Cecil John Rhodes: British Empire Hitman

Dealing with Black "mental" health a-contextually i.e. with no sensitive regard to Black psychohistory, by allopathic western medicine (not that I expect it to do otherwise), can arguably be acceleratory and aggravating factors to the condition in issue. We have a peculiar psychohistory and, as a result, the psychodynamics around our mental health cannot be properly dissected without a proper primary frame of reference.

Looking at a photograph is about listening and then looking. One has to listen to what the photograph wants to say before imposing anything on it. It is about how the ear catches the whispers and shouting that escape beyond the edges of the frame. It is about staring at what is there, what is not there, what could be there, what needs to be there.

The risk about marriage is that it involves human beings, and with human beings change is inevitable and its direction unpredictable.

In 2013 the Market Theatre Laboratory produced a work entitled ‘Milk and Honey’ as part of a reflection on the centenary since the passing of the 1913 Land Act. The ensemble work probed the expansive topic of land and identity. The work found expression in words, in song and in dance.

In a strange twist, referring to Blacks as "the faceless poor" it allows white liberals to profit from our misery, establishing well-funded NGO's. The only time Blacks feature as Blacks not as "the poor" are in the glossy magazines, proposals and reports sent to donors by whites in exchange of the dollar.

We keep moving. From point A to B we shuffle in the hopes of making it to a desired finale, far from our beginnings. We suppress the involuntary flashbacks of our shared past to avoid being slowed down by a past we cannot change. We don’t mind forgetting because what we had is far from what we want.