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9
Contents
editorial
DON LETTS & SINÉAD O’CONNOR
Trouble of the World
MOEMEDI KEPADISA
A useful study in Democracy
FRED HO
Why Music Must Be Revolutionary – and How It Can Be
LOUIS CHUDE-SOKEI
Walking With Sound: Race and the Prosthetic Ear
Theme Lefifi Tladi
NUNU NGEMA
A Portrait of Ntate Lefifi Victor Tladi
MASELLO MOTANA
Tladi Lefifing!
SHEBA LO
Munti wa Marumo (Return to the source): Lefifi Tladi’s Cultural Contributions to the Struggle 1970-1980
SHANNEN HILL
CREATING CONSCIOUSNESS - Black Art in 1970s South Africa
EUGENE SKEEF
Convergence at the OASIS
LEFIFI TLADI
One More Poem For Brother Dudu Pukwana
DAVE MARKS
Liner Notes
PONE MASHIANGWAKO
My Journey with Mammoths: Motlhabane Mashiangwako and Lefifi Tladi.
GEOFF MPHAKATI & ARYAN KAGANOF
Giant Steps
ES’KIA MPHAHLELE
Renaming South Africa
LERATORATO KUZWAYO
Boitemogelo - Definitions of consciousness draped in Blackness
BRIDGET THOMPSON
Piecing Together Our Humanity and Consciousness, Through Art, Life and Nature: Some thoughts about friendship with the artist, musician and wordsmith: Lefifi Tladi
LEFIFI TLADI with REZA KHOTA & HLUBI VAKALISA
Water Diviner
PALESA MOKWENA
Bra Si and Bra Victor: The Black Consciousness Artists Motlhabane Mashiangwako & Lefifi Tladi
FRÉDÉRIC IRIARTE
Proverbs
ARYAN KAGANOF
Lefifi Tladi – The Score
DAVID LOCKE
Simultaneous Multidimensionality in African Music: Musical Cubism
MORRIS LEGOABE
A Portrait of Motlhabane Simon Mashiangwako, Mamelodi, 1978
ZIM NGQAWANA & LEFIFI TLADI
Duet of the Seraphim
PERFECT HLONGWANE
Voices in the Wilderness: A Trans-Atlantic Conversation with LEFIFI TLADI
LEFIFI TLADI with JOHNNY MBIZO DYANI & THABO MASHISHI
Toro for Bra Geoff
LEKGETHO JAMES MAKOLA
Facebook Post May 24 2023
KOLODI SENONG
Darkness After Light: Portraits of Lefifi Tladi
LEFIFI TLADI
The African Isness of Colour
EUGENE SKEEF
A Portrait of Lefifi Tladi, an Alchemist Illuminating Consciousness, London, 1980s.
galleri
BELKIS AYÓN
intitulada
LIZE VAN ROBBROECK & STELLA VILJOEN
Corpus of Ecstasy: Zanele Muholi at Southern Guild
BADABEAM BADABOOM
Excerpts from the genius cult book of black arts
PETKO IORDANOV
African Wedding (super8mm 9fps)
ANTHONY MUISYO
folk tales and traditions, the algorithm, ancient history and the city of Nairobi
NHLANHLA DHLAMINI
How to Fight the Robot Army and Win?
DZATA: THE INSTITUTE OF TECHNOLOGICAL CONSCIOUSNESS
A Repository of Thought
borborygmus
AMOGELANG MALEDU
Colonial collections as archival remnants of reclamation and (re)appropriation: reimagining the silenced Isigubu through Gqom
MALAIKA MAHLATSI
Townships were never designed for family recreation
BONGANI TAU
Can I get a witness: sense-less obsessions, brandism, and boundaries by design
SALIM WASHINGTON
The Unveiling
DYLAN VALLEY
Benjamin Jephta: “Born Coloured, Not Born Free”
EUGENE THACKER
Song of Sorrow
STANLEY ELKIN
The Flamenco Dancer
KEVIN BISMARK COBHAM
Plasticizing Frantz and Malcolm. Ventriloquism. Instrumentalization.
ARTURO DESIMONE
What the Devil do they Mean When they Say “Crystal Clear?’’
frictions
DIANA FERRUS
My naam is Februarie/My name is February
AFURAKAN
8 Poems From Poverty Tastes Like Fart! Ramblings, Side Notes, Whatever!
KHULILE NXUMALO & SIHLE NTULI
The Gcwala Sessions
LESEGO RAMPOLOKENG
Gwala Reloaded
ARI SITAS
Jazz, Bass and Land
ZOE BOSHOFF & SABITHA SATCHI
Love, War and Insurrection - A discussion about poetry with Ari Sitas
RICO VERGOTINE
Botmaskop (Afrikaanse Mistress)
RAPHAEL D’ABDON
kings fools and madwomen (after dario fo and janelle monae)
claque
JIJANA
home is where the hut is - Notes for a future essay on Ayanda Sikade’s Umakhulu
MATTHIJS VAN DIJK
Bow Project 2: Bowscapes – In Memory of Jürgen Bräuninger
PATRICK LEE-THORP
A discourse in the language of the Global North based on the colonial history of copyright itself: Veit Erlmann's Lion’s Share.
PERFECT HLONGWANE
A close reading of Siphiwo Mahala’s Can Themba – The Making and Breaking of an Intellectual Tsotsi: A Biography
RITHULI ORLEYN
The Anatomy of Betrayal: Molaodi wa Sekake’s Meditations from the Gutter
NCEBAKAZI MANZI
Captive herds. Erasing Black Slave experience
KARABO KGOLENG
Chwayita Ngamlana’s If I Stay Right Here: a novel of the digital age
WAMUWI MBAO
Nthikeng Mohlele’s The Discovery of Love: a bloodless collection.
RONELDA KAMFER
The Poetry of Victor Wessels: black, brooding black
NATHAN TRANTRAAL
Ons is gevangenes van dit wat ons liefhet: Magmoed Darwiesj gedigte in Afrikaans
ARYAN KAGANOF
Khadija Heeger's Thicker Than Sorrow – a witnessing.
KYLE ALLAN
Zodwa Mtirara’s Thorn of the Rose
ADDAMMS MUTUTA
Third Cinema, World Cinema and Marxism without a single African Author?
ekaya
NDUDUZO MAKHATHINI
Spirituality in Bheki Mseleku’s Music
ESTHER MARIE PAUW
Africa Open Improvising & AMM-All Stars
STEPHANUS MULLER
An interview with Jürgen Bräuninger and Sazi Dlamini
off the record
TSITSI ELLA JAJI
Charlotte Manye Maxeke: Techniques for Trans-Atlantic Vocal Projection
KGOMOTSO RAMUSHU
Skylarks and Skokiaan Queens: Jazz women as figures of dissent
OLIVIER LEDURE
Some Posters and LP Covers of South African JAZZ Designed by South African Artists
HERMAN LATEGAN
Memories of Sea Point
ANDERS HØG HANSEN
Sixto and Buffy: Two Indigenous North American Musical Journeys
REINBERT DE LEEUW
Sehnsucht
RICK WHITAKER
The Killer in Me
feedback
VANGILE GANTSHO
Thursday 8 December 2022
KEV WRIGHT
Monday 2 January 2023
WILLIAM KELLEHER
Wednesday, 1 February 2023
STEFAN MAYAKOVSKY
Thursday 2 March 2023
FACEBOOK FEEDBACK
Facebook
herri_gram FEEDBACK
Instagram
the selektah
TENDAYI SITHOLE
Underground: The Sphere of 2SMan
PhD
DIE KOORTJIE UNDERCOMMONS
Inhoudsopgawe
INGE ENGELBRECHT
1. Entering the undercommons
INGE ENGELBRECHT
2. Conserve undercommons
INGE ENGELBRECHT
3. Die Kneg en die Pinksterklong
INGE ENGELBRECHT
4. To be or not to be
INGE ENGELBRECHT
5. Ôs is dai koortjie
INGE ENGELBRECHT
6. Decoding die koortjie
INGE ENGELBRECHT
7. Die Holy of Holies
INGE ENGELBRECHT
8. Epilogue
hotlynx
shopping
SHOPPING
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contributors
the back page
DOROTHEE RICHTER
(NON-)THINGS or Why Nostalgia for the Thing is Always Reactionary
ANASTASYA VANINA
War
© 2024
Archive About Contact Africa Open Institute
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    #09
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ANASTASYA VANINA

War

Horror is a form of energy, and there are no inexhaustible sources of energy. A lot of horror is spent on the very expectation of something terrible (suspense) – and now, when something terrible is already happening to us, we are not so horrified. War is horror every day, it is a tragedy that has become something ordinary.

The war in Ukraine has been going on for 9 years. But I live in Kyiv. Here, all these years, there has been no war as such, only its echo: refugees, news about the deaths of the military (not in such numbers as today), terrible stories about the russian Izolyatsia concentration camp in the Donbass.

Before the large-scale offensive of russia, the situation began to heat up. Foreign embassies left Kyiv. On the main square of the country, Maidan, the Reuters news agency installed a video camera.

Frankly, this caused bewilderment and indignation: do they think that the russians will land right here? Reuters just wants to record how Ukrainians are being killed?

We were offended and we joked. A man, right in front of the camera, launched a drone announcing the sale of his garage.

And on February 24, 2022, I woke up at 4 am, and after some time I heard multiple explosions, windows flew out in the entrance of my house. And I flew into a new reality.

Today, war has become commonplace, but at the first moment you are shocked. A rocket fragment fell almost near my house. I watched from the window how people were running, traveling with suitcases, bags, backpacks in different directions. I saw Kyiv become empty.

I stayed in Kyiv. For two reasons. I didn’t really realize the danger. And I did not want to be a speck of dust that some force drives out of the country.

I walked through an empty city. There were few civilians on the street, they lowered their eyes, no one reacted to the sounds of the cannonade. There were almost no cars on the street, only military vehicles. Our house is empty. There were empty houses all around.

Then in Kyiv there was a weak air defense and every night we thought: – I wonder if it will get into our house or not?

And during the day, artillery sounded – the Russians surrounded Kyiv.

I already vaguely remember, but in the early days there was no bread. I was less worried about this than problems with self-identification. I didn’t understand who I was, but it was kind of important to understand, because you could die at any moment.

To be honest, writing about the war is hard. I don’t even know why. As if you are sick with mutism, as if a minute of silence stretched out for an indefinite period.

Someone recently said that now every day in our country is a day of national tragedy. In my head, these are fragments – Bucha (killed, raped, tortured people – children, old people), Mariupol wiped off the face of the earth, killed prisoners in Olenivka, even blown up houses in relatively peaceful cities.

Acquaintances that you will never see again – not only professional soldiers, but filmmakers, singers, ballet dancers. So many handsome young guys – with beautiful smiles, athletic bodies. Why did they have to die? Just because there is a terrible country with terrible people nearby? Is it just because other countries lacked integrity and courage?

And how many people with disabilities, people who have lost their homes, and even entire cities. Children who have lost their fathers. Children abducted by russia.

Some things seem to be instant shots mounted in my mind – severed heads and other body parts, executions. From time to time there is an exchange of prisoners of war. Our soldiers are like the prisoners of Auschwitz. Sometimes, instead of living prisoners, we get the russians to return at least the dead bodies.

If anyone is wondering, I hate all russians. What is this hatred like? I don’t want to think about them, I want russia to cease to exist. I know it will be right.

The West evokes much more emotions in me. Yes, they help us, but very discreetly. And they disarmed us all this time before the war. We gave nuclear weapons to russia. Really, it’s funny? We were forced to hand over to russia or destroy other types of weapons. We are constantly held back, we are told that we must behave properly. At the same time, russia is bombing ports and grain warehouses in Odessa – this is what was supposed to go to Africa and other countries.

I am outraged by injustice. When russians blew up the Kakhovskaya hydroelectric power station – not just an environmental disaster, but hundreds of sunken cities and towns, many leading publications wrote that it was not known who was to blame.

It’s not just insulting and hypocritical. For Ukrainians, this means the following: russia can blow up the Zaporozhye nuclear power plant with impunity + russia can arrange a nuclear explosion on the territory of Ukraine.

In the meantime, I enjoy summer and warmth. Almost every night in May Kyiv was shelled with rockets: when fireballs flew past my house and the explosions were especially loud, I jumped out into the corridor. If you walk around Kyiv during the day, you will never know that all these people did not sleep at night. As if talking about nighttime explosions is bad form.

It saddens me that summer will soon be over. They say that the Russians are well prepared for the coming winter, which means that we can be left not only without electricity, but also without heating and water. I don’t want to think about it.

Do I believe this war will ever end? No, I can’t imagine that people live somewhere and don’t know what war is.

There are days when your entire twitter feed is an obituary.

I’m scrolling through, I don’t feel anything, and suddenly some face makes you cry.

Sometimes I get in the mood to argue with someone on social media. It can be funny arguments when we are told that we are Nazis. Now this topic seems to be dead. Now we are arguing about weapons that were not given to us or about the collapse of russia, which the West is trying to prevent. It reminds me of the plot of science fiction films, such as Alien or the TV series  Stranger Things. When the main character is not allowed to destroy the monster, because some Uncle Sam has paranoid plans, how this monster can be used.

To be honest, today Ukrainians are the most disappointed people in the world. We despise international organizations, we know that the UN, the Red Cross and so on are doing everything to cover up the crimes of russia. I despise the Oscar that was given to the film about Navalny – because Navalny is no different from putin. I despise russian liberals.

Social networks such as Twitter, Facebook, Instagram block information about the crimes of russians, and any of your negative statements about russia are called hate speech. But even if this is true, don’t we have the right to hate?

I remember how, in the first days of the war, some German intellectual wrote that Ukrainians should not be allowed into a normal society, because they stop russian tanks with their hands. Sometimes I think he is right – the gap between our world and the world where there is no war is huge.

We are asked why we do not want to negotiate. And as if they do not understand that russia does not need our territories – they turn cities into ashes and dust. The russians came to kill us all. This is not fantasy, not paranoia – this is the reality in which I live. And she doesn’t scare me anymore.

P.S. I did not write about the fact that huge territories of Ukraine are mined – this is how the Russians are trying to prevent the offensive of our troops. And even if the war ends, it will take several decades to clear all this. I didn’t write about the good stuff either. About how people save animals, sacrifice their lives for other people, about how, despite these horrors, Ukrainians constantly joke. It’s a nervous laugh, but it helps.

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DOROTHEE RICHTER
Issue #09
© 2024
Archive About Contact Africa Open Institute