It’s that time of the year again in Turtle Island when black history month is ‘officially’ commemorated, where the reality is for Afrikans, every day en night (no matter how westernised or ignorant of our true true cultures we are), is about our (diverse) Afreekan stories……

so dis’ moon, like every other, not only I but so many mo’ others, are blogging with the rhythm of reclaiming ancestral legacies, and for the struggle of Afreekan liberation, as we have been doing from time…

As we give thanks for all the blessings, for the spreading waves of hope, love and positivity in abundance…in solidarity with the spirit of truth, justice and salaam driving the grassroots revolushuns in Egypt (formerly known as [parts of] Nubia!), Sudan, Tunisia, Uganda, Ayiti, en around the world…

The bigger point (as) is the ‘speciality’ of dis’ blog, we gonna re-DO [re-tell], take steps back [co-create]…..so we can give thanks for yesterday, today and tomorrow…. and revision our ways forward in the most loving, sustaining and sustainable ways…

hadithi? hadithi? hadithi njoo….

Reposted from http://bulletsandhoney.wordpress.com/

Generation Disaster

This opinion originally run in the East Africa on January 28, 2008 under the title,

The problem with Kenya’s politics is the old guard

The next revolution in Kenya will not be a violent one,

contrary to the bloodletting presently underway. Rather it will be the rejection of the generation of men from whom the leaders of this country have been drawn.

The major politicians were in politics long before the majority of Kenyans were even born and who even today enjoy inordinate sway in the country. President Mwai Kibaki was born in 1931. Ex-president Daniel arap Moi was born in 1924.

They are still doddering on, unable to relinquish the reins of the power they have held onto tightly for half a century.

Theirs is a generation steeped in tribal arithmetic, in a cynical nationalism; their values have infected those thousands of young people who are roaming the countryside in a killing frenzy.

The young men throwing stones and shooting arrows and the youthful riot policemen opposite them lobbing tear gas and firing live ammunition are fodder for the failed politics of a generation of old men who may just take all of us to the grave with them.

I was raised to respect my elders and there are many whom I indeed respect.

But the time has come to assess in the broadest and most personal terms how the generation of leaders that took this country from independence to the bloody and dangerous

present has performed.

The oldest were born in the 1920s and the youngest of the lot in the 1940s — opposition leader Raila Odinga, who was born in 1945 is the youth wing of this generation. They can be counted as a single generation in the sense that their vision of what constitutes Kenya and their role in it is widely shared.

This generation has played and continues to play a prominent role in politics, in our intellectual life and in the business community.

While there are many among them who are capable and well intentioned, the defining characteristic of this generation is failure

in leadership.

It is not enough to lay the blame on a few individuals. These prominent wazee (old men) have defined for us the content of our politics and the ethics of governance. They are our very own Boomer Generation except that the boom in this instance is the sound of our dreams and aspirations exploding. It is time we named them Generation Disaster.

It is a popular pastime to compare Kenya’s performance in economic and human development terms with that of the Asian Tigers such as South Korea and Malaysia. How often I have heard it said that these countries in economic terms were neck and neck with Kenya in the 1970s, only for them to surge ahead in the past three decades while Kenya trod water and in many instances retreated on the advances it had made.

The approximately 3 per cent of Kenyans who are above the age of 65 and from whom the bulk of Generation Disaster is drawn, have led us to an average life expectancy of 55 years compared with South Korea’s 77 and Malaysia’s 72 — according to the online Institute World Guide, which allows country comparison of economic data.

The economic numbers are even more dire. Kenya’s gross domestic product of $38 billion as of 2005 is only a fraction of Malaysia’s $287 billion and South Korea’s $1 trillion. Per capita, Kenyan citizens have only 12 per cent of their Malaysian counterparts’ income and 6 per cent of the South Korean GDP per capita of almost $23,000. At the turn of the century, 40 per cent of Kenyans were unofficially unemployed compared with fewer than 4 per cent of Malaysians and South Koreans.

These statistics, we can suppose with reasonable confidence, have deteriorated in the past three weeks and they mean that Kenya can count itself first among equals only if compared to the Congos and Guineas of this world. Our leaders’ vision is only to be lauded if compared with countries that have experienced genocides and decades-long civil wars.

Yet this generation, which touts its anti-colonialist credentials, its Kennedy Airlifts (the US scholarship programmes of the 1960s), its Makerere (university) pedigree and its ambassador-at-30 mentality has only managed to take us from one disaster to the next.

I grew up hearing about the inferiority of one tribe as against the other, in jokes that now seem like macabre warnings of a day when they would become deadly serious. My elders were ever focused on their belly buttons. Not for them to learn from the experiences of other countries — especially the disasters that were unfolding around us and sending refugees by the thousands into our country.

Their language was a curious construction. “The Kikuyu are now in power,” they would say even though I hardly saw a penny from this so-called power. “The Kalenjin have taken power,” they complained as President Moi stepped into State House, “They will finish us now for sure.” “The Luos can never rule this country; the Kikuyus are thieves; the Luhyas don’t know how to take power…”

This language is what has given birth to the present crisis and has underpinned the governance of this country since Independence.

Such a leap into the illogical, for our generation of leaders, is the very basis of logical thinking when it comes to apportioning power and privilege among themselves. It has served them well, this spokesman-of-the-tribe role.

It is the position that has enabled all those Mercedes Benzes to be bought from the proceeds of Goldenberg, Anglo Leasing and the dozens of financial schemes to rob the Treasury in the name of fulfilling the privileges of tribal mandarin.

Though they developed these roles before the majority of us were even born, their thinking has infected us all. Say what you will about the opposition, it too is a gathering of “spokesmen of the tribe” challenging a government largely constituted from similar material.

The one thing that such politics will not deliver to this country is the kind of vision and leadership that led

South Korea and Malaysia from poverty to wealth.

We may continue chasing “those people” from one area or the other and supporting the powerful on the basis that they are “our people,” but perhaps we only need to remember that the cost in lives is borne by individuals.

What does it matter that there is a Kikuyu president when you are a Kikuyu living in Nairobi’s Mathare slum? This generation of wazee has infected the country with its self-serving obsession with ethnicity as politics and politics as ethnicity. It has lived longer than most Kenyans can expect to live and yet it refuses to exit the stage.

Generation Disaster has repeatedly turned down opportunities to appeal to our better natures. It has chosen advancement from enmity rather than from strengthening our bonds.

Fear and suspicion are its stock in trade. These wazee sap on the blood of the young and seek gratification of their lust for power even if it leads to the destruction of this fragile, injured thing we call Kenya.

Why exactly should we respect this generation that has lived longer than most of us can expect to live and yet refuses to exit the stage, like an ill-mannered guest who insists on staying an extra night?

[hii ni hadithi ya some of the legends of the Q_t werd, kama ya Namutebi,

reposted from http://www.newvision.co.ug/PA/8/25/489410]

By Elvis Basudde

BORN poor, poorly educated, a victim of child abuse, pressed at an early age into dull and unpaid jobs, Sylvia Namutebi, 33, popularly known as ‘Mama Fiina’, recovered by her own efforts from these handicaps and from ill-health. 

From a deep remote village in Mukono where she was toiling from morning to evening, Namutebi was determined to make a meaningful life when she boarded a bus to Kampala while still a teenager.

She now works in a shrine at Katwe, where I met her for an interview.
Namutebi smiles as she smokes a pipe in her shrine. She is surrounded by about 50 people mainly women, singing, praying and smoking pipes. She shakes my hand and introduces herself as ‘Musambwa’ “ How is The New Vision?” she asks.
To me, she does not look like a Musambwa. I have always known Musambwa to mean evil spirit. But she did not look evil at all. Okay, I have never seen a Musambwa, I am a God-fearing man.

With her introduction, I had to sit up and think again, because it is rare to find people of Namutebi’s social status (a tycoon) who would proudly call themselves “Musambwa.”

Realising how mesmerised and unsettled I am, she laughs lightly and quickly assures me that the people around are friendly, harmless and love visitors.

And as I talk to her, I wonder how this typical village woman with no formal education and at such an age could accumulate so much wealth. Her colleagues call her a billionaire.

Namutebi was recently crowned the first woman ‘President of Traditional Healers in Uganda’ (Uganda N’eddagala Lyayo), replacing the late Ben Gulu. She beat four men to take the most coveted office in the local industry of traditional medicine.

Speaking during the crowning ceremony, Robert Sebunya (former minister of health in Buganda government) who represented the Vice-President, hailed the traditional healers and encouraged them to smoke the pipe.

Namutebi’s assets are estimated to be worth sh2b. The 5ft 3inches feet tall, ‘not so sophisticated-looking’ Namutebi has a fleet of commercial lorries, omnibuses (taxis), over 400 boda boda, shops on William and Luwumu streets and at Mukwano Arcade in Kampala.

Namutebi also owns commercial buildings at Kajjansi, Makindye and Najjanankumbi. She is also the brain behind New Progressive School in Seeta, a school that caters for over 200 orphans and unprivileged children. 
Last month, during a Nigiina (gift circle) function that was held in Makindye, Namutebi surprised people when she donated a new car to a Nigiina ‘bride’. That is Namutebi for you.

Surprisingly, Namutebi is a very ordinary woman who does not brag about her achievements. Appearance can be deceptive.
If you meet her and she tells you she is the person behind all these projects, you would call it a lie.

However, Namutebi attributes her meteoric rise to hard work and to her gods – Musambwa Musamya and Lubaale Nagadya. She says she is the principal medium of Musambwa Musamya.
Some people though, allege she has acquired her wealth as a result of going under the lake, a thing she dismisses as hogwash. She said she has worked hard and has profited from her efforts.

“I have travelled a tough road to get here. It has not been easy, but a lot has to do with my tough upbringing and suffering which became an inspiration. The injustices my stepmother inflicted on me helped me see things in their true perspective and not to take life for granted,” she stresses.

She says she relates to the poor since her upbringing was rough. She knows what it is like to struggle through life. He mother died when she was just five years old.  She sees her in pictures and only has a blurred memory of how she looked like.

“My father was a no- nonsense person but he didn’t care much about me. He never valued me and used to take me for granted. They used to call me “Ekyaana,” meaning  a foolish child,” she reminisces.

She adds: “ I didn’t want people to suffer the way I suffered. That is how I became renown, by helping people especially orphans, paying their fees and taking care of th

em. Every Friday, I go on the streets and give children food and clothing.”

When Namutebi came to Kampala

in 1986, she was a little girl who stayed with her uncle in Ndeeba, from where she later got married and got her first daughter called Fiina, the reason they call her Mama Fiina.

In 1994, Namutebi teamed up with a friend called Mumbejja Nakayenga and both worked under the scorching sun, selling polyethylene bags (buveera) on veran

dahs of Kampala, mainly around Nansagazi shop near the former UTC bus park.

After some time, Namutebi left the business after her friend left for kyeyo in the US. She then started selling lesus, but it was like jumping from a frying pan into fire since the sunshine continued harassing her as she walked from one place to another looking for customers.

After seven years of gruelling perseverance –– working under the sun in the open, Namutebi got her big breakthrough around 1996. She graduated into selling children’s clothes. She would fly to Nairobi, China and Dubai to buy the items. She has never looked back ever since.

Listeners of Radio Star FM, Radio Simba, CBS, and Sapientia are familiar with the voice of “Mama Fiina O’womundeeba. She is always on air on these stations, contributing ideas on social and political issues. And for her love for President Yoweri Museveni, people have given her all sorts of names; Museveni’s witchdoctor or Museveni’s woman.

She says she joined politics in 1996 when she made her first call on Star FM and spoke out the good things Museveni had done, disproving those who were criticising him. She says apart from politicking and overseeing her business, she spends more time in her shrine where she cleanses people of their troubles and gives them luck.

“People throng here with all sorts of problems. They come to smoke the pipe and ask for blessings and luck. I cure various diseases and I am also a traditional birth attendant. Nobody smokes this pipe and remains the same,” she says, pointing to the pipe as she smokes.

She says she is an extraordinary witchdoctor, the present medium of Musambwa Musamya, and the god who gives blessings. She says she was appointed Musambwa while still in her mother’s womb.

She did not go for education due to reasons she calls “mystical”, but that her god blessed her with tremendous wealth. “I perform tasks that Musambwa instructs me to do. I heal people,and give luck and blessings,” she says. Namutebi was born in 1972 to Paul Mukalazi in Mukono.

She is the second born out of five. She is married to Ismail Sekidde, a businessman and “a good Christian,” as he calls him. They have two children aged nine and seven years. Namutebi employs over 60 workers in her various businesses.

“My immediate plan is to construct a huge hospital for traditional healers. I have already bought land for sh40m in Mityana for the project. I also want traditional healers to have offices and stops operating from those poor shrines,” she said.

[hadithi ya the Q_t werd ni ya Bredrin en dadas in solidarity, speaking truth to powah!

ni ya(le ya) kale,

Hadithi? Hadithi?

Hadithi njoo…. ..

Giza ya?

Sahani ya?

(Reposted with big love en respekt from) Chuka Nnabuife on why 2011 is the Year of Interesting Books Coming

NEXT year will be eventful in the African books section. Already publishers are introducing books they will release in the first half of the year. Amazon will put out a new anthology containing the works of Chinua Achebe, Chimamanda Ngozi Adichie, John Coetzee, Nardine Gordimer, Ben Okri and other Caine Prize winning writers. Ngugi wa Thiongo will also come out with a new book due for release in February 2011 on the Amazon list.

In Pambazuka Press, an about to be released book, No Land! No House! No Vote! Voices from Symphony Way, captures the tale of resilence while throwing the reader back to memory of the segregative Apartheid rule in South Africa.

The anthology of factual tales captured in both poetic and prose (media feature report format) narrates the several accounts of Cape Town, South Africa’s Symphony Way pavement dwellers who, like in film story, found themselves catapulted from their hitherto poor settlement to an better developed estate upon the end of the Apartheid only to be pushed out of the houses almost as suddenly as their fortune changed.

The publishers promote the work thus: “This anthology is written by shack-dwelling families in Cape Town who were moved into houses but soon afterwards evicted again. They organised the Symphony Way Anti-Eviction and here write about their experiences.

 “Many outside South Africa imagine that after Mandela was freed and the ANC won free elections all was well. But the last two decades have led to increased poverty and inequality. Although a few black South Africans have become wealthy, for many the struggle against apartheid never ended because the ethos of apartheid continues to live.”

The book follows several hundreds of shanty-dwelling families in Cape Town who, early in 2007, were moved into houses they had been waiting for since the end of Apartheid. But soon they were told that the move had been illegal and they were kicked out of their new homes. In protest, they built shacks next to the road opposite the housing project. And, soon a vibrant settlement of hundreds of ramshackled huts inhabited by organised protesting settlers blossomed there. It became known as Symphony Way. Home ground of Symphony Way Anti-Eviction Campaign, whose membership vowed to stay on the road until the government gave them permanent housing. Eventually, the tales from the protesting slum-dwellers turns out a warm, close-knit and eventful one – full of vibrant communal lives, simmering relationships, love, hate and blood ties. The book also rubs off some disturbing feeling that the robust but poor settlement was forcefully moved to make the country host last summer’s football’s World Cup without what the authorities deem an odd sight for tourists.

Promoters’ of the book who inform that its audience target include anthropologists, activists, campaigners, NGO-workers, academics, journalists, commentators state: “This anthology is both testimony and poetry. There are stories of justice miscarried, of violence domestic and public, of bigotry and xenophobia. But amid the horror there is beauty: relationships between aunties, husbands, wives and children; daughters named Hope and Symphony. This book is a means to dignity, a way for the poor to reflect and be reflected. It is testimony that there’s thinking in the shacks, that there are humans who dialogue, theorise and fight to bring about change.

Two Symphony Way evictees were featured in a Guardian article of 1 April 2010: Badronessa Morris: ‘The police treat us like animals. They swear at us, pepper spray us, search us in public, even children. At 10 o’clock you must be inside: the police come and tell you to go into your place and turn down the music. In my old home we used to sit outside all night with the fire.’

Jane Roberts: ‘It’s a dumping place. They took people from the streets because they don’t want them in the city for the World Cup. Now we are living in a concentration camp.’

No Land! No House! No Vote! Voices from Symphony Way set for release in March 2011 is available for ebook order in United Kingdom.

Another up coming book of interest from the same publishers is African Sexualities: A Reader, by Sylvia Tamale. In the work Ms Tamale probes, the perculiar traits of African sexualities with the aim “to inspire a new generation of students and teachers to study, reflect and gain fresh and critical insights into the complex issues of gender and sexuality.”

Promoters say the book seeks to open new frontiers of thinking about African notiopns of sex. African Sexualities stretches the space to several spheres of multidisciplinary scholarship.

The book with authors who are scholars, researchers, professionals, practitioners and experts from different regions of Africa and Africa’s Diaspora comes in themed sections, all introduced by a framing essay.”

The authors use essays, case studies, poetry, news clips, songs, fiction, memoirs, letters, interviews, short film scripts and photographs from a wide political spectrum to examine dominant and deviant sexualities, analyse the body as a site of political, cultural and social contestation and investigate the intersections between sex, power, masculinities and femininities. The book adopts a feminist approach that analyses sexuality within patriarchal structures of oppression while also highlighting its emancipatory potential.

“As well as using popular culture to help address the ‘what, why, how, when and where’ questions, the contributors also provide a critical mapping of African sexualities that informs readers about the plurality and complexities of African sexualities – desires, practices, fantasies, identities, taboos, abuses, violations, stigmas, transgressions and sanctions. At the same time, they pose gender-sensitive and politically aware questions that challenge the reader to interrogate assumptions and hegemonic sexuality discourses, thereby unmapping the intricate and complex terrain of African sexualities.

“The blend of approaches and styles enhances the book’s accessibility and usefulness for teaching as well as allowing for historical and textual contextualisation.”

It is written for audiences in the higher education and postgradute levels. Due date of emerging from press is June 2011.

Among other books coming from Pambazuka and Fahamu books are African Women Writing Resistance, An Anthology of Contemporary Voices an anthology of African-born contributors who “move beyond the linked dichotomies of victim/oppressor and victim/heroine to present their experiences of resistance in full complexity: they are at the forward edge of the tide of women’s empowerment moving across Afrika.”

My Dream is to be Bold, a feminist oriented work is among them as well as Dust from our Eyes an Unblinkered Look at Africa, a Joan Baxter tale of the diversity of Africa and the resilience and spirit of its people.

From Citizen to Refugee, Uganda Asians come to Britain by Mahmood Mamdani is another nostalgia awakening book to be expected. It dwells on the seriously embattled life of Asians in Uganda during the eventful dictatorial reign of the late Gen. Idi Amin in the 1970s. It is a re-publication of 1972’s original. The author, Mamdani, an eye witness, describes the feelings experienced by Uganda’s Asians and tells of their camps’ political culture.

[http://www.compassnewspaper.com/NG/index.php?option=com_content&view=article&id=71700%3A2011-year-of-interesting-books-coming&catid=54%3Aarts&Itemid=694]

http://www.montrealgazette.com/life/Montreal+protesters+rally+support+WikiLeaks/3999493/story.html

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

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 give thanks for yesterday, today and tomorrow. Give thanks for having witnessed and shared in the production of the peace (camp) is possible matinee, workshops and parade. I give thanks for new friends, playing and sharing with the pikney, bredrin and sistren of seeds of hope. Bless them and their families.

I give thanks for the blessings of yesterday, carrying into today, and I pray for them to manifest tomorrow. give thanks for all the love and prayers shared. Bless those who share their energy, labour, pray(er) en love with me, and their families.

I pay homage to the spirit of our ancestors. I pay homage to the orishas. I pay homage to the spirit of cool wota. I pay homage to the good fortune of peace, the good fortune of a stable home, the good fortune of wisdom, the good fortune of calmness.

Thank you for the Blessings of wota. Ifa, I pray that you bless all our living relatives. Those that crawl, swim and fly.

Bless our granmama earth. Ase. Ase…..

hadithi? Hadithi?

Nipe mji?

 Nilienda Addis….Dar-es-salaam, kampala, kiambu, Kigali,kimilili, malindi, Mogadishu, Nairobi na Webuye.

 n(IT)arudi nyumbani karibuni, (lakini) sasa hivi, this space here is the best home I could have, in the heart of tdot, na katika moyo wa Afrika, rebuilding revolushunary villages, waging peace, speaking truth to power and(re)educating not only ourselves, but others, in the practise of freedom.

The peace camp and peace is possible workshops may be officially done, but the work of cultivating our experiences and preparing for the future is on to the next level. We have faith that we will continue to build deeper relationships with our neighbours and friends, and share our resources and spaces more with those who need them.