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?

The hadithi we’re crafting in our villages are blood.bone.memories of our origins en transplanted cultures, being explored in the ‘best’ city of the world to live in ‘like’ global villages, (i heart)Tdot….The big arts festivals of the year, manifesto, TIFF & Word! Sound! Powah! may be fresh dun, we already got our fall/winter homework lined up, with a balanced diet of soul food: ‘continental’ en narrative docs,

‘drama’tic periods, more along the lines of….

our.own.stories

Revolushunary music…..

en wishlists of visions of bredrin and dadas building coalitions: human positive, moyo wa africa, colourspill & deviant productions, docuvixen films, elimu sanifu, kwari village, the people project, colour me dragg, lesblues, schools without borders, weapon of the revolution, Yoruba house project, afrakenya, GEAP, Farug, TITs & anitafrika dub theatre

[imagine if jus to start, these 18 (en then as many mo) groups shared mo resources and supported implementing each other’s programs….how many mo ghetto babies would be birthed en grow to thrive in de grassroots?…..dis journey we’re on in the q_t werd is exploring jus’ that, en all the spaces between, those fertile grounds where we give en receive love, where we seek guidance en manifest our right/full destinies]

These are some of the stories of the q_t werd: we’re retelling jus’ 5 of these, from Hamilton, Jo’burg, Kampala, Nairobi, back to Tdot: the crux of dis’ (re)organising that we documenting, growing in sacredness en urgency….

where we go so much tings to do en say n so lil’  time, where with the way tings been metamorphosing, we got no choice but to continue to live in truth, give en receive all the love that abounds, and do the best we can with what we got to fulfill our dreams.

Because the question remains, if we don’t, then who will?

Stay chuned…..kesho bado, e ni for elimu sanifu: pamoja tutafika!

Recently a ‘rafiki’ (kiswahili for friend) of ours, offered critical feedback on the storyboard of dis’ documentary feature en the (wish-list of a) series, it came in the form of a rhetorical question, in the wake of goodbyes en hellos, masking many fears en hopes en deep scars, grasping at the heart of the matter…

[blogger’s note: ‘us’ (our.stories.n.people) in the q_t werd stands in for the non/fictional, biodramamythical collective of artists, artivists and village (organizer)s  aka. ‘bredrin and dadas in solidarity’]

bigger point is, dis dada said ”you know what your doc doesn’t have? an antagonist……..”

(leading us to the latest ‘episode’ in this quest of building solidarity en salaam [Arabic en kiswahili for peace], but first a lil’ background…..truthIs, we’ve been seeding, planting and sharing our ideas and the storyboard of the q_t werd in our villages since way before the inception of this blog, or the ‘other’ one/s – where behind the mask/‘we’ all get nekkyd)

Our roster of bio/mytho/biographies en interviews feature only people we love, respekt and admire, and reads like we’re totally in love with so so many of dem, n we unashamedly are;

those real talks that make the q_t werd are as fresh as the legends of jus dis week in review….from the highs of ‘our’  colour me dragg AND  cassie walker winning $5,000 @ manifesto, to ‘our’ community raising the roof @ granny boots for kim & nat, doing it revolushunary grassroots style…..

real talks as conflicted as the lows of last night with the drama n fuckery that defined the was the ‘powers that be’ hosting the AGM meeting for ‘our’ Pride Toronto

[in the spaces between, we continue to chart the journey in dub…..where a is for anitafrika dub theatre, b is for [the vision of] bredrin and dadas in solidarity, c is for colour me dragg and colour spill productions, all the way to p is for the people project and where m is for the myths that we’re relearning , taught by our kinda legends, in these hadithi of the q_t werd]

…………As women, we have been taught either to ignore our differences, or to view them as causes for separation and suspicion rather than as forces for change. Without community there is no liberation, only the most vulnerable and temporary armistice between an individual and her oppression. But community must not mean a shedding of our differences, nor the pathetic pretense that these differences do not exist.”

[excerpt from: The Master's Tools Will Never Dismantle the Master's House
 
by Audre Lorde
 
From Sister Outsider, The Crossing Press Feminist Series (1984)]

These are the stories that make the q_t werd, as real as our children and lovers, institutionalised scandals, mashups and makeups, evolving bashes and (not-so) complicated backlash to ‘our’ community organising and village rebuilding, and all the lessons we’re relearning in our journeys.

the bigger point of this post is…… ‘that’ question,

the answer is….we have plenty antagonists, plenty of enemies BUT…… we choose to focus dis quest of documenting our healing en collective recovery, of rebuilding salaam and solidarity, on people we love

and even then, still……d is for drama is the crux of the q_t werd…

because the truth is….. we’re still working thru our shit, and even if we were to start jus with people we know en love, we would have more than nuff stories of conflict transformation and wishful fantasies for seven seasons.

The q_t werd is as simple as ABC en D [toZ] en as mysterious as the riddle of the sphinx…..

Hadithi? Hadithi?

Hadithi njoo……

Kesho ni: E is for elimu sanifu: in the q_t werd

[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