Magazine
While blackness, as an imposed reality, that creates a certain field around the subject, has come to be acknowledged as such, little has been done to problematise intersubjective relations between black people.
Poet Makhafula Vilakazi is tired of living in the shadow of Shakespearean poetry. Born Matodzi Ramashia in Chiawelo, Soweto, Makhafula has created a brand of poetry that sees him delivering his rap inspired lyrics in township slang.”
Nomaza was the kind of woman every wife on the street resented. Her honey skin reminded other women that their dark skin would never make men stop mid-sentence when they passed.
As a matter of fact, it was Khaya’s political activity that landed Biko in trouble when the two were arrested at school and detained. I recall how Bra Bisto, as Khaya was known, related to us as AZASCO members in 1995 how happy he was when Biko was arrested. This was because Biko was indifferent to political activity until that arrest.
Set in Atteridgeville, what audiences might appreciate from Lediga’s film is its inclusion of social issues, like gang violence and the drug trade. The film could, however, benefit from more nuanced portrayals.
Azania as part of African civilization and culture had its own form of democracy which is designated as consensus democracy. In terms of the political philosophy of Ubuntu this Azanian consensus democracy is epitomised by the idea that “Kgosi ke Kgosi ka batho” ...
The post-Tutu society is a pointer towards a new Black sociality. In this sociality lies a playful love for Truth. We mean the truth that the courageous Archbishop Emeritus Tutu could only promise and find hard to tell.
The dangers of this kind of futurism is the placation of real histories in favour of pleasant depictions of Blackness. This risk is amplified by collective ignorance of the histories that futurist reinterpretations are based on.
Nkotsi's music is a respite, it is invigorating, it is a breathing space and an interval before we face our daily problems, and I'm becoming used to the thought of his music being a response to the political as much as it is to the spiritual.
In an interview with writer Mayuyuka Kaunda, Aluwani Thovhakale shares that his grandmother used to refer to him as a hermit, so when he got into poetry, he decided to adopt it as a pen/stage name.
Long histories of violence and systematic discrimination have created deep inequalities that disadvantage certain groups from the onset. These inequalities then intersect with each other, for example racism, sexism, classism etc, especially within the context of blackness.
Mazibuko stunningly weaved Kasi symbolism that would have many readers identifying their family members, neighbours and nyaope boys asking for two rands.
