Our last Tambor at 109 Vaughan Road is for the Orisha Erinle (Inle), tonight from 8 – 11pm.

Erinle is one of the Warriors whose domain is riverine and is a giver of Abundance and is a Healer like the Orishas Osanyin and Obalu (Babaluaye). In fact he is the physician to the other Orisha.

He is sometimes called “the Fisherman”
In the Lukumi faith Erinle is also considered to be a patron of gay people.

In most paths his colours are blue, green, yellow and coral.


Inle is the orisha of health and all medical healing. Inle’s house resides near the coastlines of where the river and 
oceans meet. Inle is a man with fine features as of a woman. He has long silky hair that he puts in 7 braids and wears the finest clothes. For him to look as elegant as he does, he also became the patron of homosexuals. Inle was not, on the contrary as he is married to Abata. Inle has had relations with Yemaya and Oshun. His knowledge of all medical herbs and sticks is very abundant. He learned a lot from Osain and has put his knowledge to use, taking care of the needy and the sick. He is a very humble man and is always tending to ones that are in need of him. Inle as well is a

hunter and a great fisherman. He walks with a tall staff and his fishing hook. He enjoys to sit alongside the waters with his best friend Ochosi and they both catch fishes with ease. Wherever Inle is at, you can always find his best friend Ochosi nearby in hunt. These two go hand in hand. They love to sit at the rivers and drink and converse. Inle is represented in Santeria in a bluish green tureen in which there holds the secrets of Inle. He takes a trident in front of him, who is the spirit of Boyuto. Before his marriage to Abata, Inle had a relationship with Yemaya and due to that, Yemaya speaks for Inle. Inle is not crowned directly on the head of his children. What’s done is Yemaya oro Inle. This means that they are initiated into Yemays’s realm with the additional knowledge of the orisha Inle.

The Pataki of Inle

Inle was walking alongside the seashore noticing the different herbs that grew at the edge of the woods. He was gathering and studying each and every one of them to see what there purpose was in his medical magic.

He was dressed very exotic as he always did, drinking his fine wine and his sweet cakes. He sat on a rock that sat near the ocean and was doing what he does best which is study. He suddenly heard a splash in the water that startled him, but when he turned to look there was nothing there. Days passed by and the same incident kept happening. Not to his knowledge that this splash was being made by the great queen of the ocean, Yemaya. She always knew the time Inle came by to sit on the rocks to study his herbs. Yemaya was intrigued by the beauty that Inle had and deeply wanted to know more of him. Within the days that she saw him, her intriguement fell into love and lust for him.

After Yemaya got her nerves together she saw Inle sitting on the same rock in which he always sits on. Inle heard the splash, but since he was already immune to the fact that every time he turned around there was nothing to see. But this day when he turned, he saw a beautiful mermaid with long black flowing hair with pearls and diamonds that adorned her neck and breast. He was infatuated with this that he kept staring as Yemaya’s body glisten in the sunlight. Yemaya swam close to Inle and said hello in which Inle could not respond because he was gasping for words to respond. Yemaya giggled and asked him his name. He responded to her with his name. They both started to engage in conversation and Yemaya told him how she has watched him walk alongside the seashore everyday. Inle asked her if it was her that he would hear everyday making splashes in the water. Yemaya responded yes and she told him she was just noticing him from afar.

Everyday these two orishas met at the seashore on the rocks and conversed until one day Yemaya leaned to him and gave him a kiss. Inle who was waiting for this was very excited for the great ocean mother was in his grasps. Inle asked Yemaya if she would like to come and live with him in his house as his wife to enjoy the earth’s scenery and life. Yemaya told him she would love to but she was a queen and her castle and reign was the ocean. Inle told her that it was impossible for him to go with her because he could not breathe under water as she could. Yemaya smiled and reminded him who she was. Yemaya grabbed Inle’s hand, and brought him into the water. Inle was very nervous and with a caress of her hand, Yemaya passed her hands over his mouth, nose and lungs. He embraced her and they both kissed as they submerged into the water. Inle at first was scared, seeing that his was going deeper and deeper in the ocean water. Yemaya smiled at him and told him to breathe as she gave him the secret to breath under water. Inle did as she said and they both descended to Yemaya’s castle.

Weeks passed by and the lovers were inseparable. Yemaya showed Inle every loop and crack of the ocean above and below. She took him to where Olokun resided. She took him to parts of the world that he has never seen. She even took him to the river water where her sister Oshun lived. When Oshun saw Inle, she was wrapped in his beauty as well. Yemaya continued to take him everywhere and showed him all the riches and gems that she contains. All her secrets that no one has seen, Inle viewed them all.

Months passed by, and Inle was gliding through the ocean noticing the everyday fishes that swam with the current at the same time in the same place. Inle was sitting near a coral and he saw Elegua who swam up next to him and Elegua noticed that something was wrong with Inle. He’s seen Inle everyday and he noticed that everyday that goes, by his face changes more and more. He asked Inle what was the matter. Inle looked at Elegua and started to tell him that he loved Yemaya but he was not happy where he was at. He was missing his home upon land. He missed the different tree life of the dry land. The birds, the flowers, the different animals, the things that meant a lot to him on the dry land. He missed helping the people with their sickness and he felt bored where he was at. Elegua told him to follow his heart and to be honest with Yemaya. 

A few more days pass and Inle’s demeanor had changed and now the great queen of the ocean is noticing his actions. She asks him what’s wrong but he tells her that he is alright. Confused and worried, she goes to where Elegua is and asks him if he knows what’s wrong with Inle.

 Elegua looked at Yemaya and told her that he didn’t remember what Inle had told him. Yemaya looked at Elegua and told him if she gave him some sweets, will he remember. Elegua jumped up and said yes. Yemaya gave Elegua his sweets and Elegua proceeded to tell Yemaya that Inle was not happy living down here in her watery domain. He went and told her that Inle missed his life on the dry lands. Yemaya was taken back and sort of hurt that her husband felt this way. She was determined to see him happy and if letting him go back to the dry land makes him happy, then she would grant him what he wants.

She approached Inle and asked him if he missed where he came from. Inle told her that yes he did indeed miss the life he had. He told her that he does love her but there’s nothing for him to do down here. No one here needs his expertise here. It’s the same routine everyday, all day. Yemaya asked Inle if he would like to go back to the surface and continue his life. He put his head down and responded to her, yes. Yemaya with a stern face grabbed Inle by his hand and started to ascend to the ocean surface. She took him to the same spot where they met by the rock. When Inle saw the seashore he was happy and he told Yemaya that he does love her but he just can’t deal with the solitude of the ocean. Yemaya nodded her head and told him she understood. Inle was about to jump on the rock, by the seashore when Yemaya grabbed Inle and ripped his tongue out of his mouth. Inle in pain wondered why Yemaya did that. He made signs to her as in why. Yemaya replied to him that she did this so he can never tell anyone about her domain under the sea. She said that her riches and secrets are for her and for the watery world that she lives in. Since he could not bear to stay with her after she introduced him to that lifestyle, then he will not have the tongue to say what she holds far under. And from now on, you can and will only talk through me. Your children will also be my children and initiated through me. With a twinkle from her eyeshe started to swim to the middle of the ocean laughing.

Inle saw Yemaya in the distance as she descended back to her kingdom. He then went back to his home where everyone asked where he was. Since he could not talk, he just nodded his head. He lived mute without the world understanding him.

Inle’s feast day is September 29 which is the same day of the catholic Saint Raphael. Inle loves all fine foods and drinks. He loves precious stones, art, music and the love of healing. His necklace that is worn by the priests of Inle is made up of blue, yellow, green and coral beads. It’s also adorned with multiples precious stones. The children of Inle are usually quiet individuals. They seem to love the medical field and they are known to be nurturing people. His children are made like I said above, through the secrets of Yemaya. To initiate him the person must have Ochosi next to him throughout the entire ceremony. He eats rams, roosters, quails and pigeons. All of his animals are white due to white is pure and clean. He is the patron of doctors and hospitals. He is the medical doctor of Santeria. If you look at Inle’s trident, you will notice that it’s the same symbol used today by all and every medical faculty across the world. It’s a staff that contains 2 serpents wrapped around it.

The family of Inle 


She is the wife of Inle. His helper. You can associate her with the nurse that aids the doctor. She is the one that helps Inle in all of his medical cases. In some houses or ramas, she lives inside the same tureen with Inle and in other’s, she lives in a separate tureen that lives right next to him. Both of these ways are acceptable.


He is the spirit that walks with Inle and he guards the vision of people. He is represented by the fishing pole and the trident that is placed in front of Inle. He is the orisha that brought silver to Obatala. He is also the orisha of mirages (mirages of the desert and sea), He is also known to help people with their vision and also helped Ibu Olodi (path of Oshun) in one of her battles which is the reason why she takes everything double.

Laro/Logun Ede

He is the son of Inle with Oshun. He as his father is an androgynous orisha and contains the secrets and riches of his father.


He is one of the helpers of Inle. He is represented by the fishing hook that one puts on the fishing pole to catch a fish.


He is also a great friend of Inle and accompanies him everywhere.

[post compiled by Beth Peart Weekes]

To  invoke a deity then, is to call a personality complex out of its latent state within de Self….we cannot benefit from de infinite potential of de inwelling intelligence if we do not identify with it as our true self, which transcends all personality qualities. We cannot call out behaviour from our personalities that are not intrinsic to dem….

We read in plate XXVII (in de Pert em Hru), “said Ausar, (dat) de scribe Ani, justified in salaam.

I came into being from de unformed matter, I came into existence as Khepere (de principle of transformation). I unfolded into plants, I am hidden in de kobe (tortoise). I am  de te (atoms, essence) of every deity. I am yesterday as de four, en de uraeus of de seven which came into existence in de East.”….

Each deity is de archetype, or perfect exemplar for a specific personality type. Heru in Khamit, en Shango (Jakuta) with de Yorubas is de archetype of mature manhood, fatherhood, male leadership en kingship. Auset in Kamit, Yemoya with de Yorubas is de archetype of mature womanhood, motherhood, female leadership, en queen-mothership. Herukhuti in Kamit, Ogun with de Yorubas is de archetype of de enterprising, pioneering, defensive, en aggressive personality type, en so on….

De process is exactly as dat encountered in de practice of Homeopathic, or Chinese medicine…we consider de entire complex of symptoms, en if needed, all of de personality traits of de patient, en search for a remedy which addresses de entire complex…..

[revised excerpts from de Metu Neter Vol.1,

The Great Oracle of Tehuti and the Egyptian System of Spiritual Cultivation written by Ra Un Nefer Amen]

Hadithi? Hadithi?

Hadithi njoo, ya waganga na wahenga,

Ya jouvay! Na wot a ting! @ de redpath,

can’t af-ford to pay de devil? hebu tuongee

Ukweli njoo, Utamu kolea….

K is for….[revised excerpts from The Woman’s Encyclop(a)edia of Myths and Secrets]

The Shrine of the sacred stone in Mecca, dedicated to the pre-islamic Goddess Manat, Al-Lat (Allah), en Al-Uzza, the ‘Old Womban’ worshipped by Mohammed’s tribesfolk the Koreshites.

The stone was also called Kubaba, Kuba or Kube (not so randomly connected to Kobe), and has been linked with the name of Cybele (Kybela), the Great Mother of the God/desse/s.

The stone bear the emblem of the yoni, like the Black Stone worshipped by votaries of Artemis.

Now, through the syncretism of afreekan and arabic religions, it is regarded as the holy center of Islam, and it’s feminine symbol has been submerged within palimpsests of patriarchal histories, though priest/esse/s of the Kaaba are still known as Sons and Daughters of the Old Woman.


(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.



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


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?

[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.


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


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


Out of your mouth

Another storm?

It’s happening

I said


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


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


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


If I ever really sounded

I would rupture your eardrums

Or your heart.


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

 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