• Issue #01
  • Issue #02
  • Issue #03
  • Issue #04
  • Issue #05
  • Issue #06
  • Issue #07
  • Issue #08
  • Issue #09
  • Issue #10
5
Contents
editorial
KHADIJA TRACEY HEEGER
Redefined
GEORGE LEWIS
New Music Decolonization in Eight Difficult Steps
GIORGIO AGAMBEN
The Supreme Music. Music and Politics
Theme Social Impact
SAIDIYA HARTMAN
Riot and Refrain
THOMAS BERNHARD
Executioners
WILLEMIEN FRONEMAN & STEPHANUS MULLER
Music’s “non-Political Neutrality”: When race dare not speak its name
STEVEN ROBINS
Spectres of Racial Science at Stellenbosch University: From Eugen Fischer’s Eugenics to the Department of Sport Sciences’ Retracted Article
MOHAMMAD SHABANGU
Education as the Practice of Freedom: Towards a Decolonisation of Desire
CHUMANI MAXWELE
The Solitary Protest That Gave Birth To #RhodesMustFall
SISCA JULIUS
Chappies bubblegum
EMILE YX? JANSEN
Heal the Hood & World with Afrocation
MESULI NALE
Move For Two: Educating for Leadership Through Dance
SARAH MALOTANE HENKEMAN
On the Social Impact of Telling Your Own Story in Your Own Way
ACHMAT DAVIDS
The Social Impact of Language: The "Coloured" Image of Afrikaans in Nineteenth Century Cape Town
JACKIE SHANDU
On the Social Impact of Self Hatred
AZOLA DAYILE
Imbamba – Uthunyiwe: On the Social Impact of Migrant Labour
YAMKELA F. SPENGANE
On the Social Impact of Name Changes
ANELE NZIMANDE
On the Social Impact of Motherhood
ZIYANA LATEGAN
Problems of and for Philosophy
galleri
JOAN OTIENO
Art as the Social Impact of Repurposing Waste Materials
GARTH ERASMUS
Xnau
GARTH ERASMUS
Virulent Strain
ANDREA ROLFES
Not the Paradise Garden
MZOXOLO VIMBA
Sunday best, kakade!
ROCHÉ VAN TIDDENS
Four Compositions
JAMES OATWAY & ALON SKUY
[BR]OTHER
borborygmus
ZIYANA LATEGAN
Invention as Ideological Reproduction
LETTA MBULU
Not Yet Uhuru (Amakhandela)
TUMI MOGOROSI
De
ANDREA LEIGH FARNHAM
A bad relationship with the truth
DAVID MWAMBARI
On the Social Impact of Reading Radical Literature
PHIWOKAZI QOZA
Choreographies of Protest Performance: 2. Somatic Communication and the experience of intensity
DUANE JETHRO
Shangaan Electro: shaping desire @180bpm
CLARE LOVEDAY
WOMEN IN MUSIC.co.za - A website for South African women music practitioners
ERNIE LARSEN
Escape Routes
LIZ SAVAGE
Myanmar: a post-colonial tale of fear, treachery and hope
STEVEN CRAIG HICKMAN
Weird Literature as Speculative Philosophy
frictions
VANGILE GANTSHO
"we have forgotten who we are"
JETHRO LOUW & GARTH ERASMUS
21st Century Khoisan Man
LUCY VALERIE GRAHAM
Seven settler poems
SERGIO HENRY BEN
Some Monday shit.
RIAAN OPPELT
The Boys in the Box
TRICIA WARDEN
Five Poems Two Songs and a Video
JOHAN VAN WYK
Man Bitch
ARI SITAS, GEORGE & DEBBIE MARI
Cold was the ground - A Requiem for Elephants Too**
ARI SITAS, GEORGE & DEBBIE MARI
Cold Was The Ground- A Requiem For Elephants Too* Part I
ARI SITAS, GEORGE & DEBBIE MARI
Cold was the ground - A Requiem for Elephants Too** Part II
claque
JANNOUS NKULULEKO AUKEMA
Something of Inexplicable Value: A Resurrection
FRANK MEINTJIES
From collective to corrective: South African poems of decolonisation
KNEO MOKGOPA
“This Bloodless Wound” - A Review of Kirsty Steinberg’s Confrontation
RONELDA S. KAMFER
Avoiding the obvious routes: Jolyn Phillips deconstructs the legend of Bientang
UNATHI SLASHA
Partaking in the Séance: Preliminary Remarks on Lesego Rampolokeng’s Bird-Monk Seding
WAMUWI MBAO
There are no barbarians: Michel Leiris - more phantom than Africa
ESTHER MARIE PAUW
Jess Auerbach's From Water to Wine: Becoming Middle Class in Angola
MBE MBHELE
Not nearly a review of Ontologicial Terror: Blackness, Nihilism, and Emancipation by Calvin L. Warren
MBALI KGAME
Mphutlane wa Bofelo's Transitions: from Post-Colonial Illusions to Decoloniality What went wrong and what now?
MALAIKA WA AZANIA
Why Do I Scream at God for the Rape of Babies?
TOAST COETZER
Country Conquerors: van blikkiesband tot firebrands – on the Social Impact of Rastafari
GEORGE KING
One Disc, Two Composers, Four Works: When Seven Defines the Music of Friendship
ERNESTO GARCIA MARQUES
Live Jimi Presley: white noise a la Neubauten
ekaya
DEREK DAVEY
Dodging the sjambok
CHRISTINE LUCIA
A Reflection on the Mohapeloa Edition
THEMBELA VOKWANA
Towards a Decolonial South African Musicology: Reflections on Christine Lucia’s Michael Mosoeu Moerane Scholarly Edition.
ANKE FROEHLICH & INGE ENGELBRECHT
Genadendal Music Collections Catalogue: an introduction
off the record
PETER DELPEUT
The Forgotten Evil pilot project digital version
PETER DELPEUT
The Forgotten Evil pilot chapter 5 charisma
PETER DELPEUT
The Forgotten Evil pilot chapter 9 The Forest of Astravas
PETER DELPEUT
The Forgotten Evil, pilot chapter 11 character
LOUIS CHUDE-SOKEI
When Echoes Return: roots, diaspora and possible Africas (a eulogy)
VEIT ERLMANN
The Disappearance of Otherness: ‘Africa Civilised, Africa Uncivilised’: Local Culture, World System and South African Music
IGNATIA MADALANE
From Paul to Penny: The Emergence and Development of Tsonga Disco (1985-1990s)
NIKLAS ZIMMER
Basil Breakey: Jazz contacts, Jazz culture.
OLIVIER LEDURE
Ted Joans
SAM MATHE
NDIKHO DOUGLAS XABA
CAN THEMBA
The Bottom of the Bottle
DANFORD TAFADZWA CHIBVONGODZE
Jonah Sithole’s Sabhuku
feedback
ALEXANDRA DODD
herri: a plenitude of material, ideas, sounds and voices
FACEBOOK FEEDBACK
Social Media Responses to herri issues 1 - 4
the selektah
ZARA JULIUS
A call for renewed internationalism: A sonic liberation front
PhD
DECENTERING THE ARCHIVE:
Visual Fabrications of Sonic Memories
NICOLA DEANE
FRAGMENTS By Way of Introduction
NICOLA DEANE
PASSAGE I: SURFACES A Surface Reading of the DOMUS Archive: framing space & time
NICOLA DEANE
PASSAGE II: INVAGINATION A Subjective Fold of the DOMUS Archive: a pocket of one’s own
NICOLA DEANE
PASSAGE III: NOISE A Hauntological Reconstruction of the DOMUS Archive: the noise remains
NICOLA DEANE
PASSAGE IV: THE MASK (De)Scripting the DOMUS Archive as Faceless Protagonist
NICOLA DEANE
ELISABETH UNMASKED by Nicola Deane
NICOLA DEANE
CONCLUSION Irresolution
hotlynx
shopping
SHOP
Purchase or listen
KOLEKA PUTUMA
Black Girl Live
contributors
the back page
MIKE VAN GRAAN
Covid-19 and its Existential Challenge to Theatre
© 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
    #05
  • claque

MALAIKA WA AZANIA

Why Do I Scream at God for the Rape of Babies?

ISBN 9-781556-4-35478. North Atlantic Books

TRIGGER WARNING: EXTREME SEXUAL VIOLENCE

On the 2nd of December 2001 a five-month-old baby girl born to a poor, alcohol addicted 24-year-old woman was cut open with a bottle and brutally gang-raped in a dilapidated building in downtown Johannesburg. She was left bleeding on a dirty mattress, and would barely survive the ordeal. The doctors who attended to her immediately after this unimaginable ordeal would later confess that they did not know what they were doing to her – that they were stitching not knowing what they were stitching, but just hoping to stop the bleeding. They performed the surgery in tears – disbelieving the horrific sight that confronted them. The little girl would go on to have more surgeries, and at that tender age of 5 months would need to take liquid antiretroviral medication and have a colostomy bag attached to her waist. The gang-rape had been so vicious that it raptured her internally and left her unable to make use of her anus. The perpetrators were arrested, but they would not be imprisoned. The case against them had to be dropped after the DNA evidence of their semen couldn’t be used due to contamination. The chemicals in the little girl’s soiled diaper had altered the DNA, and even after Johannesburg police tried desperately to get help from international agencies and laboratories to salvage the DNA, nothing could be done. The men walked free.

Why Do I Scream at God for the Rape of Babies? is part diary, part memoir and part poetry anthology by Claudia Ford, an African-American development specialist who would ultimately adopt this little girl. Ten days after her harrowing ordeal, the child was placed by the State into the care of Claudia, who had arrived in South Africa at the dawn of democracy, like many others, with hopes of helping to build a new South Africa. Her journey of mothering is captured in its rawness, revealing the anguish that parents of abused children confront as they try to heal children who have endured unimaginable horrors. Her frustration with the criminal justice system in South Africa, which put obstacles in her way throughout the adoption process and subsequently failed her daughter, rises from the pages and lodges itself in the reader’s mind. So too does her anger towards the public health system whose infrastructural deficiencies only adds to the dehumanisation that defines Black working-class existence. In that sense, this book is a mirror into the soul of our country; into its ugliness, neglect and violence that transcends the physical.

This was a difficult book for me to read not only because of the subject it tackled, but because it demanded compassion and understanding for Ford who at times is herself deeply problematic. The book is so titled because Ford contends that “God slaughters the innocent so that we will take notice. I used to scream at God for allowing babies to be raped, until I realised that in allowing babies to be raped God was screaming at me” (to take action).

I don’t know what kind of God would be so heartless that His call to action should be preceded by this depth of brutality. This kind of reasoning is devoid of understanding that rape is a product of the violence embedded in heteronormative patriarchy, and is thus a crime of power. Ford’s framing of this violence is itself violent and unimaginably cruel.

Additionally, she argues many times that the child’s young mother “allowed” the crime to happen, positing: “I would have killed to protect the vulnerability and innocence of my children. What kind of mother would allow her five-month-old daughter to be brutally raped by her drinking buddies?” The sentiment she expresses is held by many who believe that substance-addicted mothers are responsible for the rape and violence that happens to their children. What is lost in this conversation is that these mothers too are victims. At no point is the question asked: “Where was the father of this child?”, because the abandonment of children by their fathers is never factored into the equation. Furthermore, in centering the mother’s substance addiction, she is criminalised.

Addiction is a health crisis, but is only viewed as such when the addicts are wealthy and, often, White. Poor Black people with addiction problems are not seen as people in need of medical and psychiatric intervention, but as criminals. Criminalising them turns them from victims to perpetrators, and denies them both the help and redemption they deserve. Ford does not demonstrate any understanding of how poverty was the foundation on which a crime this brutal happened – that the mother of her little girl was too poor to access avenues that would have allowed her to make better decisions about her baby’s life, including providing a safe home and a life of dignity, and perhaps even the decision to have not brought the child into the world, which, even when termination is legalised, is still a choice not easily accessible to poor women.

This is why illegal or backdoor abortions are still prevalent in South Africa even as termination of pregnancy is legalised and the service offered in public clinics and hospitals. But one has to understand, in reading this book, that the raw emotions that often drown out reason, are from a desperate mother trying, under difficult circumstances, to remain sane as she negotiates an experience that invites pain which few will be able to comprehend.

Why Do I Scream at God for the Rape of Babies? is a difficult book in content and style. The merging of a diary, poetry, academic papers and memoir make for a sometimes uninterpretable reading experience that demands too much from the reader. It also denies the depth the book could have had, had it been written in a style that centers greater exploration of the story. 118 pages also do an injustice to what could have been unpacked in greater depth. Nonetheless, these limitations do not take away from its profundity, nor smear the mirror that the book holds up to ourselves as a society battling with the pandemic of gender-based violence.

Ultimately, this is about a child who like so many others in our country, endured violence to which no-one must be condemned. And whatever differences one might hold with Claudia Ford’s politics, the child must not be forgotten, for she is ultimately the centre of this story.

Share
Print PDF
MBALI KGAME
TOAST COETZER
© 2024
Archive About Contact Africa Open Institute