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

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