Archives for 2011

If I could, I would…

If I could have all the money,
I would feed all the hungry,
Make life easier for the needy,
Replace all the shacks and RDPs

If I could have all the power,
I would make every CEO work every hour,
to reduce the office drama-
within the taxpayers towers.

If I could have all the will,
I would assist my wife with the chicken grill,
for her heart needs to heal
…and to show my goodwill

If I could have all the love,
I would be proud and patient with every all the kids,
Unconditionally appreciate with every heart beat
If I could, I would Passionately give all of the above.

what liver

So, I am is’febe. At least I have been called that.
Once, dear reader, when we were much younger, a cousin of mine used that word: is’febe. Part of what it is to be as young as we were is learning to use language. Many times you get the structure right only to stumble over the particulars.
Having just slaughtered a goat or something else equally slaughterable, the men gave the older boys the intestines and the liver. Modeled on the existing dominant structures, white male dominance, the older boys’ responsibilities over the resources automatically extended over the younger boys. The older boys, perhaps testing their power, perhaps just salivating over the prospect of braai liver, dangled the meat in front of the younger boys. They, perhaps responding to that power, perhaps excited in their own right, extended their hands to touch the treasures of intestines and liver. My cousin, impressed by the weight and texture of the liver (and by how far it had travelled down the power structure to get to him?) said, “yho, sis’febe!”
Our mastery of language has since then progressed. That description is not, given a choice, one he would use to capture that moment. Nor, if it is at all up to him, would he now utter that word as loud as he did then. Then, caught in a moment that is eternal, the piece of liver suffered the indignity of being described as is’febe.
Perhaps I deceive myself, but I had not thought that there is anything substantially similar between a piece of liver and myself. If, then, I have been described as is’febe, and the piece of liver has also been described as is’febe, exactly what makes both the liver and I fit the description?
We could, of course, draw out an implicit assumption. We could argue that the word has been used incorrectly in either or both above cases. If incorrect in one of the cases, and we favor my young cousin with the error, then we could withhold this favor from the shadows. They, we could argue, understood and used the word as it was meant to. In this case I, but not the liver, come out is’febe.
If incorrect in both cases, both the liver and I are misfits to the description. In this case, more starkly than the first, we are left wondering who or what fits the description is’febe?

after midnight

in the heart of the night
whilst the world is in repose
and sleep shuns me
i play

leering through the seams
of this nocturnal occurrence
i am witness to a different realm
i play write

my soul dances to this nightly purgatory
channeling visions to those lost in slumber

i playwright dreams

by ayob vania ©

The Melville Poetry Festival

When: Friday October 14th and Saturday October 15th 2011

The first Melville Poetry Festival Showcase is happening this Friday and Saturday, with an exciting line up of poets writing in all languages set to read and perform their work.

Over 30 poets will be gathering for the festival, with readings, panel discussions, exhibitions, book launches and music taking place at different venues in 7th Street and 4th Avenue. Poets participating include Angifi Dladla, Keorapetse Kgositsile, Robert Berold, Kobus Moolman, Arja Salafranca, Ike Muila, Uhuru Waga Phalafala, the Botsotso Jesters, Toast Coetzer, Loftus Marais, Charl-Pierre Naudé, Johann Lodewyk Marais and Rene Bohnen.

The festival kicks off on Friday 14th October at 9.30am at the old Koffie Huis in 4th Avenue with the Jozi Spoken Word poetry writing and performance workshop where poets young and old can hone their skills under the guidance of established poets and writing teachers.

On Saturday book launches by Dye Hard Press and Deep South Publishing start the day, before the festival’s official opening at 1.30pm with Ron Smerczak, Yoliswa Mogale, and the Botsotso Jesters. In a creative collaboration entitled ‘Digkyk/Eyepoems’, Naudé, Peter Fincham and Hans Pienaar will mount an exhibition of images integrated with poetry, while a theatre projection called ‘Angels and Stones’ will be narrated by Lionel Murcott.

Panel discussions include a talk on the influence of Wopko Jensma (‘The Ghost of Wopko Jensma’) and one called ‘Into Poetry: How to Get Young People to Enjoy Wordplay’, facilitated by Pamela Nichols from the Wits Writing Centre.

Readings and exhibitions carry on throughout the afternoon, with the day wrapping up with a music festival (Andries Bezuidenhout , Planet Lindela Jazz Trio, Riku Latti & Les Javen, and Lithal Li) which will also be used to showcase up-and-coming slam poets.

“The festival offers a great opportunity to listen and engage with South African poets writing in all languages – and for poets to meet and talk to each other, which doesn’t always happen,” says Alan Finlay, a poet who will also be reading at the event. “I think the panel on Wopko Jensma raises a question about the spirit of South African poetry that’s worth exploring.”

Allan Kolski-Horwitz, a Botsotso Jester who, together with the Wits Writing Centre, has run Jozi Spoken Word for several years, feels that the idea of intimate readings at cafés and shops in Melville is a unique one. “The blending of students and local residents with a wide range of poets should make for a very stimulating exchange,” he says.

“The plan is to hold a national festival next year, and then to grow it from there – and already several sponsors have shown an interest,” explains Eleanor Koning, one of the organizers of the festival. “That’s why we’re calling this festival a ‘showcase’ – we want to build on it in the future, inviting more poets from around the country and even internationally to take part.”

“We also need to develop real public festivals – a festival where everyone is welcome and heard and we can together develop our new multicultural, multi-faceted literature,” adds Nichols. “We hope the workshop on Friday will contribute to developing the new South African poetry and we believe that Melville with its bookshops and coffee shops and restaurants and wandering poets is the perfect place to incubate a new and creative literary culture.”

Books will be on sale at the venues. Come support South African poetry, or just browse around, catching snippets of poems and song, while visiting the local book and coffee shops that line the streets.

Entrance to all readings, panel discussions and the Friday poetry workshop is free. The slam event and music in the evening costs R15 for students and R30 for adults. To see the full programme for the event, visit The Melville Poetry Facebook Page.

For more information:

For more information on the festival, please speak to Eleanor Koning on 082 386 4688 or e-mail her at eleanor(at)melvilla.co.za

To participate in the Jozi Spoken Word poetry workshop, please contact Pamela Nichols at Pamela.Nichols(at)wits.ac.za

Missing

You didn’t keep your eyes on your child
Time has tic-tocked since she went away
Because fatherless children sometimes wander off alone
There she was, her lips spewing words
So carelessly in prayer
Insisting that you were not some poltergeist
Some apparition of her lucid dreams
That you had a halo and set of wings
waiting for her somewhere

You didn’t try to move her
You didn’t try to pull the moon closer for her
Because lunar lights whisper sweet nothings to lonely girls
Though you once embraced her
her fists in your back,
her nails piercing the palms of her hands,
the absence of fathers is a killer.
Uncurl her, unbreak her, unclip her wings
Let sweet violence fall away

shadowlands

So, I am is’febe. Before being called is’febe by a shadow it never occurred to me that I could be one, let alone so much so that someone else could have reason to name me so.

See, dear reader, I was walking from the Hillbrow Shoprite to my cottage in Yeoville. I had a 500ml yoghurt, strawberry, in my hands, scooping the contents out with two forefingers. Just before crossing what I always assumed was the border between the two suburbs, I noticed three shadows behind me. Jumpy as a springbok, I hastened to enter Yeoville proper. I then found myself in a deserted stretch of road. The three shadows followed. They, I assume, found themselves in a stretch of road less deserted. Conscious (hahaha!) of nothing else, the stretch of road disappeared and became those three shadows. It could be said, without any hint of mysticism, that I now walked the shadows. They, I assume, continued to walk a road less deserted. The gap between us had, by now, lessened considerably. You, dear reader, could explain this closing of the gap physically. Physical explanations bore me. Locked as I was in the shadows, my movements were now a function of the laws that hold in shadows. If we isolate my movements, and explain them in terms of what directly controlled them, then it is to the shadows that we must look. Or, insofar as those shadows are ultimately abantu, it is to ubuntu that we must appeal for an explanation. Physical laws held sway over me only insofar as they held sway over shadows.

At any rate, when one of the shadows made a sudden move, perhaps to scratch an itchy bum, perhaps to pounce, I moved as suddenly. The shadow, perhaps having completed the bum scratching, perhaps aborting the pouncing, smoothly resumed its previous movements. I did not.

Heart pounding, limbs shaking, embarrassed that I had misread the move, I turned to them and said, in a second language, “Gents, I thought you were coming for me.”
The first shadow, perhaps starting the pounce, perhaps never having stopped from the moment he woke up, moved. I, despite my embarrassment seconds earlier, had never actually stopped my flight move. I narrowly escaped but the shadow almost caught me. Locked in that continuum, both of us recognized the moment. It is in that moment that he said it: s’febe.

Second seats and empty languages

So, I am in one of those cheap domestic flights, destination Jozi.

The aisle sit is mine, the middle sit empty, a nice mama has the window seat. I, following an example set by Usihlwele, a character in a short story, have constructed a porous but ‘imaginary’ wall around myself. I am sure Asiphe-a-psychologist, would say this ‘imaginary’ wall is created out of fear.

A first language speaker comes in all hurried and, to be fair, no time for self-awareness in relation to others. Or perhaps she had no time to perform self-awareness?

Since she is no African dictator in a post-colonial narrative, the kind that wins literary prizes for truth and daring, we will pursue this line of thinking no further.

The first language speaker, still several paces away, says to me, “You are in my seat.”

Now, dear reader, there is absolutely no a priori reason why she could not have been right. If the seat had been assigned her, and not me, and she had correctly matched her assigned seat to the actual seat, and I had incorrectly matched mine, and I were sitting in her seat, and…I am sure you see why in some possible world she is right, and therefore not a priori wrong.

My response was to stand up, move aside, so that she can take the empty middle seat. It was, I declare, a perfect example of a second language response. I sought to get her seated first so that I could whisper to her how wrong she is. Even when you know you are absolutely right, you recognize the right of the other person to be wrong. As such the fact that they are wrong is absolutely no reason to respond to that first. They will, once they realize it, have a choice to persist in their wrong or repent. Either one of those is a real choice, nothing about choices mean they should be right. Still, the first step is always to recognize umntu. The wrong or right might never even arise.

But the mama in the window seat, structured in a first language, had no time for my sensibilities or the sensitivity to stay out of it. Having helped me locate my seat earlier, she assured the first language speaker that she is wrong.

There, just like that, another second language response bit the dust.

musik flowin in me stream of blood

The beats, beating thumping stomping rhythm into pieces
Trumpets, bellowing throwing pungent notes bloating
Drum kits, belching pulses pulsating hope
Bodies, moving tortured tormentors mentors bending fendors
Cutting melody highs, laser knives, through eardrums wet with pleasure
Shrill fingers trill valves in halves cuffed
Feet tap-tap, like a boxer winding his left-left, no right hook
Pop-pop-pop, it goes musical popcorn adorning adoration
Feeling from left to right, right to left in clefting flights in sects
Stylish mid tempo suits, ties swigging swinging swagging and,
Waving madams away this way to oblivious frivolous royalties
back to ties lies, here lies church hymns joy with celebration
Rhyming in incantations coronated like a peacocked dictator
Sit back, rock your mind and listen.

4 the i’s bride

note to the i’s bride
where ever she hides
if you do not read what i write
whats the point?
you will never get me
even if
you open ya eyes wide

Loved Lost

So, a loved one left us to go join the ancestors.

He was murdered, brutally and with unswerving intent. By the time the medics got to him he was brain dead.

It happened in an informal settlement, in a township. By the time medical help got to him he had been bleeding through his nose and mouth for well over an hour. Because of the tarred roads his blood had pooled around his head. It had not soaked into the ground, umhlaba.
Should we hope that his brain had been working such that he was capable still of great suffering, but ‘had the paramedics got there earlier they would have saved him’? Or should we hope that his brain went dead quite early on in his murder, and that even had the paramedics been as prompt as if he had been in the suburbs it would not have changed the outcome? Even our alternative worlds leave us anguished in the actual.

My loved one was murdered by an (South) African: young, male and by all accounts (certainly I, a black conscious theorist, must not escape this conclusion) a victim of his conditions. Where, oh where, is a clear and unambiguous villain when you need it most?

So, what am I dealing with here? This question is the conclusion I come to time and again. What, beyond the pain that constructs my reality, am I dealing with here?

Now, I am trained enough in formal logic to know that a conclusion is an element of an argument. All the elements of an argument are articulated in propositions. Questions, insofar as they are articulated to an argument, sometimes provide an occasion for advancing the elements of an argument, and therefore the argument. But questions are not, qua questions, elements of arguments. I should not, therefore, arrive at a conclusion stated in question form. I am, of course, permitted to restate my conclusion in proposition form.

But there it is, an element of a black consciousness: a conclusion stated in question form.
Released from sentences and propositions, with their drive towards clarity, symbolized by the full stop, my pain blurs at the edges. At the centre it remains sharply defined: I am bereaved and victim, the African male, by contrast, a villain and morally despicable. But at the peripheries, where my loved one has always resided (even in death he remains there) the pain requires active input from me to retain its character.