MAGAZINE
Despite being one of South Africa’s largest cities, Bloemfontein is not known. The people who control industries in the city want it that way. They keep it silent. A cemetery with streetlights. But art is the evidence of life. It pulses and noises.
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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.
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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.
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Anarchism is a challenge to us all, to change the ways in which we live. To abandon the desire to give more money to banks and capitalists, and instead to build up our communities. We are not owners of property.
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There’s also a serious issue with how aggressively the show pursues its sexualisation of high school characters, to the point of disgust. This escalates in the fifth episode which hosts an auction/strip tease with not-so-subtle sexual overtures.
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I agonised over how to convert the live experience into the online domain. After trying out a few online poetry shows, the magic of real gatherings never once appeared. There was a clear barrier between the artist and the audience, constructed from plastic-metal casing and glass screen.
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It is my prediction that in the next few generations of youth, conditions for a true revolution will ripen and this charge will be led by you.
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To understand what demonising Black protesters leads to, we must look no further than the history of our own country where the co-ordinated vilifying of Blackness has existed since the formation of the Union of South Africa. It is not fashionable to use history to analyse present times, but we must first look backward to understand what awaits us when we move forward.
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