Whether you’re a knight looking for a horse, a maiden looking for fiya, or a youth looking for a bride, in Russian folk tales you usually end up deep in the forest.

On your journey, you may stumble upon a house, walking, hopping, twirling or spinning on chicken legs. The door is made of human bones, the bolts of human fingers; the lock is a mouth of grinning death….This is not a place of rational logic.

The proprietor of this remarkable house is an ancient hag, Baba Yaga, who may swoop down on you in her mortar and pestle as you ride. A broom trails behind her, wiping out any traces of her comings and goings, for she cannot be pinned down.

With cackling laugh en eyes that become like points of fiya, she asks what you seek. You must stand up to her boldly and declare what it is that you want.

“the kingdom ten times ten”; “a knightly horse, Granma, to retrieve my lost bride”; “ the well with the wotas of life en death”; “i have come to ask for fiya”…..

Now these are no ordinary requests. One does not venture deep into the forest without good reason. One has already felt some loss, something missing, in the ordinary routines of life. One has began to search in the depths of the unconscious for what is essential to growth, to change, to wholeness.

Infact the hag, the witch, the wisdom energy of such Goddesses, do not appear in dreams until the traveler is strong enough to be vulnerable. The ego has to have surrendered some of its defensive control before it can tolerate confronting such energy. Then she appears, without ceremony, and, after determining whether your search is legitimate or not,she has one more question, “Do you come here of your own free will, or do you come by compulsion?” or “Have you come to do good deeds or to flee from deeds?

This is the test of how ready you are to proceed in your quest. If you say, “Ya prishla of my own free will”, your bones will become part of  her masquerade costume. If, on the other hand, you say, “I have come by compulsion,” your head will, likewise, go on the post awaiting it.

The test is simply this, “Have you become conscious enough to go beyond duality?”…..Baba Yaga challenges us to go beyond that stage of development [back] to our ancient both/and [of different] worlds……

This is the judgement of Maat. She does not assign any judgement or rewards for keeping rules or practices. She weighs the heart. If the heart is in balance, the process is complete; if it is not in balance the process will continue. On whichever side of her scale we are trapped, we must start again painfully from there. In the Old Testament, she is Wisdom. She is the supreme treasure.

I have directed my soul toward her

And in purity I have found her;

Having my heart fixed on her from the outset,

I shall neva be deserted

[ase]

[reinscribed in Ecclesiasticus 51:20]

[for mo' stories read Dancing in the Flames: The Dark Goddess in the Transformation of Consciousness]

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…..

coming soon to a theatre in our hood

a is for mama afrika

b is for black august…

en Q/T is for our (vision) quest