Hadithi? Hadithi? What would Makmende do?

Hadithi njoo, uwongo njoo, utamu kolea….

Sikiliza kuna hadithi. Kuna maneno utakuja kuelezewa. Sikilizeni niwasimulieni ngano.

Hapo (si) zamani za kale palitokea safari ya pan-Afrikans all ova di continent en within di diaspora of righteousness……

The ‘peacefulness’ of these elections has allowed some bloggers to look at the funny side of things.

Urban Legend Kampala keeps things in perspective, with fictitious interviews:

Urban Legend: Mr Museveni, what plans do you have for this next term of yours?

Museveni: Well, generally speaking our vision is to consolidate the gains made so far by my government so far, to keep Uganda progressing on track, to discover and exploit even more ways to maximize our natural resources and to further cement the vice-grip I currently have on power until the point that not even Armageddon can unseat me.

Urban Legend: Good luck with that, sir.

[Reposted with overflowing love, respekt en humility from http://wildugandablog.com/ ………Nollywood style…..]

Hadithi? Hadithi? Hadithi njoo……it is stories like these though that  inspire so many mo of us, so empowering when comrades and friends we love, respekt en admire, like bombastic kasha are abundantly recognised for their struggles and those of others on the frontline, ni kweli pamoja tunafika 🙂

http://www.africanactivist.org/2011/03/kasha-jacqueline-on-women-deliver-100.html

Hadithi? Hadithi?  Check dis text messages expressing support for mo of our freedom fighters like, Munyaradzi Gwisai of theInternational Socialist Organisation (Zimbabwe) and the 44 others who have been charged with treason:

Absurd it is and I condemn it in the strongest manner possible. Asi kuenda kwemukuru shingai varume we are with you in spirit.

  • ‘Let my people go.’ Exodus 5 v. 2 History is on our side! Age is on our side! People are on our side! God is on our side! The people shall govern!
  • Under these very difficult circumstances I wish you courage, faith, patience and humour.
  • The world has eyes. Nothing is going to happen to the 45 detained on false treason charges.
  • No rule of law, no democracy, no peace, no justice. It’s high time we should take to the streets and demonstrate against dictatorship.   
  • Let us pray for them. God is for the oppressed. One day he will free his oppressed people. Let’s have faith in him.
  • I support them because they are driving towards human, civil, political, social and economic rights.
  • We must be free to choose our favourite leaders.
  • Vicious regimes are destined to fall. We’ve the strong conviction to free our nation. Let’s fight on guys.
  • The Almighty God is watching. You will conquer. Keep the wheels of change rolling. We are with you.
  • Those who arrested the 45 are the ones who are committing treason.
  • Free the 45 now! – Batanai
  • To those imprisoned we want you to know that we serve a God of infinite justice. Be encouraged. We will pray for you and hold you in our hearts. – Nan
  • An injury to one is an injury to all. We are with them wherever they are. We will stand with them.

[reposted from http://www.kubatanablogs.net/kubatana/]

[we hear you, we see you, we feel you, tupo pamoja!]

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[Hadithi hii ni ya the necessity of gratitude, prayer and slowing down to speed up…..]

I give thanks for yesterday, today and tomorrow, I give thanks for all the lessons and positive transformashun

I pray that the blessings of yesterday carry into tomorrow…

Bless my family, friends, comrades.

Bless all those who share their love with, and pray for me.

(Eshu, carry my prayers……)

I pray for health and prosperity, not only for myself but for others….

I pray for long life and happiness, not only for myself but for others…

Ifa, bless me with marriage and children….


Bless the motherless and fatherless, bless those sick in hospital,

Bless the homeless…..

Bless our freedom fighters,

Bless the ancestors of dis’ land, in the diaspora of righteousness, Bless the ancestors on the Afrikan shores

Bless all those all who spread love and positivity in abundance

Bless our youth, coming into their right destinies, and our elders

 

Ifa, I ask you to forgive my sins, those that I do know, and don’t know about, and those I am yet to commit,

I pray for the healing of mama dunia…..

 

I give thanks to the orishas, I give thanks to the orishas, I give thanks to the orishas

I give thanks to the ancestors, I give thanks to the ancestors, I give thanks to the ancestors,

 

I pray for continued guidance and protection, not only for myself but for others,

I pray for knowledge and wisdom, not only for myself but for others….

( so much tings to say, I pray for clarity, patience……)

 

Ifa, I pray to be humble, I pray to be loving, I pray to be strong….

Ase, Ase, ase…..

 Jus one of the many revolushunary organisations that we love, respekt and admire so, the ones that we have grown with en learnt so much from on building communities of (good) practice and the struggle for Afrikan liberation….

http://blog.trustafrica.org/blog.php?/archives/45-Hakima-Abbas-reflects-on-African-philanthropy.html

http://www.pambazuka.org/en/category/features/68376

these are (some of)  the hadithi of the q_t werd [ on the ground]…

the ones that haven’t been published (yet)….

Proposal – Queer African Reader

Project Consultant: Sokari Ekine
Proposed Editors: Sokari Ekine, Hakima Abbas

We are writing to invite you to participate in the publication of an African LGBTI Reader to be published by Pambazuka Press in June 2011. The African LGBTI Reader is being published in response to the increasing homophobia and transphobia across the continent which aims to silence the voices of African Lesbian Gay Bisexual Transgender and Intersex people.

The African LGBTI Reader [Working Title] seeks to make a timely intervention by bringing together a collection of writings and artistic works that engage with the struggle for LGBTI liberation and inform sexual orientation and gender variance. The book seeks to engage with primarily an African audience focusing on intersectionality and will include experiences from rural communities, post-conflict situations, religious experience as well that of immigration and displacement.

We are proposing an alternative framework for the book based on a participatory model in which we ask prospective contributors and the broad queer activist community to discuss possible topics to be included that will push analysis and thinking within this distinct and diverse movement across the continent writing from the standpoint of both personal stories and experiences as activists. We feel this is important because of the multi layered issues which exist historically, regionally and politically with regards to sexual orientation and gender variance in Africa as well as the overall struggle for African liberation.

We hope to facilitate the writing of key African LGBTI leaders, activists and thinkers by providing a two week retreat where activists can create the space to reflect, share their ideas and writing, peer review each other’s work, have access to sources and resources provided by prominent academics and the institution. The writing retreat will be fully sponsored and contributors will be provided an honorarium for their writing which will enable them to take the time away from their activities to provide a critically reflective piece.

Possible Topics – not including personal stories, poems, stories

We have identified eight themes which are listed below with a brief summary of each. We are suggesting each of you think about the theme[s] that interest you and suggest specific topics on which you could write or would like to see addressed.

1. WHAT’S IN A LETTER:

We repeatedly use the terms lesbian, gay, bi-sexual transgender and intersex but what do these mean in your own experience, your own community and country? How limiting or inclusive are these labels? Are they appropriate and do they reflect your own experiences? Does the identity cause more problems than the behavior? Does gender variance or gender non-conforming provide a more appropriate entry point for discussion in Africa given silence around all sexualities? How do we organize across definitions? Why should we?

2. RESISTING OPPRESSION – TOWARDS LIBERATION:

What kind of strategies have been used or could be taken up to resist / challenge queer oppression?

Should we be talking about movement-building? What conceptualisations, experiences and visions of movements do we have / should there be?

Should the struggle for LGBTI Rights be framed within a Western construct which sees Rights as instruments and legislation or should the struggle for rights be constructed within a framework of movement building around which the oppressed organise?

How has the reliance on the NGO Industrial complex supported or hindered movement building? If the latter, what possible alternatives are there to organising and fund raising? How can we move towards more collaborative and collective ways of working which support movement building? What kind of strategies have been used or could be taken up to resist / challenge criminalisation and homophobia including that coming from religious institutions and the media? How should we understand and transcend the limits of the NGO-dominated activist space?

3. PINK COLONIALISM AND WESTERN MISSIONARIES:

What are the problematics of internationalising campaigns and how do we work with allies in the West? How do we overcome donor dependence as a movement? Do the donors and bilaterals save us from ourselves? How do we measure victory e.g. in Malawi and Uganda?

4. A CHANGING WORLD: SOUTH AFRICA AND THE BRICS:

Does South Africa have a particular role to play in supporting queer liberation in Africa? Does the shift in global power create opportunity or threat for African queer liberation? What other geo-political factors determine the course for queer liberation?

5. AFRICAN QUEER LIBERATION AND CLASS STRUGGLE:

What are the intersections between the broader social justice movement in Africa and the movement for queer liberation? Why should one care about the other?

6. ARE GAY MEN FEMINISTS?

What political frames are useful in our movement building? While LBT activists have tended towards feminism does it exclude GT men? How do we address patriarchy and sexism in our movements and personal relationships even among women-identified folks? Why do many straight identified African feminists resist taking on queer issues as a feminist issue in Africa?

7.         GOD AND QUEER –

INCOMPATIBLE OR INSEPARABLE IN AFRICA

Does the movement have to come from a secular space? Given that many African queer folks identify as religious how do we overcome fundamentalism?

The US right wing church are using Africa as a battleground for queer bashing – why is this effective?

What of countries with majority Muslim populations or Islamic law for queer liberation?

What is liberation theology today from a queer liberation and broader social justice perspective?

What are our strategies here?

Are there existing experiences of this, and what can we learn from there? What are the conceptual, spiritual and strategic challenges that the concept of liberation theology throws up to religious queers?

8. RECONCILING THE PERSONAL WITH THE POLITICAL:

What particular role has been/can be played by those engaged in activism through the creative arts? What has been/is the personal cost to working as social justice activists often working in relative isolation and in hostile environments? How can we better balance our lives as social justice activists with that of social people and the need to care for ourselves?

Submissions can be any of the following: essays, case studies of lived experiences on any of the suggested themes, personal stories, poems, art work, photography, short stories, short plays.

Submissions are welcome from Africans both on the continent and in the diaspora.

Download the Concept Note here.

http://www.pambazuka.org/en/category/Announce/67004

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!

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