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Contents
editorial
IMRAAN COOVADIA
Living with sorcerers
ZEINAB SHAATH
The Urgent Call of Palestine
ALLAN BOESAK
“HOW LONG FOR PALESTINE?”
MAKHOSINI MGITYWA
The Crux of the Matter
MALAIKA MAHLATSI
On the genocide in Palestine and the death of academic freedom and democracy in Western universities
BRANKO MARCETIC
Israel’s Gaza War Is One of History’s Worst Crimes Ever
CHRIS HEDGES
American Sadism
ARYAN KAGANOF
On Power and Powerlessness: Genocide in Gaza Through the Lens of Afropessimism and Decay Studies
MICHAEL SFARD
We Israelis Are Part of a Mafia Crime Family. It's Our Job to Fight Against It From Within
Theme Gaza
ZEENAT ADAM
Gaza and the Graveyard of Excuses
MAHMOUD AL SHABRAWI
Writing Between Fear and Survival
GOODENOUGH MASHEGO
Why I can’t condemn October 7
GARTH ERASMUS
Lamentations for GAZA
SALIM VALLY and ROSHAN DADOO
Africa’s strong bonds to Palestine
ZUKISWA WANNER
A Common Humanity
MUHAMMAD OMARUDDIN (DON MATTERA)
A Song for Palestine
TSHEPO MADLINGOZI
Ilizwe Lifile/Nakba: Le-fatshe & Crises of Constitution in (Neo)Settler Colonies
SINDRE BANGSTAD
Palestine, Israel and academic freedom in South Africa
GWEN ANSELL
Resistance music – a mirror reflecting truth; a hammer forging solidarity
FMFP (FREE MUSIC FREE PALESTINE)
Listening as an anti-colonial way of engaging
ATIYYAH KHAN
A movement against silencing: What the genocide in Palestine has taught us about journalism
ASHRAF HENDRICKS
Visual Memoirs of Solidarity with Palestine in Cape Town
ATIYYAH KHAN
GAZA: Where wearing a PRESS vest is a death sentence
VISUAL INTIFADA
NARRATIVE REPAIR
SHARI MALULEKE
A Prayer to the Olive Tree
THANDI GAMEDZE
Jesus of Occupied Palestine
NATHI NGUBANE
MALCOLM X IN GAZA
MARIAM JOOMA ÇARIKCI
The dark side of the rainbow: How Apartheid South Africa and Zionism found comfort in post-94 rhetoric
CRAIG MOKHIBER
The ICJ finds that BDS is not merely a right, but an obligation
ROSHAN DADOO
South African coal fuels a genocide: BOYCOTT GLENCORE NOW
IMĀN ZANELE OMAR
From the ground
DEAN HUTTON
Who would you be under Apartheid?
galleri
SÍONA O’CONNELL
Keys to Nowhere
SAMAR HUSSAINI
The Palette of Tradition and other, earlier works
SLOVO MAMPHAGA
Chronology of the Now
DEON MAAS
The Resistance
OLU OGUIBE
A Brief Statement on Art and Genocide
CANDICE BREITZ
8 may 2025 Berlin
ADLI YACUBI
A Moment Is On Its Way
TRACEY ROSE
If Hitler Was A Girl Who Went To Art School (2024-2025)
borborygmus
CHARLES LEONARD
Zeinab Shaath : the famous Teta
THE ALDANO COLLECTIVE
Withold
DIMA ORSHO
Excerpts from Half Moon, a film by Frank Scheffer
GARTH ERASMUS
Where is God?
LOWKEY FEATURING MAI KHALIL
Palestine Will Never Die
CHRIS THURMAN
Intertexts for Gaza (or, Thirteen ways of looking past a genocide)
KEENAN AHRENDS
The Wandering Dancer
NATHAN TRANTRAAL
‘D’ is vi destruction
INSURRECTIONS ENSEMBLE
Let Me Lie To You
RODRIGO KARMY BOLTON
Palestine’s Lessons for the Left: Theses for a Poetics of the Earth
MARYAM ABBASI
Drums, Incense, and the Unseen
frictions
HIBA ABU NADA
Not Just Passing
NICHOLAS MIRZOEFF
The Visible and the Unspeakable (For Mahmoud Khalil)
MPHUTLANE WA BOFELO
Before You Kill Them
ABIGAIL GEORGE
4 Struggle Songs for Palestine
MIKE VAN GRAAN
4 Poems for Gaza
EUGENE SKEEF
To The Demise of War Mongers (a suite for the people of GAZA).
ALLAN KOLSKI HORWITZ
Gaza: two poems
MALIKA LUEEN NDLOVU
At the end of a thread, holding my breath, beading
NGOMA HILL
From the River to the Sea
JESÚS SEPÚLVEDA
Gaza 2024
ARYAN KAGANOF
GAZA (body double)
VONANI BILA
Under Rubble
JACKSON MAC LOWE
Social Significance
FRANK MEINTJIES
5 poems from A Place to night in
DIANA FERRUS
Burdened man
claque
FINN DANIELS-YEOMANS
‘If Cannes did not want to go to Gaza, Gaza had to go to Cannes’: Institutional Censorship at Film Festivals post-October 7.
FRANK MEINTJIES
Abigail George’s SONGS FOR PALESTINE - "struggle poems" in an age of livestreamed genocicde
PHILLIPPA YAA DE VILLIERS
ukuphelezela and Nida Younis’ Two Bodies/Zwei Korper
RUTH MARGALIT
Writing the Nakba in Hebrew
NATHAN TRANTRAAL
Ons is gevangenes van dit wat ons liefhet: Magmoed Darwiesj gedigte in Afrikaans
HEIN WILLEMSE
Frank Meintjies: a mature poet, intellectually astute with a refined social, political and ecological consciousness
M. SOGA MLANDU
'Tell Them I Am Dead’: Sithembele Isaac Xhegwana’s Dark Lines of History
NIKLAS ZIMMER
Détourning the cut
ekaya
LYNTHIA JULIUS
I believe the children for the future
JENNIFER KESTIS FERGUSON
Nikita
CHERYL DAMON
No Ordinary Rage
SKHUMBUZO PHAKATHI
Don’t forget Phila Ndwandwe
INGRID ORIT HURWITZ
SHATTERED
STEVEN ROBINS
The blindspots of Zionist history and the ‘ancient scripts’ of primordial Jewish victimhood
LIESL JOBSON
Sorrowful Mysteries
herri
Towards a Preliminary Archaeology of herri
off the record
STEPHEN CLINGMAN
The Voices in My Head: Reflections on South Africa, Israel, Palestine, Gaza
ANNI KANAFANI
Ghassan Kanafani
FILMS
by Palestinian Women
STEVEN ROBINS
Re-reading Jabotinsky’s The Iron Wall in the time of genocide in Gaza.
JANNIKE BERGH in conversation with HAIDAR EID
Even Ghosts Weep in Gaza
ASHRAF KAGEE
Three friends in Gaza
AMIRA HASS
"Resist the Normalization of Evil": On Palestine and Journalism
GEORGE KING
Fields, Forests and Fakery: ‘Green Colonialism’ in Palestine
HEIDI GRUNEBAUM
The Village Under the Forest
MEIR KAHANE
Jewish Terror: A JEWISH STATE VERSUS WESTERN DEMOCRACY
FRANK ARMSTRONG
Ireland and Palestine: A Crucial Vote Awaits
NIKHIL SINGH
The Siege of Gaza 332 BC
feedback
DENIS EKPO
1 April 2025
DEON-SIMPHIWE SKADE
23 March 2025
LIZ SAVAGE
10 January 2025
CEDRIK FERMONT
10 August 2024
AZSACRA ZARATHUSTRA
6 August 2024
FACEBOOK FEEDBACK
Facebook
PhD
COLE MEINTJIES
Power in Relation to Life and Death: Israel's genocide in Gaza
the selektah
CHRISTINA HAZBOUN
Palestinian Women’s Voices in Music and Song – 2025 version
ATIYYAH KHAN
IQRA!
hotlynx
shopping
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contributors
the back page
MICHAEL TAUSSIG
Two Weeks In Palestine
GEORGE STEINER
This is called History
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    #11
  • ekaya

CHERYL DAMON

No Ordinary Rage

When I started posting the transcripts entitled ‘My Mother’s Voice’, based on an interview of her life as an ordinary domestic worker from age 14 to 25, it was the first time I had worked up the courage to reread and share her voice.

As I typed the words, I could clearly hear her voice, see her demeanour, and the honour she felt to be seen – to tell her story for this history project.

The abject poverty that compelled her to be a breadwinner for her family is unimaginable to many of us with privilege.

My mother’s home was a reed and mud hut with cowdung floors, no running water and of course no electricity.

As the eldest child, she had to get up first make a woodfire and brew coffee. These were the days of the Great Depression and extreme rightwing Afrikaner whites.

I deliberately did not interpret, analyse or comment on any of the six parts. What it evoked in me was an incredible fury and regret on my mother’s behalf.

She was so conditioned by the Dutch Reformed Church that it never really struck her how she was violated, conditioned and robbed of all opportunities.

The small gestures of her well-off Jewish employers (gifts of sweets and cigarettes) were experienced as care. Their interference in grown women’s relationships, as concern. Imagine the temerity of an employer asking her to stay working for her until my mother grew old.

This is one of many things that enrage me – that domestic workers are still expected to leave their families in the country (small towns) and become the ‘girl’ who has no identity or visibility. Some employers don’t care to know about these women’s lives.

The work my mother did was beyond exhausting – from dark to dark – and these oppressors seemed to dream up extra work for the ‘girls’. There are still people who use the terms ‘girl’ and ‘boy’ to refer to our parents in their employ.

We scream about micro-aggressions when the reality for many poor and working class people is macro aggression.

Humiliation, rape and sexual harassment, verbal and physical abuse, being called on their first names by toddlers and the humiliation of being admonished in front of guests. I witnessed a white guest house owner swatting a grown woman on the buttocks after she mixed up the linen. Another one let her guesthouse staff drink out of old cups stored with the detergents. This was 2006. These women and men are still invisible, still slaves. Do not talk to me about ‘getting over it and moving on.’ There is too much trauma that has been hastily patched up with a band-aid. The wounds cannot be allowed to fester any longer.

On being an outsider and turning things on their heads

I read a very dignified and poignant response written to bullies last night, and it reminded me of the merciless bullying I endured throughout much of my school life.

In her post, the actor referred to mean-spirited comments about her physical appearance. It reminded me acutely of how hard I had to work to conform, to be palatable and compliant.

My father decided to retire early from his teacher’s position and move us from the beautiful Northern Cape to the barren, though acceptably colourful, forced village built on sea sand. The place was called Portland and it was nowhere near a port. I would later discover that apartheid spatial planners took particular pleasure in naming townships like Tafelsig (versus Table View), Rocklands, Eastridge, Westridge, Lentegeur quite ironically.

There were no ridges. Everything was a flat, artificial landscape called Mitchell’s Plain. The same irony applies to townships across the Cape Flats.

We arrived in this foreign landscape in 1982. I was about one term into Standard 2 (Grade 4) and could speak very little English.

To compound my otherness and ripen me for incessant cruelty, envy and a push to conform, my mother had kindly donated my old school uniform to a needy child in my hometown. I was dressed in very good quality, gently worn clothes myself. She had thought it would be alright for me to wear normal dresses to school until she could afford to buy me a uniform.

So here I was, gauche, wearing my hair loose back from a prominent forehead and looking relatively mature. I was mistaken for a teacher at first.

I learnt very quickly that this rough primary school was going to kill me if I allowed it. My forehead, which I first hid with all manner of artifice, became the most visible feature these foreigners used to take me down a few pegs. The way I carried myself, my mature appearance and calm demeanour rubbed them the wrong way.

I learnt to conform in this world of wild, hostile strangers. I wore my uniform, slowly started to eat English one word at a time, and flipped my bullies into my allies.

The girls were still bitches and the boys were still pigs who either made fun of my beautiful, prominent African forehead, or they sexualised me. I was touched, tickled, ogled.

But in a few years, early in my high school career, I subverted their narrative of me. I chopped off all my hair to become unattractive to men and boys – of course that never works. I used my agency to switch from Afrikaans medium to English medium instruction. I knew I only wanted to study at the forbidden University of Cape Town.

So I became an English first language speaker at school and with my friends. At home we continued to speak Afrikaans. It was no hardship for me to immerse myself completely into fiction, biographies, autobiographies, non-fiction and English ‘classics’.

At 15 I was back to being a rebel who loved Radio 5 – Alex Jay and Barney Simon played electropop music and I walked around with Pet Shop Boys, A-Ha and Depeche Mode pushing their way into my head… the gateway drug to Sinead, Morrisey, The Christians, Crowded House. I reinvented myself completely.

This is a peek through the window into Being Cheryl Damon (I am quite aware of the hubris but really don’t care):

assimilate, subvert the weapons used against you, and write your own identity.

Keep questioning everything. Use your outsider status to live in many worlds. Your adaptability will serve you well.

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JENNIFER KESTIS FERGUSON
SKHUMBUZO PHAKATHI
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