[Between de lines: Are you reading for a multilayered renaissance?] or betta yet, How does ritual recover memory?

Ritual provides not only healing but also de recovery of memory en de reaffirmation of each individual’s life purpose…..When we focus our attention on de energetic aspects of individuals en of nature that animate en motivate us, we become aware of images en emotional impressions that are unusual, extremely compelling, en as a result, captivating in terms of de amount of attention they demand.

Inside ritual en sacred space where energies are being woven, people’s imagination en consciousness can be moved through time backward or forward. It is as if de awakened psyche is pulled toward those materials it was not able to recall otherwise. This is a shamanic journey, en it can be a very useful tool for entering these depths of time en space without actually having to expend energy en move physically. The kind of memory that we are talking bout here is something very personal, very compelling, en very transforming……

One’s purpose, which among indigenous people is found through remembering, is linked to both de physical dunia en to de Spirit World. We look to de Spirit dunia for de ultimate helper who assists de individual in fulfilling her, hir or his purpose. This spirit is seen as something like a guardian angel would be seen in de West, en we (Dagara people) call dis spirit the Siura.

We look to de physical dunia, de community of people, for help in remembering our purpose. Purpose is not something that is assigned to a person by his or her community. Purpose is something dat the individual has framed en articulated prior to coming into a community. This purpose is known to de kijiji even before de individual’s birth……

Nia/purpose begins with de individual, en de sum total of all de individuals’ nia creates de community’s nia. The community thus takes upon itself de responsibility of nurturing en protecting de individual, because de individual, knowing her, hir or his purpose, will then invest energy in sustaining de community. There is certain reciprocity at work here, because de community recognizes that its own vitality is based in de support en protecshun of each of its individuals, especially in de constant support en reminding of each individual of his, hir or her nia. The individual, knowing this, in turn delivers to de community de zawadis that de community has successfully awakened in themselves…..

Ritual, community, en healing – these three are so intertwined in de indigenous dunia that to speak of one of them is to speak of them all.

Ritual, communally designed, helps de individual remember his, hir or her nia, en such remembering brings healing both to de individual en de community. The community exists, in part, to safeguard de purposes of each person within it en to awaken de memory of that nia by recognising de unique zawadis each individual brings to this world. Healing comes when de individual remembers her, hir or his identity – de nia chosen in de dunia of ancestral wisdom – en reconnects with de world of Spirit.

Human beings long for connecshun, en our sense of usefulness derives from de feeling of connectedness. When we are connected – to our own purpose, to de community around us, en to our spiritual wisdom – we are able to live en act with authentic effectiveness.

In order for ritual to manifest its full powah, it must be connected to de dunia of nature…to attend to de dunia of Spirit, for indigenous people is to attend to de geography in which you find yourself. We must try, therefore, to overstand de indigenous experiences of nature.

De Healing Powah of Nature

Nature is de foundashun of indigenous maisha. Without nature, concepts of community, nia, en healing would be meaningless…..Nature, kwa hivyo, is de foundashun of healing, en de type of nature that surrounds a community at de time of doing a ritual determines de type of ritual that are appropriate en de content of these rituals. We are talking bout a way of dealing with an energetic dunia en energetic issues that borrows from wot already exists, not wot has been invented, manufactured or created by humans to satisfy some material purpose.

under de migumo tree

In other werds, every tree, plant, hill, mountain, rock, en each ting that was here before us emanates or vibrates at a subtle energy that has healing powah! whether we know it or  not. So if something in us must change, spending time in nature is a good mwanzo (beginning)……

To many Westerners, indigenous people’s reluctance to disturb de balance of nature has looked like failure to use de raw materials that are jus waiting to be harvested en developed. For indigenus people, by contrast, nature is profoundly intelligent as it stands, en human beings would do well to re/learn from its wisdom. An example from Dagara philosophy illustrates this point.

The Source of all, de Dagara believe. Has no werd. It has no werd because meaning is produced instantly, like a constant en timeless awareness. So to de Dagara, there is an understood hierarchy of consciousness.

The elements of nature, especially de trees en de plants, are de  most intelligent because they don’t need werds to communicate. They live closer to de meaning behind language…..wise men en womben in de indigenous world argue that humans are cursed by de language they possess, or dat possess them.  Language, they insist, is an instrument of distance from meaning, an unfortunate necessity that we can’t live without but that is so hard to live with.

For indigenous people, to utter means two things: first, it signifies nostalgia for our true home, because language tempts us with de possibility of returning nyumbani to meaning. And where does meaning reside in its fullness? In nature. So language implies nostalgia for our true home, which is nature. The word nostalgia here should not be taken lightly. It implies that languageas we have it is a vehicle toward de Source but should neva be mistaken for de Source itself.

Second, to utter means to be in exile. indeed, to de Dagara, every time we speak, it is though we are confessing our own exile, our distance from de Source. The ability to utter testifies to de fact that we are far removed from de vast array of meaning that is our home. For if we were home, we would not feel de need to journey there. At de Source, werds would not be necessary, for meaning would be produced instantly. We couls see, feel, en touch de results of someone’s thought instead of relying on werds to give us a picture of it.; thought would instantly produce de ting. This is perhaps de indigenus version of de biblical “et verbum carum factum est,” “and the word was made flesh.”

But de good news is that using language also means that we are on our way back home, journeying to de source of meaning. Those who can’t stand being trapped in a place where language tends to distort move into poetry, chant, rhythm, en ritual to speed up their journey nyumbani. Poetry en ritual evoke de world behind werds, de dunia of meaning that resides, in its fullness, in nature…….ase.

[This is why we re/create. This is why we choose to speak.  This is why we choose to survive. In other werds, this is why we (growing) in love wid tdot renaissance so….ese.]

Excerpts from The Healing Wisdom of Africa – Finding Life Purpose Through Nature, Ritual, and Community by Malidoma Patrice Some

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makmende goes on a badass quest

Q[_]t (pronounced officially as cute /ˈkjuːt/, though more commonly as Q.T. /ˌkjuːˈtiː/)

s/heroes who inspire us so

[werd remix/ed] is a cross-platform application framework [series] that is widely used for developing application software with a graphical user interface (GUI) (in which cases Qt is referred to as a widget toolkit), and also used for developing non-GUI programs such as command-line tools and consoles for servers.

[in the art of taking participatory leadership to scale with (queer, trans/two-spirited) indigenus perspectives from the continent to the diaspora of righteousness en, back to (akina babu, watoto na mama wa) Afreeka (with big love) migrashuns]

Qt is most notably used in Autodesk Maya,[7][8] Dassault DraftSight[9][10] Google EarthKDEAdobe Photoshop Album, the European Space Agency,[11] OPIESiemens,[12] Volvo,[13] Walt Disney Animation Studios,[14] Skype,

VLC media player,[15] Samsung,[16]Philips,[17] Panasonic,[18] VirtualBox and Mathematica.[19]

It is produced by Nokia‘s Qt Development Frameworks division, which came into being after Nokia’s acquisition of the Norwegiancompany Trolltech, the original producer of Qt.[20]

[with “freshly pressed” blogs on-the-ground kama ya african activists,  www.ancestryinprogress.tumblr.com, http://blacklooks.org/, behind the mask, gay uganda, kubatana, none on record, spectra speaks, the weapon of the revolution, things I feel strongly about, writing rights…..holding memories of rainbow nations en delving into UKWELI YA the complexities of hadithi zetu en QPOC resistance, to what comes next…a courageous.healing love….but who among us carries the sage secrets of loving?]

[songs in the spaces between: dream(season)s of co-creating sustainable learning villages,

farming en harvesting di powah of (our visions for) UHAI]

Distributed under the terms of the GNU Lesser General Public License (among others), Qt is free and open source software…….

[hadithi? Hadithi? Hadithi njoo! Uongo njoo! Utamu kolea!

Wetin next steps, after reaching out to the frontlines of the heart of our dreams, acknowledging dey s/heroes we’ve known from time and wetin those ‘betta practice’ paths of harvesting the powah! of cata(c)lysts, youth social infrastructure collaboratives en the legacies of elders en ancestors in coalition building? ]

[Hadithi? Hadithi? Hadithi njoo! Who among us carry the sage secrets of loving o?

Kesho in the Q_t werd…….b is for black queer resistance, blackness yes en Blockorama as cultural champions of Tdot en others who inspire en nourish we so, whom we are infinitely grateful for…]

 Jus one of the many revolushunary organisations that we love, respekt and admire so, the ones that we have grown with en learnt so much from on building communities of (good) practice and the struggle for Afrikan liberation….

http://blog.trustafrica.org/blog.php?/archives/45-Hakima-Abbas-reflects-on-African-philanthropy.html

http://www.pambazuka.org/en/category/features/68376

these are (some of)  the hadithi of the q_t werd [ on the ground]…

the ones that haven’t been published (yet)….

Proposal – Queer African Reader

Project Consultant: Sokari Ekine
Proposed Editors: Sokari Ekine, Hakima Abbas

We are writing to invite you to participate in the publication of an African LGBTI Reader to be published by Pambazuka Press in June 2011. The African LGBTI Reader is being published in response to the increasing homophobia and transphobia across the continent which aims to silence the voices of African Lesbian Gay Bisexual Transgender and Intersex people.

The African LGBTI Reader [Working Title] seeks to make a timely intervention by bringing together a collection of writings and artistic works that engage with the struggle for LGBTI liberation and inform sexual orientation and gender variance. The book seeks to engage with primarily an African audience focusing on intersectionality and will include experiences from rural communities, post-conflict situations, religious experience as well that of immigration and displacement.

We are proposing an alternative framework for the book based on a participatory model in which we ask prospective contributors and the broad queer activist community to discuss possible topics to be included that will push analysis and thinking within this distinct and diverse movement across the continent writing from the standpoint of both personal stories and experiences as activists. We feel this is important because of the multi layered issues which exist historically, regionally and politically with regards to sexual orientation and gender variance in Africa as well as the overall struggle for African liberation.

We hope to facilitate the writing of key African LGBTI leaders, activists and thinkers by providing a two week retreat where activists can create the space to reflect, share their ideas and writing, peer review each other’s work, have access to sources and resources provided by prominent academics and the institution. The writing retreat will be fully sponsored and contributors will be provided an honorarium for their writing which will enable them to take the time away from their activities to provide a critically reflective piece.

Possible Topics – not including personal stories, poems, stories

We have identified eight themes which are listed below with a brief summary of each. We are suggesting each of you think about the theme[s] that interest you and suggest specific topics on which you could write or would like to see addressed.

1. WHAT’S IN A LETTER:

We repeatedly use the terms lesbian, gay, bi-sexual transgender and intersex but what do these mean in your own experience, your own community and country? How limiting or inclusive are these labels? Are they appropriate and do they reflect your own experiences? Does the identity cause more problems than the behavior? Does gender variance or gender non-conforming provide a more appropriate entry point for discussion in Africa given silence around all sexualities? How do we organize across definitions? Why should we?

2. RESISTING OPPRESSION – TOWARDS LIBERATION:

What kind of strategies have been used or could be taken up to resist / challenge queer oppression?

Should we be talking about movement-building? What conceptualisations, experiences and visions of movements do we have / should there be?

Should the struggle for LGBTI Rights be framed within a Western construct which sees Rights as instruments and legislation or should the struggle for rights be constructed within a framework of movement building around which the oppressed organise?

How has the reliance on the NGO Industrial complex supported or hindered movement building? If the latter, what possible alternatives are there to organising and fund raising? How can we move towards more collaborative and collective ways of working which support movement building? What kind of strategies have been used or could be taken up to resist / challenge criminalisation and homophobia including that coming from religious institutions and the media? How should we understand and transcend the limits of the NGO-dominated activist space?

3. PINK COLONIALISM AND WESTERN MISSIONARIES:

What are the problematics of internationalising campaigns and how do we work with allies in the West? How do we overcome donor dependence as a movement? Do the donors and bilaterals save us from ourselves? How do we measure victory e.g. in Malawi and Uganda?

4. A CHANGING WORLD: SOUTH AFRICA AND THE BRICS:

Does South Africa have a particular role to play in supporting queer liberation in Africa? Does the shift in global power create opportunity or threat for African queer liberation? What other geo-political factors determine the course for queer liberation?

5. AFRICAN QUEER LIBERATION AND CLASS STRUGGLE:

What are the intersections between the broader social justice movement in Africa and the movement for queer liberation? Why should one care about the other?

6. ARE GAY MEN FEMINISTS?

What political frames are useful in our movement building? While LBT activists have tended towards feminism does it exclude GT men? How do we address patriarchy and sexism in our movements and personal relationships even among women-identified folks? Why do many straight identified African feminists resist taking on queer issues as a feminist issue in Africa?

7.         GOD AND QUEER –

INCOMPATIBLE OR INSEPARABLE IN AFRICA

Does the movement have to come from a secular space? Given that many African queer folks identify as religious how do we overcome fundamentalism?

The US right wing church are using Africa as a battleground for queer bashing – why is this effective?

What of countries with majority Muslim populations or Islamic law for queer liberation?

What is liberation theology today from a queer liberation and broader social justice perspective?

What are our strategies here?

Are there existing experiences of this, and what can we learn from there? What are the conceptual, spiritual and strategic challenges that the concept of liberation theology throws up to religious queers?

8. RECONCILING THE PERSONAL WITH THE POLITICAL:

What particular role has been/can be played by those engaged in activism through the creative arts? What has been/is the personal cost to working as social justice activists often working in relative isolation and in hostile environments? How can we better balance our lives as social justice activists with that of social people and the need to care for ourselves?

Submissions can be any of the following: essays, case studies of lived experiences on any of the suggested themes, personal stories, poems, art work, photography, short stories, short plays.

Submissions are welcome from Africans both on the continent and in the diaspora.

Download the Concept Note here.

http://www.pambazuka.org/en/category/Announce/67004

Last few week(end)s I been talking en hanging with mo’ bredrin en dadas that I love, respekt en admire so….reasoning bout many tings close to our hearts: love/r/s, families, dreams, passions, work,  our Afrikan stories, healing en the transitions that we’ve stumbled, are walking en continue grounding thru…so grateful for the manifestations of our quests to spread (salaam)  love en unity within our communities, I give thanks for what brought and binds us together forever….

coz last  couple o’ nites were like heaven on earth…. where infinite possibilities (re)presented themselves with beautiful, loving folks coming together to cook en break bread [pan-afrikan style], fundraise, play, reason en share many resources….real tox: these are the hadithi of the q_t werd, the blessings en powah of  positive(ly)  productive collectives, everyday…

like yesterday, I heard bout the story of na nga def en of revolushunary collectives in the diaspora embracing back to Afrika movements, yet another [trailer of a] doc that changed my life forever, four women (en then some) struck deep, their werds walking with me since

When we organise we find strength then in (you know) supporting each other, in being able to project our voices collectively [talent jumo]…

you’d have to get people to unite, take my country for instance… I wouldn’t advise that people must now start fighting, but it took war for us in order to get freedom, and people of colour in Brazil need to unite and stand for one thing [sega khutlapyo]…

it’s about creating positive energy and positive vibes around us [angel wainaina]….

i personally would want to help in that fight [yaganoma baatoulkuu]…..

Pamoja tulifika on Saturday….. en Sunday night was a reminder of how far we’ve come, how far we have to go still in building solidarity amongst our communities, en how much we have to be grateful for with the loving, growing revolushunary villages being rebuilt in the heart of urban centres in de’ diaspora en on the continent en….I pray that we continue to change the destructive paths we’ve been on, en fulfill our destinies

Truthis…our love (and growth stories) is at the crux of coming together…..sharing fantasies en food, fundraising, storytelling, celebrating, playing en praying together…..filling our hearts with the divine energy of the kinda people that we want to rebuild our homes with…

Real tox is… these quests we’re documenting, are (not only) our own and of people we know,

in dis space, now….we’re still getting to the crux of where we wanna be, in another place not here…

and there’s always the matter of how much villages should know about who exactly is coming, when the child hasn’t even arrived or chosen to stay in dis world yet…..

The riddle of the sphinx (in the q_t werd) is in the connecshun between nneka en nneke dumela. Where did nneka en nneke meet? In what different world(s)?

Real tox is….. there’s only so many stories we can share ‘about’ the q_t werd before we’ve finished production, only so much we can tell you about nneke before the biomythical monologue for the play is even finished, or bout nneka before we’ve even shot the interview, so we’ll tell you about the mid-wives first, from long long ago hadi leo, until next year….

In other werds, because there are so many of our true true stories to share, because the world is bigger than 5, 7 or 9 bredrin en dadas, we’re going to continue sharing hadithi about s/heroes, teachers and legends we love

Continue breaking down the complex of fear generated around being betwixt en between binaries and identities, playing with masks and [ideologies of] time and space, kama akina dada wa Afrika halisi

http://www.blacklooks.org/2010/10/feminist-africa-how-africom-contributes-to-militarisation-in-africa

Truthis, because we’ve shared so many of our fears before, the trust that’s been building, the safe spaces we’ve maintained, the metamorphosis we’ve witnessed and the love we’ve shared with each other en our loved ones have cushioned our rebirthing and transformed the pain

……….It was love in the first place, must admit, you blew me away, all the music…..inside of me,

got me feeling, some kinda madness…it was love…….

A woman speaks

Bout turning pages, making changes and showing (big) love….

Hadithi? Hadithi?

Nipe mji?

Notes On creativity, compassion and courage:

  1. Creativity: recently, many mo friends have been questioning and sharing with us, [the storytellers behind The Q/t werd and Nekkyd,] what they think our art is about; we have heard en documented many ideas on the ways to build solidarity among QPOC communities, from a pan-afrikan perspective, yet we haven’t ‘officially’ fleshed out where we coming from and headed yet with this epic of a feature length documentary and series.

reality is, our visions (in dis here epic of a quest) have undergone deep transformashun: in the last 3 year(s) we have crossed different worlds and not only survived, crashed en burned, revived en thrived, but metamorphosed into the kipepeo of our wild dreams. our experiences of rebuilding villages are not what we expected them to be, they have surpassed our wildest fantasies en remind us of heaven on earth; now, alhamdulilah(t) we are grateful for the growing, loving communities, for all the healing and prayers in sacred spaces

in dis’ place here, in the diaspora, we found the source of Mama Afrika again, in her people.  In our ancestral legacies en mestizoed religions,  speaking black into (our +ve) blood.memories, breaking ugali with bredrin en dadas in prayer en solidarity.

the q_t werd is personal, political en religious:

personal like what you get when a documentary filmmaker/storyteller gets married to other artist/dadas, en where dem and their village produce a (dark) comedy series on lesbian, queer & trans (pan/afrikan) communities & a feature documentary on their ‘personal’ efforts to mobilise resources for queer/trans communities in East Afrika by designing the curriculum and fundraising for a queer/trans youth arts collective (QTYAC) in Kenya & Uganda. [that’s wassup]

the political is, we are far from where we started: individually and collectively, even though we’re back to the storyboard stages again, we’re still in the spaces between (post) production en grant writing.

Our hadithi remains the same, we are still on this (vision) quest to continue (coming into) fulfilling our (right) destinies, still creatively funding our activism, art and village building through strategically chosen jobs and “fly-by-night” ventures.

The bigger point is that, the religious piece is the big(ga) hadithi, our nekkyd truth is the crux of our salvation and healing wise is,  us dreaming of (going) back home with all our first world privileges, friends and families.

2. Compassion: Over a moon ago, we received the best advice we ever got from a wise afrikan womban’s reading of our quest/ion/s. We were reminded that love and truthfulness would have to determine our way of expressing ourselves and that we jus HAD (no choice but) to lovingly and sincerely communicate our thoughts to those around us.

the truth is, we don’t have any ‘official’ funding for our (art) work, and yet we have still been audacious (and over ambitious) enough to work on submitting, not only, a documentary to the Inside Out & Mpenzi before the end of this year, but designing the curriculum and mobilising (people)  resources for QTYAC, to be run in Kenya & Uganda from May – August 2011.

Technically, the ‘boring’ or exciting stuff (depending on where you look at it from), that there are nuff people interested in getting move involved with/in our communities back at home, we’re trying because we CAN and if we don’t then folks who don’t know betta than us will prolly try to help us OUT  for themselves, we’re doing all a dis’ organising  because there’s sayings that go like we have mo to work with, in dis place here in the FIRST  world,  to serve our communities betta;

3. Courage: a love story

Skeleton woman

– A Tale of the Inuit –

She had done something of which her father disapproved, although no one any longer remembered what it was. But her father had dragged her to the cliffs and thrown her over and into the sea. There, the fish ate her flesh away and plucked out her eyes. As she lay under the sea, her skeleton turned over and over in the currents.

One day a fisherman came fishing, well, in truth many came to this bay once. But this fisherman had drifted far from his home place and did not know that the local fisherman stayed away, saying this inlet was haunted.

The fisherman’s hook drifted down through the water, and caught of all places, in the bones of Skeleton Woman’s rib cage. The fisherman thought, “Oh, now I’ve really got a big one! Now I really have one!” In his mind he was thinking of how many people this great fish would feed, how long it would last, how long he might be free from the chore of hunting. And as he struggled with this great weight on the end of the hook, the sea was stirred to a thrashing froth, and his kayak bucked and shook, for she who was beneath struggled to disentangle herself. And the more she struggled, the more she tangled in the line. No matter what she did, she was inexorably dragged upward, tugged up by the bones of her own ribs.

The hunter had turned to scoop up his net, so he did not see her bald head rise above the waves, he did not see the little coral creatures glinting in the orbs of her skull, he did not see the crustaceans on her old ivory teeth. When he turned back with his net, her entire body, such as it was, had come to the surface and was hanging from the tip of his kayak by her long front teeth.

Agh!” cried the man, and his heart fell into his knees, his eyes hid in terror on the back of his head, and his ears blazed bright red. “Agh!” he screamed, and knocked her off the prow with his oar and began paddling like a demon toward shoreline. And not realizing she was tangled in his line, he was frightened all the more for she appeared to stand upon her toes while chasing him all the way to shore. No matter which way he zigged his kayak, she stayed right behind, and her breath rolled over the water in clouds of steam, and her arms flailed out as though to snatch him down into the depths.

Agh!” he wailed as he ran aground. In one leap he was out of his kayak, clutching his fishing stick and running, and the coral white corpse of skeleton woman, still snagged in the fishing line, bumpety-bumped behind right after him. Over the rocks he ran, and she followed. Over the frozen tundra he ran, and she kept right up. Over the meat laid out to dry he ran, cracking it to pieces as his mukluks bore down.

Throughout it all she kept right up, in fact, she grabbed some of the frozen fish as she was dragged behind. This she began to eat, for she had not gorged in a long, long time. Finally, the man reached his snowhouse and dove right into the tunnel and on hands and knees scrabbled his way into the interior. Panting and sobbing he lay there in the dark, his heart a drum, a mighty drum. Safe at last, oh so safe, yes, safe thank the Gods, Raven, yes, thank Raven, yes, and all bountiful Sedna, safe… at…last.

Imagine when he lit his whale oil lamp, there she – it – lay in a tumble upon his snow floor, one heel over her shoulder, one knee inside her rib cage, one foot over her elbow. He could not say later what it was, perhaps the firelight softened her features, or the fact that he was a lonely man… but a feeling of some kindness came into his breathing, and slowly he reached out his grimy hands and using words softly like a mother to child, began to untangle her from the fishing line.

Oh, na, na, na.” First he untangled the toes, then the ankles. “Oh, na, na, na.” On and on he worked into the night, until dressing her in furs to keep her warm, Skeleton Woman’s bones were all in the order a human’s should be.

He felt into his leather cuffs for his flint and used some of his hair to light a little more fire. He gazed at her from time to time as he oiled the precious wood of his fishing stick and rewound the gut line. And she in the furs uttered not a word – she did not dare – lest this hunter take her out and throw her down to the rocks and break her bones to pieces utterly.

The man became drowsy, slid under his sleeping skins, and soon was dreaming. And sometimes as humans sleep, you know, a tear escapes from the dreamer’s eye; we never know what sort of dream causes this, but we know it is either a dream of sadness or longing. And this is what happened to the man.

Skeleton Woman saw the tear glisten in the firelight and she became suddenly soooo thirsty. She tinkled and clanked and crawled over to the sleeping man and put her mouth to his tear. The single tear was like a river and she drank and drank and drank until her many-years-long thirst was slaked.

While lying beside him, she reached inside the sleeping man and took out his heart, the mighty drum. She sat up and banged on both sides of it: Bom Bomm!…..Bom Bomm!

As she drummed, she began to sing out “Flesh, flesh, flesh! Flesh, Flesh, Flesh!” And the more she sang, the more her body filled out with flesh. She sang for hair and good eyes and nice fat hands. She sang the divide between her legs, and breasts long enough to wrap for warmth, and all the things a woman needs.

And when she was all done, she also sang the sleeping man’s clothes off and crept into his bed with him, skin against skin. She returned the great drum, his heart, to his body, and that is how they awakened, wrapped one around the other, tangled from their night, in another way now, a good and lasting way.

The people who cannot remember how she came to her first ill fortune say she and the fisherman went away and were consistently well fed by the creatures she had known in her life under water. The people say that it is true and that is all they know.

[from women who run with the wolves: myths and stories of the wild woman archetype]

http://www.blacklooks.org/2010/08/james-baldwin-precious-lord-take-my-hand/

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…..

[blogger’s notes:  this post is NOT an official peace theatre release. just another sista outsider view on what’s going on in her hood, like with…..]

The Space Between –  the final frontier

60 children and youth and 12 of Toronto’s finest artists were on a mission to explore faith and reason, to seek out truth and understanding

To boldly go where no Theatre has gone before

Director: Liz Pounsett

Music Director: Brownman

Visual Arts Director: Jerry Silverberg

Artistic Director: Karen Emerson

This year, the 10th annual peace camp gala performance & peace is possible summer workshops were supported by a (core) collective of womben + one man, from karen emerson, susan ryan, liz pounsett, jessica salloum, angela chau, vivian sofia mora, sharon vanderveen, merril matthews to Abdul & Alixa @ the (place formerly known as the childrens) peace theatre

[blogger’s notes: disclaimer – the term collective is used strategically/loosely en creatively, the people didn’t come together specifically to work as a collective, didn’t necessarily even work as a collective, there were ofcourse boys & men involved in the work, and depending on where you look at it from, the folks mentioned are just a fraction of ‘the core’]

there was an honorary granma en granpa during the camp, the space was even visited by a few healers during rehearsals, en blessed with a joyous graduation in a celebration of the talents of many children, youth en the rest of us who worked together, and individually for (more than) 3 weeks on the production of the space between: the final frontier & the (ultimately postponed) peace is possible parade.

We will share our stories all through (the sacred moon of Black) August, in a photo & video diary of the spiral journey of n0t only the peace theatre, from 2009 to 2010, but more significantly for this place here, the re-birth of the q/t werd

http://fourwomen.wordpress.com/

But before that, I’ll tell you (part of) the story of how the (children’s) peace theatre was born, where its come from, and where this place is going….. as an institutional body, a (vision of a ) collective, and in our individual, unique journeys that intersect/ed in the heart of what we’ve dubbed as the peace forest, betwixt en between, crescent town, good wood and park vista, close to scarborough village, ideologically not that different from regent park, intrinsically connected to jane & finch, and originally from afrika.

Hadithi? Hadithi? Hadithi njoo!

Uongo njoo! Utamu kolea!

Sahani? ya mchele! Giza? Ya…….

Once upon a time, there was a turtle on whose back the world turned, underneath that turtle, was another turtle, and underneath that turtle another turtle, or so one version of a creation story goes, the bigger point is, we were born of the great goddess, came from mama afrika, and a decade ago to be exact, the children’s peace theatre was founded by Robert Morgan, en a growing in/visible collective of youth, supporters, and our communities at large…

The first peace camp was “ At The Crossroads”….the gaps and (mis)steps in our journey are the spaces between mo’ people (not) knowing about us, and mo’ folks working ‘with the group in educating in the practice of freedom, using the arts for social change, and rebuilding heathy, sustainable communities

As Robert (one of the founders of this place formerly known as the children’s peace theatre) has said:

“We place children and youth centre stage, not because they are cute or candid, but because they display humanity’s capacity to evolve, even in the harsh conditions of the current times. Young people are demonstrating an instinctive desire to move away from the dominant culture of self-interestedness and aggression, and are moving instead towards building relationships and community due to an innate desire to seek stability, safety, and peace. It is also evident that young people have the imagination and the energy that will be necessary to establish a new culture of peace. Watching young people from very different backgrounds cross paths, encounter conflict, and find creative ways of making the conflict evolve in positive directions, gives me the audacity to believe that peace is possible.”

coming soon…the space between (us and mama afrika), in the (evolushun of the) Q/T werd