• Issue #01
  • Issue #02
  • Issue #03
  • Issue #04
  • Issue #05
  • Issue #06
  • Issue #07
  • Issue #08
  • Issue #09
  • Issue #10
4
Contents
editorial
NEVILLE DUBE
“What shall we do with the tools?”
PALESA MOTSUMI & TARIRO MUDZAMIRI
The Impact of Covid-19 on the Arts in South Africa
Theme Africa Synthesized
CARINA VENTER & STEPHANIE VOS
Africa Synthesized: Editorial Note
GEORGE E. LEWIS
Recharging Unyazi 2005
MICHAEL KHOURY
A Look at Lightning – The Life and Compositions of Halim el-Dabh
KAMILA METWALY
A Sonic letter to Halim El-Dabh
SHANE COOPER
Tape Collage
ADAM HARPER
Shane Cooper’s Tape Collage – a living archive
HANS ROOSENSCHOON
Tape loops: Cataclysm (1980)
STEPHANUS MULLER
Hans Roosenschoon's Cataclysm: message in a bubble or mere spectacular flotsam?
SAZI DLAMINI
Composing with Jurgen Brauninger: 1989-2019
LIZABÉ LAMBRECHTS
The Woodstock Sound System and South African sound reinforcement
CATHY LANE
Synthesizer and portastudio: their roles in the Tigrayan People’s Liberation struggle - an audio essay.
MICHAEL BHATCH
Africa Synthesized: A Sonic Essay
NEO MUYANGA
Afrotechnolomagic before the internet came to town – How electrons made Africans in music zing
NIKLAS ZIMMER
Interspeller (some B-sides)
WARRICK SWINNEY
House on Fire: Sankomota and the art of abstraction
MAËL PÉNEAU
Beatmaking in Dakar: The Shaping of a West-African Hip-hop Sound
ARAGORN ELOFF
Materials of Relation: A Sonic Pedagogy of Non-Mastery
BRIAN BAMANYA
Afrorack
ZARA JULIUS
(Whose) Vinyl in (Which) Africa? A Zoom Fiasco
galleri
SLOVO MAMPHAGA
Mandela is Dead
&and
Undercommons
HUGH MDLALOSE
Jazz Speaking
IBUKUN SUNDAY
A Peaceful City
NIKKI SHETH
Mmabolela
PIERRE-HENRI WICOMB
A Composition Machine
SONO-CHOREOGRAPHIC COLLECTIVE
Playing Grounds: a polymodal essay
STELARC & MAURIZIO LAZZARATO
Parasite: A Government of Signs
JURGEN MEEKEL
The Bauhaus Loops
borborygmus
KING SV & MARCO LONGARI
The Black Condition
SIPHELELE MAMBA
Enough is enough
SEGOMOTSO PALESA MOTSUMI
Explaining racism
KHANYISILE MBONGWA
Mombathiseni UnoDolly Wam
PHIWOKAZI QOZA
Choreographies of Protest Performance: 1. The Transgression of Space
TSEPO WA MAMATU
The Colonising Laughter in Leon Schuster’s Mr. Bones and Sweet ’n Short
ANA DEUMERT
On racism and how to read Hannah Arendt
TALLA NIANG
Sembène Ousmane
MAVAMBO CHAZUNGUZA
Sacred Sonic Cosmos
GRAYSON HAVER CURRIN
The Saharan WhatsApp Series - an Experiment in Immediacy
BEN EYES
Cross-cultural collaboration in African Electronica
STEVEN CRAIG HICKMAN
The Listening of Horror
MICHAEL C COLDWELL
The Noise made by Ghosts
GABRIEL GERMAINE DE LARCH
I will not be erased
frictions
JESÚS SEPÚLVEDA
Viaje a Tánatos
KATYA GANESHI
From Beyond the World of Dead Sirens
RIAAN OPPELT
(Ultra) Lockdown
SINDISWA BUSUKU
Let’s Talk Kaffir
JOHAN VAN WYK
Man Bitch
MAAKOMELE R. MANAKA
Four Indigenous Poems
claque
KOLEKA PUTUMA
Language & Storytelling: On Zöe Modiga’s Inganekwane
LINDELWA DALAMBA
After the Aftermath: Recovery?
ATHI MONGEZELELI JOJA
Uninterrogated Phallophilia
HILDE ROOS
Sicula iOpera – a raised fist?
PAUL ZISIWE
19 Feedbacks
TSELISO MONAHENG
How to build a Scene
WAMUWI MBAO
Struggle Sounds
MKHULU MAPHIKISA
Short but not sweet: Skeptical Erections and the Black Condition
MBALI KGAME
Tales from The UnderWorld
ekaya
STEPHANIE VOS
The Exhibition of Vandalizim – Improvising Healing, Politics and Film in South Africa
MARIETJIE PAUW, GARTH ERASMUS & FRANCOIS BLOM
Improvising Khoi’npsalms
off the record
KHADIJA TRACEY HEEGER
Lewis Nkosi – treasured memory
LEWIS NKOSI
Jazz in Exile
EUGENE SKEEF
Chant of Divination for Steve Biko
BRENDA SISANE
How I fell in love with music
SAM MATHE
Skylarks
THOKOZANI MHLAMBI
Early Sound Recordings in Africa: Challenges for Future Scholarship
MARIO PISSARRA
Everywhere but nowhere: reflections on DV8 magazine
DEREK DAVEY
Live Jimi Presley 1990-1995
HERMAN LATEGAN
Pentimento
ARGITEKBEKKE
AFRIKAAPS compIete script deel 3
feedback
PHILLIPPA YAA DE VILLIERS
An urgency to action
PABLO VAN WETTEN
Sort of a ramble
the selektah
PONE MASHIANGWAKO
Artists' Prayer - A Tribute to Motlhabane Mashiangwako
hotlynx
shopping
SHOPPING
Purchase or listen
contributors
the back page
MICHAEL TAUSSIG
Unpacking My Library: An Experiment in the Technique of Awakening
© 2024
Archive About Contact Africa Open Institute
    • Issue #01
    • Issue #02
    • Issue #03
    • Issue #04
    • Issue #05
    • Issue #06
    • Issue #07
    • Issue #08
    • Issue #09
    • Issue #10
    #04
  • claque

MKHULU MAPHIKISA

Short but not sweet: Skeptical Erections and the Black Condition

MKHULU MAPHIKISA

I enjoy reading poetry. I like the idea of using few words to say more. For me a poet must keep his narrative linked. Skeptical Erections does just that, each poem can be linked to the rest of the book. It took me a week to read and re-read this book. Sapeta is my kind of poet. He is conscious of the black condition although he looks at one story/scene at a time.

Skeptical Erections has an aura of melancholy. But don’t be alarmed, that aura is because the poet deals with the ‘black condition.’ Mxolisi Dolla Sapeta’s poetry looks at life as a whole, however you can tell by the images in his poetry that the condition he speaks of is familiar. His images show you that the condition he speaks of is black and often strangling.

“whiteness is always hiding
behind the dark, behind death
do you want death?
do you want the shadow or do you want blacks”

These are his opening lines to the poem master. The most painful poem in this collection. The three page poem is a story of a plantation told by a child. It’s a story of pain and anguish. A triangle of rape in the hands of the master in a plantation.

MKHULU MAPHIKISA 1

I am not forcing the term ‘Black condition’ on the poet. His poem on page 27, is simply titled Condition 1. In it you realize that this condition the poet explores can only be black.

“child is with child on her back
scraping and shuffling through government grants’ .  (Line 1 and 2.)

“random gunshots and the alarming growth of shebeens,
mini-malls, churches and beauty salon containers’.  (Line 6 and 7)

By now we can all agree that this condition is woven throughout Skeptical Erections.

On page 28 Sapeta’s five line poem fatherland ends with the line ‘and the looting continues’. Thus not only are his words directed at the ‘condition’, he is also aware of who makes dire the condition.

MKHULU MAPHIKISA 3

Poetry is a difficult art to digest in large doses. It needs time to sink in and connect the poet’s dots to find meaning. When I ran through Mxolisi Dolla Sapeta’s Skeptical Erections I was aware that I will need to read each poem three times or more to get to its intended point. My prejudice being that a complete artist always provides for the reader to have a perspective.

Sapeta sounds like a complete artist. One who digests the black condition frame by frame like an editor in a cutting room. His awareness spills over in his poetry and you are seeing images of the black condition from his perspective.

I apologize, for Sapeta is not to be confined that easily. He goes deep. On page 24 he introduces us to a sharp five liner that almost becomes a ‘tradition’ in Skeptical Erections. This one titled on women is a mystical adoration of women that ends with a request to women to “make your own tribe pith of genius’.

MKHULU MAPHIKISA 4

I could not think of any word but relevance when I read on women. It made me think of poets like Haki Madhubuti (Don L. Lee). We are a generation of men that violates and murders women. When I read this poem I thought of the condition South African women find themselves living in.

The title of the collection appears in page 59 in a poem titled all my killers.

“I died with a skeptical erection
a grin and a vulgar despair
inside a spontaneous shallow grave”  (Line 1-3)

This collection is not for easy reading, it provokes thought. Mxolisi Dolla Sapeta’s poetry packs a punch. He is a storyteller. It is short but not sweet to taste. Sapeta writes from within. His images can range from vulgar to primary conditions of being.

MKHULU MAPHIKISA 2

Sapeta is an artist who sees, feels and puts to words as much as he expresses himself through painting. His often short poems (quintain style) carry powerful imagery if not the dire conditions. In dreams and heroes he writes;

 ‘each day I am repeatedly told that it’s ok, that I am truly part

  of a harmony. The next day I am erased and promised to be

  redefined with detailed contours.’

Skeptical Erections is the work of a true multimedia artist. I call him a storyteller because in Skeptical Erections Sapeta has proven that in a few words you can tell a story, paint a picure and evoke thought.

The painter in Sapeta comes to the fore in poems like unborn, sunflower. His images are hard sometimes in a way that produces a cringe.

   ‘I wake up inside your thick murky intestines

    my eyes are struggling to open

    your heartbeat is pounding on my brain’

Skeptical Erections prompts deep reflection. Sapeta’s quintains need no polishing.

MKHULU MAPHIKISA 6

Dolla Sapeta’s paintings are shown here with kind permission of the Artist and courtesy of Africa South Art Initiative (ASAI). See more of ASAI’s gallery of South African artists here. Skeptical Erections was shortlisted for the 2020 Ingrid Jonker prize for a debut volume of poetry.

Share
Print PDF
WAMUWI MBAO
MBALI KGAME
© 2024
Archive About Contact Africa Open Institute