimented with sounding alternate realities with word! when I was about 10 years old, from Henrialovna en Henrievna to Nyakale

4 years ago: the seeds of the Q/t werd were planted at the Inside Out festival with hadithi yetu!, and in Vancouver with 31 stories

2 years ago: the Q/t werd travelled to great rivers and re/discovered their source

Over a year ago: the Q/t was reborn in the Ngong Forest Sanctuary.

This year: we launched Nekkyd & The Q/t werd in ‘foreign’ lands, aka. these spaces that are our homes (for) now, documenting our individual and collective quests to continue fulfilling our destinies with bredrin en dadas in solidarity & colour spill productions…..

Hadithi no.3 is for cee as the crux, in swagger; en cea walker in “i”

These are (some of) the legends of the q/t werd…..

Press Release

 ( aka. the truth about our stories: revisited)

The q/t werd is our [epic of a] quest for unity within our diversity.

A mystic, organic, us/folk driven caravan of  real talks with (en legends of) people we love, respekt and admire, and need to get to know betta .

The series examines the fragmentation and intersections of our diversity and charts the growth of our communities through interviews with a diverse bunch of POC, and topical themes from identity politics, community accountability, using the arts for revolushunary change to ethics and guides in dating and non-monogamous relationships and survivor accounts

It uh go (go) something like

 vlog(s)

#1 a is for (mama) afrika

#2 b is for bredrin en dadas in solidarity

#3 c is for colour spill productions

http://soundcitizen.com/interview-nneka-nigerias-new-messenger/

#4  d is for (the spaces between) dini ya msambwa (lukemi en santeria)

#5  e is for (the link between) Elijah Masinde (and Elijah Wilson)

lakini leo ni leo ni monday is for medusa, the official opening of the word! sound! powah! (graduation) fest of the artists in residence at anitAFrika dub theatre……the fiya, wota, earth en air this time, in this place here (aka. tdot), is blessed

En so (mpaka) kesho, it only makes sense that we shud tell you mo’ about the art of nneka en nneke, in the Q/T werd, au siyo?

hadithi? hadithi? hadithi njoo…..

 I remember, once when I was looking for mangoes somewhere on the way to my aunties place as a lil’ pikney, being chased by a huge crowd of boys, in various states of un/dress….. I was terrified, half running en mostly examining the ‘spectacle’ of peers crossing thresholds, screaming after me en waving assorted ‘objects’.

I must have been very afraid, I remember my heart beating fast, or so I fill the memories of the spaces between the evolushun of our traditions, now, in a place far away from where my father’s ancestors lived.

That was my first direct introduction to bukusu circumcision ceremonies. I eventually got back to my grandmother’s homestead safe, missing not much more than a number of mangos, and one slipper, with plenty o’ juicy stories.

As I grew older though, my visits to papa’s village en the number of ceremonies paying homage in my kukhu’s homestead lessened, by the time I was 17, my return to ushago had dwindled to funerals, which meant that at least once a year, I couldn’t miss the ‘big’ one, the truth is I haven’t been back, now,for a decade…….

Sasa, my deepening en growing knowledge of the ways of my ancestors, is creatively sought through google, you tube channels, and decolonising diasporic tongues, there, in the tales of gran’ nanny maroon n’ harriet tubman, of elegba en nana buluku, here in my hoods, sharing knowledge with other afrikans, I found spaces to pay homage to my kukhu again. Ase…..

Kesho, on the q/t werd, vlog#2: thank Gawdess for tdot