HISTORY: The revolution and the emancipation of women > Pambazuka

The revolution and

the emancipation

of women

— A Reflection on

Sankara’s Speech,

25 Years Later

Amber Murrey

2012-06-20, Issue 590

http://pambazuka.org/en/category/features/83074

 

The life and work of Thomas Sankara can be taken as a reminder of both the power and potential for human agency to enact transformation.

I would like to situate my ideas within the geo-political context of the popular uprisings that continue to take place around the world as people organise against neoliberal policies of advanced capitalism and their resultant gross inequalities in wealth, health and education. Accompanying the intensifying neoliberal crises - manifested through the financial crisis, food security crisis, and struggles over land reform and landed property - is an ever expanding militarisation. The US military now has more bases and more personnel stations in more countries than ever in its history. The US Africa Command is one component of the US military’s current phase of expansion, including millions of dollars of military equipment, arms and training in African nations.

This is our contemporary moment as we approach the 25th anniversary of the assassination of Thomas Sankara.

The revolutionary transformation of the West African country Upper Volta to Burkina Faso (what is known as the August revolution of 1983) occurred during a previous neoliberal crisis, that of the 1980s African debt crisis. Sankara vehemently and publicly denounced odious debt and rallied African political leaders to do the same.

Sankara’s politics and political leadership challenged the idea that the global capitalist system cannot be undone. During four years as the president of Burkina Faso, he worked with the people to construct an emancipatory politics informed by human, social, ecological and planetary wellbeing. The people-centred revolution was a pivotal point for a shift towards new societies on the continent. We have much to learn from the Burkinabé revolution.

What distinguishes Sankara from many other revolutionary leaders was his confidence in the revolutionary capabilities of ordinary human beings. He did not see himself as a messiah or prophet, as he famously said before the United Nations General Assembly in October of 1984. It is worth quoting from Sankara at length, when before the delegation of 159 nations, he said:

‘I make no claim to lay out any doctrines here. I am neither a messiah nor a prophet. I possess no truths. My only aspiration is…to speak on behalf of my people…to speak on behalf of the “great disinherited people of the world”, those who belong to the world so ironically christened the Third World. And to state, though I may not succeed in making them understood, the reasons for our revolt’.

Furthermore, Sankara placed women’s resistance agency at the centre of the revolution. He saw women’s struggles for equal rights as a focal point of a more egalitarian politics on the continent.

Meaningful social transformation cannot endure without the active support and participation of women. While it is true that women have been deeply involved in each of the great social revolutions of human history, their support and participation has historically often gone relatively unacknowledged by movement leaders. This was the case when Russian women united to march in St. Petersburg in February of 1917, demanding bread. Similarly, French women marched to Versailles in 1789, again to demand bread. Despite significant contributions to revolutionary movements, women remained second-class citizens. Oftentimes women’s political organisations were chastised by formalised male-led revolutionary groups.

Women mobilised for freedom against colonial and neocolonial oppressions In revolutionary and social struggles across the African continent. Again, many male leaders either omitted or failed to recognise the vital nature of the work carried out by women to mobilise and maintain social movements.

Sankara was somewhat unique as a revolutionary leader - and particularly as a president - in attributing the success of the revolution to the obtainment of gender equality. Sankara said, ‘The revolution and women’s liberation go together. We do not talk of women’s emancipation as an act of charity or out of a surge of human compassion. It is a basic necessity for the revolution to triumph’.

HISTORICAL BACKGROUND

The West African country of Upper Volta, a former French colony with more than seven million inhabitants, was among the poorest countries in the world at the time of the popular uprising on 4 August 1983. At 280 deaths for every 1,000 births, it had the world’s highest infant mortality rate. School attendance hovered around 12 per cent and was even lower for girls. Thomas Sankara, a Burkinabé with military training, had witnessed the student and worker-led uprisings in Madagascar. He was influenced by what he witnessed there as a young man and returned to Upper Volta with an anti-imperialist worldview, founding in a strong notion and respect for the power of the grassroots. This put him at odds with the ruling party of Upper Volta and he was imprisoned in 1983. The people demonstrated in mass to protest his arrest and on 4 August 1983, Blaise Compaoré and some 250 soldiers freed Sankara. Sankara took over as president and formed the National Council of Revolution (NCR). He was 33 years old at the time. One year later the people of Upper Volta embraced a new national name, that of Burkina Faso - meaning the land of upright men.

During four years as the president, peasants, urban and rural workers, women, youth, the elderly and all ranks of Burkinabé society mobilised to create a more egalitarian and human-centred society. Sankara focused especially on the political education of the masses. A literacy campaign was organised and school attendance doubled in two years. He nationalised all land and oil wealth as a means of ending oppressive class relations based on landed property. An anti-corruption campaign was implemented. A massive reforestation project was undertaken as millions of tree saplings were planted to halt desertification. They sunk wells, built houses, and immunised 2.5 million children, including children from bordering countries.

Then on 15 October 1987, Captain Blaise Compaoré led a military coup against Sankara. It is widely accepted that the coup was in the interests of the landed and upper classes, whose domination was threatened by the revolution. Sankara and 12 of his aides were assassinated.

Blaise Compaoré remains the president of Burkina Faso today and has been implicated in conflicts in Liberia, Sierra Leone, Cote d’Ivoire, and in arms trafficking and the trafficking of diamonds. There has been no independent investigation into Thomas Sankara’s assassination, despite repeated requests by the judiciary committee of the International Campaign for Justice for Thomas Sankara, a legal group working in the name of the Sankara family. The UN Committee for Human Rights closed Sankara’s record in April of 2008, without conducting an investigation into the crimes.

SANKARA AND GENDER

To a rally of several thousand women in Ouagadougou commemorating International Women’s Day on 8 March 1987, Thomas Sankara took a distinctive position as a revolutionary leader and addressed in great detail women’s oppression. He outlined the historical origins of women’s oppression and the ways in which acts of oppression continued to be perpetuated during his lifetime.

He said:

‘Imbued with the invigorating sap of freedom, the men of Burkina, the humiliated and outlawed of yesterday, received the stamp of what is most precious in the world: honor and dignity. From this moment on, happiness became accessible. Every day we advance toward it, heady with the first fruits of our struggles, themselves proof of the great strides we have already taken. But the selfish happiness is an illusion. There is something crucial missing: women. They have been excluded from the joyful procession…The revolution’s promises are already a reality for men. But for women, they are still merely a rumor. And yet the authenticity and the future of our revolution depend on women. Nothing definitive or lasting can be accomplished in our country as long as a crucial part of ourselves is kept in this condition of subjugation - a condition imposed…by various systems of exploitation.

Posing the question of women in Burkinabe society today means posing the abolition of the system of slavery to which they have been subjected for millennia. The first step is to try to understand how this system functions, to grasp its real nature in all its subtlety, in order then to work out a line of action that can lead to women’s total emancipation.

We must understand how the struggle of Burkinabe women today is part of the worldwide struggle of all women and, beyond that, part of the struggle for the full rehabilitation of our continent. The condition of women is therefore at the heart of the question of humanity itself, here, there, and everywhere.’

His words display a profound understanding of, and active solidarity with, women’s struggles, of which he posits as a struggle belonging to all of humanity.

He locates the roots of African women’s oppression in the historical processes of European colonialism and the unequal social relations of capitalism and capital exploitation. Most importantly, he stressed the importance of women’s equal mobilisation. He urges Burkinabé women into revolutionary action, not as passive victims but as respected, equal partners in the revolution and wellbeing of the nation. He acknowledges the central space of African women in African society and demanded that other Burkinabé men do the same.

In an interview with the Cameroonian anticolonial historian Mongo Beti, he said, ‘We are fighting for the equality of men and women - not a mechanical, mathematical equality but making women the equal of men before the law and especially in relation to wage labor. The emancipation of women requires their education and their gaining economic power. In this way, labor on an equal footing with men on all levels, having the same responsibilities and the same rights and obligations…’.

This means that while the revolutionary government included a large number of women, Sankara did not believe that an increase in female representation was an automatic indicator of gender equality. He truly believed in grassroots organising and that change had to originate with the energy and actions of the people themselves.

He urged his sisters to be more compassionate with each other, less judging and more understanding. He questioned the need to pressure women into marriage, saying that there is nothing more natural about the married state than the single. He criticised the oppressive gendered nature of the capitalist system, where women (particularly women with children to support) make an ideal labour force because the need to support their families renders them malleable and controllable to exploitative labour practices. He characterised the system as a ‘cycle of violence’ and emphasised that ‘inequality can be done away with only by establishing a new society, where men and women enjoy equal rights’.

HIs focus on labour rights and the gendered means of production was symbolised through the day of solidarity that he established with Burkinabé housewives. On this day, men were to adopt the roles of their wives, going to the marketplace, working in the family agricultural plot and taking responsibility for the household work.

This speech provides a powerful heritage of political leadership and stands as a source of political ideas and inspiration for liberation movements on the continent. Sankara offers a possibility for continued male political engagement and solidarity with women’s oppression.

MILITARISM

Radical feminist theorists Barbara Sutton and Julie Novkov (2008) explain militarization as ‘how societies become dependent on and imbued by the logic of military institutions, in ways that permeate language, popular culture, economic priorities, educational systems, government policies, and national values and identities’. US-backed militarisation of Africa takes a couple of different forms. First, it means an increase in troops on the ground. US Special Ops and US military personnel have been deployed in the Central African Republic, the Democratic Republic of the Congo, Mali, Mauritania, South Sudan, and (potentially) Nigeria.

Second, US military personnel conduct training sequences with African militaries. Training is underway in Algeria, Burundi, Djibouti, Chad, Namibia, Somalia, South Africa and many others. This is often presented as a ‘counterterrorism’ effort to stifle the spread of Al Qaeda across North Africa but it is a political tool. Bolstering local military capabilities in un-democratic nations is one means to ensure the control and suppression of local populations, who are often labeled as ‘terrorists’ to justify brutal crackdowns on social and political protests.

Third, the US military funds social science research into African society, culture and politics. This takes various forms, one of which is the use of SCRATs (or Sociocultural Advisory Teams) for the purposes of preparing US military personnel for deployment and missions. This can be understood through the same framework of contemporary counterinsurgency-style warfare in Afghanistan (and previously in Iraq), where winning the ‘hearts and minds’ requires in-depth knowledge of local peoples and cultures (what the military refers to as ‘human terrain’). British and French counterrevolutionary theorists during the anti-colonial period of the 1950s and 1960s also promoted the need for in-depth knowledge of local revolutionary culture and social organisation as a means of anticipating and controlling anti-colonial social unrest.

Although the US government claims that the US Africa Command is an extension of peacekeeping and humanitarian aid, an historical analysis of US intervention on the continent indicates otherwise. At every instance of African agency the US was willing and ready to intervene on the side of the colonisers.

In our contemporary moment, neoliberal promises and free-market policies have failed to return on their promises of increased wealth and progress. But more than this, they have caused increased social inequalities that is accompanied by a dangerous militarism. Scholars (see Sutton and Novkov 2008, for example) have explored the ways that increased poverty and the narrowing job markets caused by neoliberal policies pushes people into the military as a means of economic survival. This is true in the so-called Global North as it is in the so-called Global South.

The process of militarism is accompanied by gender-specific inequalities and disadvantages. Horace Campbell in his article, ‘Remilitarisation of African Societies: Analysis of the planning behind proposed US Africa Command’, (2008) explains, ‘Sexual terrorism…finds its echo in Africa where insecurities generated by warfare, ethnic hatred, rape, sexual terrorism and religious fundamentalism increase violence and lead to unnecessary military mobilization’.

The voices of African women activists and intellectuals are particularly necessary as the interconnections between militarism, masculinity and violence become clearer. Patricia McFadden writes, ‘By imbuing the notion of rampancy with political weight in terms of its use as a gendered and supremacist practice within militarism…[it] facilitates both class consolidation and accumulation, as well as gendered exclusion of women and working communities in Africa’. Women have been combating their exclusion through both organized and non-organized action.

A strong military structure paves the way for the resource plunder and large scale dispossessions that are seen in neoliberal states in the so-called Global South. In this system, the state ensures profit for class elites (both international and domestic) by guaranteeing the super-exploitation of labour and the dispossession of millions of people of their lands and livelihoods for resource extraction at serious costs to local ecology, health and wellbeing. This guarantee can only be made through an increased militarism that stifles political mobilisation.

But Thomas Sankara and the August Revolution of 1983 tells us another story. They provide a different way of thinking about social organisation. Sankara understood that capitalism is dependent upon the unequal deployment of and distribution of power, particularly state power. But, as he showed us, the state is not unalterable. The state is a complex system of human relationships that are maintained through violent power/coercion and persuasion. And what Sankara did was work to bring the state apparatus down to the level of the people, so to speak. He encouraged people to engage with the state and to change the unequal power relations embedded in the state structure. He did this - as demonstrated earlier through the example of gender empowerment - by exposing the ways that power is generated, controlled and dispensed and then identifying alternative forms of social relations. This is what the August Revolution of 1983 sought to perform in Burkina Faso.

The life and work of Thomas Sankara can be taken as a reminder of both the power and potential for human agency to enact transformation and as a reminder of our obligation to engagement of and for human wellbeing. As the social mobilisations taking place across the world are demonstrating right now, this engagement for human wellbeing means refusing to submit to neoliberal policies that see humans in terms of labour and profit.

CONCLUSION

I’ve been told that the first time that my daughter’s paternal grandfather cried was at the news of Thomas Sankara’s assassination. It was certainly the first time that my daughter’s father saw his father cry. He recalls, even at the age of seven, his sense of confusion and sadness over Sankara’s death.

The image of my daughter’s grandfather entering his home and collapsing onto the sofa, holding his face in his hands and crying emerges in my head each time I think of Sankara. This image of a middle aged Cameroonian man, Jacque Ndewa, thousands of miles away, who had never travelled to Burkina Faso, crying quietly on his sofa. This is the resonance that Sankara had, across the African continent and among disenfranchised and dispossessed people everywhere.

In honour of his memory, I praise and celebrate his fearlessness, his resilience and his political leadership for human emancipation.

* BROUGHT TO YOU BY PAMBAZUKA NEWS

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* This text is from a presentation by the author at a Revival of Pan-Africanism Forum event entitled 'Celebrating the Life of Thomas Sankara' and held at Jesus College, University of Oxford on 8 June.
* Please send comments to editor[at]pambazuka[dot]org or comment online at Pambazuka News

 

VIDEO: The Sounds of Blackness "Rise" in Trayvon tribute > SoulTracks

First Watch:

The Sounds of Blackness

"Rise" in Trayvon tribute

The Sounds of Blackness members have, in their own unique way, been making music history for two decades, and they continue to wow audiences around the world.

Their 2011 song "Rise" has now been given new life in a video tribute of the song to Trayvon Martin. The song comes from their NAACP Image Award winning self-titled CD on Malaco Records. The video was directed by Karl Demer for Atomic K Productions. Trevon Martin Rally footage (Minneapolis) courtesy of Tru Media Productions.

What do you think?

 

PUB: First Annual Saranac Review Writing Contest

First Annual

Saranac Review Writing Contest

 

DEADLINE:
Entries must be postmarked no later than December 15, 2012

The Saranac Review is a literary journal published by the Department of English under the auspices of SUNY Plattsburgh. The Editorial staff of the Saranac Review will review and screen the manuscripts for the judges. The screeners will select ten to 15 manuscripts in each genre for each judge’s final evaluations.

The judges:

Jo-Ann Mapson, Fiction; Aimee Nezhukumatathil, Poetry.

FIRST PRIZE: $500 FOR BEST POEM; $500 FOR BEST STORY,

AND PUBLICATION.

Manuscript Format Guidelines

Fiction manuscripts must be typed and double-spaced on good quality paper, 8 1/2 x 11 inches, with 1 inch margins all around. Use either Courier or Times Roman, 12 point regular font. Poetry manuscripts may be single-spaced. Photocopies or copies from letter-quality printers are acceptable, but dot matrix is not acceptable. Manuscripts should not be bound or in a folder; they may be clipped but not stapled. Each manuscript must include:

  1. The official Contest entry form, which includes spaces for your name, manuscript title(s), contact information, and an agreement to the terms of the Contest. Please download this form from our website, enter all the information, and attach it to the manuscript as the cover page.

  2. A title page with the manuscript title only. The entry form will be removed so that each submission can be read anonymously. Do not include your name anywhere in the manuscript. If the author's name appears anywhere except the entry form, the manuscript will be disqualified. Do not send acknowledgement of previous publications or a biographical note.

Eligibility Requirements

  1. The contest is open to all authors writing in English regardless of nationality or residence.

  1. Poems and stories previously published are not eligible for inclusion in submissions. As the series is judged anonymously, no list of acknowledgements should accompany your manuscript.

  1. Stories and poems in translations are not eligible.

  1. To avoid conflict of interest, friends and/or former students of a serving judge in any genre are ineligible to enter the competition.

  1. Staff and friends of staff of Saranac Review, current students and faculty of SUNY Plattsburgh are not eligible to enter.

  1. You may submit your manuscript to other publishers while it is under consideration by the Writing Contest, but you must notify SR immediately in writing if your manuscript is accepted elsewhere. No e-mail or phone calls, please. If your manuscript is accepted elsewhere we cannot refund your entry fee.

  1. SR cannot consider manuscript revisions during the course of the contest, but the winning authors will have an opportunity to revise their works before publication. Please read carefully the entry requirements and guidelines before submitting your work.

Entry Requirements

  1. An entry fee of $15. Make your check or money order in U.S. dollars, drawn on a U.S. bank, payable to Saranac Review. All entry fees are nonrefundable.

  2. An official contest entry form, completed with the required information. See the links at the top of this page for the entry form, or send a self-addressed, stamped envelope to Saranac Review Writing Contest and request the entry form.

  3. Include a self-addressed, stamped postcard for notification that the entry has reached us. Notification will include your log number for the competition. Please use this number in corresponding with Saranac Review regarding your entry. We cannot notify receipt by phone.

  4. Also include a self-addressed, stamped envelope, business size (9 1/2 x 4 inches), if you would like direct notification of contest results. Results will be mailed in May, 2013. Do not include an envelope for the return of your manuscripts. No manuscripts can be returned.

  5. Send one copy of each manuscript entered, prepared according to manuscript format guidelines.

  6. If story or poem is slated for publication before December 2012, whether in another magazine or as part of a book, or if it has been named winner or runner-up in any other contest, it is ineligible. Please withdraw work from our contest immediately if these conditions apply.

Terms

  1. Your submitted manuscript must be an original work of which you are the sole author.

  2. Your manuscript must be submitted in accordance with the eligibility requirements, format guidelines, and entry requirements or it will be disqualified.

  3. No entry fees or manuscripts will be returned.

  4. This competition is void where prohibited or restricted by law.

  5. All manuscripts, whether selected as finalists or not, are considered for publication

Mail submissions to:

 

Writing Contest (Please indicate Fiction or Poetry)
Saranac Review
Department of English
SUNY Plattsburgh
Plattsburgh, N.Y. 12901

 

View and Download the Saranac Review Writing Contest Official Entry Form

 

PUB: Call for Story Pitches: Latitudes Global Affairs Radio Program (pay: $650 for 6-minute features | worldwide) > Writers Afrika

Call for Story Pitches:

Latitudes Global Affairs

Radio Program

(pay: $650 for 6-minute features

| worldwide)


Deadline: 26 June 2012

Latitudes, WAMU’s global affairs radio program, will be producing a series of hour-long programs this fall. The show goes behind the headlines to bring listeners into the daily lives of ordinary people all over the world. It also highlights local-global connections and looks at solutions to global challenges. (www.latitudesradio.org.)

We’re looking for story ideas that surprise, provoke and illuminate, and address issues from unique and offbeat angles. Here are some themes we may be following this fall, defined freely and broadly:

Food: We’re looking for a wide mix of stories, from something as frothy as the history of cake in Ethiopian cuisine to something as heavy as hunger strikes. How does food shed light on a local culture, have the power to make change, or reflect what’s happening in the news? We’re also looking for stories about how our relationship with food — how we produce it, cook it and eat it – is shifting.

Consumption: What we consume and how we consume it can affect everything from the environment to public health to local cultures. These stories would highlight global disparities in consumption, what happens when wants turn into needs, the impact of new technologies and the changing patterns of consumption in emerging nations.

Going Backwards: This theme confronts the reality that “progress” is not always always linear. Stories could focus on anything from a coup d’etat, to the status of women in certain places, to self-deportation, to development aid and technology. We may also question whether failure itself is always a bad thing – including stories from cultures that honor it for the effort it reflects and the lessons it offers.

People on the Move: This can cover anything from transportation to immigration. The world never stays still.

Making a Living: What are some of the original/uplifting/inspiring ways people are managing in a tough global economy? What happens when it’s impossible to find a job?

While Latitudes’ focus is mainly international, we’re also interested in domestic story ideas that fit these themes, especially if they have an international element or make a local-global connection. And if you have a great international story idea that doesn’t fit into any of these themes, let us know anyway!

Latitudes pays $650 for standard, sound-rich features (4-6 minutes long) and $250-$350 for shorter vignettes (2-3 minutes long) depending on the level of difficulty involved.

Please send your pitches and questions to Latitudes producer Andrea Wenzel at awenzel@wamu.org, by Tuesday, June 26.

Via: freelancecafe

CONTACT INFORMATION:

For queries/ submissions: awenzel@wamu.org

Website: http://wamu.org/

 

 

PUB: Parkgate Press prize for fiction

Parkgate Prize for Fiction 2012

$2000 of Cash Prizes and Print and Digital Book Contract for Winner

The Competition

Today, February 7, 2012, is the 200th anniversary of the birthday of Charles Dickens. To commemorate this event, we are launching the Parkgate Prize for Fiction, and we are excited to make 2012 the Prize's inaugural year!

As the competition's debut year, we have chosen a theme of the life and / or works of Charles Dickens. This is not designed to restrict entries, merely to provide amusement. To be clear, you can write about anything, though at some point we ask that you connect to the theme, overtly or tenuously. For example, you could have a story that mentions a Dickens character or setting (this would be considered overt), or you could merely use a Dickens quotation as an epigram for your story (less overt).

Either way, the fiction is not judged on its connection to Dickens, merely that it has a Dickens connection, however small, in order to be accepted for entry. Feel free also to submit a pre-existing story, adapted in a minor way to mention Dickens himself, as a kind of novelty homage. Don't overthink it - it's simply a nod to his birthday.

Prizes

There are 3 categories: Novel Opening First Five Chapters (min. 7,500 words, max. 20,000 words), Short Story (min. 1,500 words, max. 7,500 words), and Long Story (min. 7,500 words, max. 12,500 words).

Each category will result in a Short List of 6 entries, from which a 1st Prize, 2nd Prize, and 3rd Prize will be awarded.

The three 1st Place winners are termed The Finalists. From the 3 Finalists, an overall Winner will also be chosen. This individual will also be the holder of the title Winner of the Parkgate Prize for Fiction 2012. This title may then be used in promotional material associated with the work, given it is also awarded publication by Parkgate Press (see below).

All those assigned to the Short List (in each category) will receive feedback on their entry from the judging panel.

In each category, 3rd place will receive $50, 2nd place $150 and 1st Place $300 (for all three categories, a total prize money of $1500).

The overall Winner of the Parkgate Prize for Fiction receives an additional $500 and a contract offer of publication from Parkgate Press, for either a novel, book of short stories or book of (naturally fewer) long stories, for their work to appear in both print and digital editions (paperback and Kindle, Nook, iPad and Sony e-reader editions). The paperback will be issued by Dionysus Books approximately 1 year after the Prize is awarded. The digital editions, staggered about 6 months later, will be released by Parkgate Digital. Please see the standard terms that would apply for this contract offer by visiting the Parkgate Press Submissions page.

Deadline

All entries must be postmarked on or before September 30, 2012.

Timeline

A Short List for each category will be announced on October 30, 2012 (so three amounts of 6 individuals, or 18 names).

A 3rd, 2nd and 1st Place for each category will be announced on November 20, 2012.

The Winner will be announced on December 10, 2012.

How To Enter

Please email your typescript as a single file, either Word or PDF, as an attachment to editor@parkgatepress.com. Please include 'Parkgate Prize for Fiction: your name only' in the subject line. On the first page of your entry, please include your name, correspondence address, email address, phone number, title of your work and word count. Please do not include any of this information on any other page. All works must either be previously unpublished, or the copyright currently retained by the author. N.B. Full, worldwide copyrights remain with the author for all entries.

Entry Fee

$15 per category. You may enter more than one category (all three if you have the material), but only one entry per category. There is a discount for entering two or more categories ($25 for two, $35 for all three). Please pay either by PayPal (which includes a credit card option), or by sending a check for the total amount payable to 'Parkgate Press' at Parkgate Press (Parkgate Prize for Fiction), 1748 N. Rhodes Street, Suite 321, Arlington, Virginia 22201, USA. You will then receive an email to confirm your entry has been accepted.

 

Prizes in Categories

All three categories have prizes as follows: First Place $300, Second Place $150, Third Place $50.

Overall Winner

Additional $500

Publishing Contract

The publishing contract would be for a novel, a collection of short stories, or a collection of long stories, to be published in the fall of 2013.

The publishing contract would be exclusively with Parkgate Press (under fiction imprint Dionysus Books). The contract would be for both print and digital editions (paperback and Kindle, Nook, iPad and Sony e-reader editions).

Best of luck!

 

VIDEO: The pain we all share – in memory of Thapelo Makhutle

The pain we all share

– in memory of

Thapelo Makhutle

by Sokari on June 23, 2012

A beautiful and moving film that is both a celebration of Thapelo’s young life and a mourning that he and his family should suffer from such a horrific act of violence.

“Each time a Lesbian, Gay man, Transgender, Intersex, Queer and Gender-Variant person is killed in South Africa our trauma is heightened and our call to act against these increasing attacks continue.

There is a quiet attack taking place against LGBTIQ persons. I say quiet because it goes unnoticed by the system, we still remain outside the system as the Department of Justice and Others in Government try and work through how to address this notion of a “hate crime”. Our trauma and our identity lie below the State’s radar and in fact violence in South Africa affecting poor vulnerable communities fall below the State’s gaze.

Due to the lack of awareness and reporting on homophobia and transphobia in Africa, Iranti-Org was created. Iranti in Yoruba means memory. We are affected by the public trauma of hearing the news of another LGBTI death in South Africa. I was deeply affected by the death of Thapelo Makhutle a young Gay activist from Kuruman. I made this video in memory of hiim, but most importantly to create a body of work that begin to speak to our feelings, our trauma and how we embed this in addressing issues of inequality.” Jabu Pereira
Director Iranti-Org

 

VIDEO: 'Call Me Kuchu'

<p>Call Me Kuchu - Trailer from Call Me Kuchu on Vimeo.</p>

Directed by Katherine Fairfax Wright & Malika Zouhali-Worrall

Official Selection at the 2012 Berlin Film Festival 
 

Winner - Teddy Award for Best Documentary 
 

Winner - Cinema Fairbindet Award
 

2nd Place - Audience Award
 

Honorable Mention - Siegessaule Readers Choice Award.

callmekuchu.com
facebook.com/CallMeKuchu
twitter.com/#!/callmekuchu

 

__________________________

 

Listen to the Story

 

 

 

'Call Me Kuchu':

Uganda's Secret

Gay Community


One of the front page stories published by Ugandan newspaper The Rolling Stone, which terrorized the LGBT community.
Katherine Fairfax Wright/Courtesy of 'Call Me Kuchu'

One of the front page stories published by Ugandan newspaper The Rolling Stone, which terrorized the LGBT community.

 

 

June 21, 2012

When Ugandan lawmakers introduced an anti-homosexuality bill in 2009, it called for the death penalty for "serial offenders." That legislation failed, but a new version was reintroduced in 2012 in an effort to further criminalize same-sex relations in a country where homosexuality is already illegal. The bills have drawn loud and widespread condemnation from much of the international community, particularly after the brutal death of openly gay activist Davdi Kato.

Filmmakers Katherine Fairfax-Wright and Malika Zouhali-Worrall gained access to Uganda's secretive LGBT community for their documentary film, Call Me Kuchu. The pair follow a group of gay women and men — derogatorily called "Kuchus" — lead by Kato, as he fights to repeal the country's anti-gay laws and as they rail against the ongoing, sometimes violent, persecution.

NPR's Neal Conan wraps up a two-part series on the American Film Institute's Silverdocs Film Festival with Malika Zouhali-Worrall, the producer and co-director of Call Me Kuchu, and one of the film's subjects, John "Long Jones" Abdallah Wambere.

via npr.org

 

__________________________

 

They Will Say

We Are Not Here

They Will Say We Are Not Here: The filmmakers Katherine Fairfax Wright and Malika Zouhali-Worrall explore the motivations, sorrows and dreams of the slain Ugandan gay rights activist David Kato.

GO HERE TO VIEW SHORT DOCUMENTARY ON DAVID KATO
By KATHERINE FAIRFAX WRIGHT and MALIKA ZOUHALI-WORRALL

 

These are fragments of David Kato, glimpses of a Ugandan activist and friend who – one year ago today – was brutally murdered. These moments offer a perspective on the inner world that David shared with us, a world teeming with passion and relentless determination, good humor and vivid daydreams.

During our first days in Kampala, a member of Parliament told us, “there is no longer a debate in Uganda as to whether homosexuality is right or not – it is not.” From what we knew of the pending Anti-Homosexuality Bill – which proposed death for H.I.V.-positive gay men and prison for anyone who failed to turn in a known homosexual – we were tempted to believe him.

But David showed us a different reality. Initially, he played something of a fixer, our main liaison with the L.G.B.T., or “kuchu” community. We soon realized, however, that the man known as the “grandfather of the kuchus” was one of the most outspoken and inspired activists in East Africa. The more time we spent documenting his work, the more evident it became that, contrary to the M.P.’s claim, David and his fellow activists were, in fact, generating real debate in Uganda. Kampala’s kuchus had begun to dismantle the country’s discriminatory status quo, and were working tirelessly to change their fate and that of others across Africa.

Today, as we revisit our memories of David, we remember his fortitude and remarkable legal achievements, boldly guided by his vision of establishing a Ugandan gay village. But perhaps most of all we recall these words, spoken with more logic than defiance: “If we keep on hiding, they will say we are not here."

 

 

 

INFO: Lost Continent: Cinema of South Africa - Movie List on mubi

Lost Continent:

Cinema of South Africa

By: The Africa Film Project

After the British seized the Cape of Good Hope area in 1806, many of the Dutch settlers (the Boers) trekked north to found their own republics. The discovery of diamonds in 1867 and gold in1886 spurred wealth and immigration and intensified the subjugation of the native inhabitants. The Boers resisted British encroachments, but were defeated in the Boer War (1899-1902). The resulting Union of South Africa operated under a policy of apartheid – the separate development of the races. The 1990s brought an end to apartheid politically and ushered in black majority rule.

Since 1910 over 1350 feature films have been made in South Africa. The first newsreels were filmed at the front during the Anglo-Boer War 1889 – 1902, and early projection devices were used around the gold fields in Johannesburg. The story of the South African film industry begins with the establishment of African Film Productions (AFP) and the production of the first fiction film called, “The Great Kimberley Diamond Robbery” in 1910. Between 1916 and 1922 forty-three films were made by the AFP owned by Isadore William Schlesinger. The multi-national Schlesinger entertainment giant, AFP, dominated the local film scene until 20th Century Fox bought out Schlesinger’s interests in 1956. After 1948 and the introduction of apartheid policy strategies, the film industry became fractured and fragmented along racial and linguistic lines

During the 1950s Jamie Uys attracted Afrikaner-dominated capital for independent production and persuaded the government to provide a subsidy for the making of local films. The political climate in South Africans well as ineffective state-subsidised film structures resulted in severe fragmentations of the industry. Since 1956 and the introduction of a regulated subsidy system, government and big business have collaborated to manipulate cinema in South Africa. It was initially a cinema for whites only; of the 60 films made between 1956 and 1962 were in Afrikaans – four were bilingual and the remaining 13 were English. Since 1962 Afrikaner capital became a significant factor in the industry: the insurance company SANLAM acquired a major interest in Ster-Films and by 1969, Satbel (Suid Afrikaanse Teaterbelange Beperk) was formed, and the financing and distribution for films in South Africa were in the hands of one large company – except for a few cinemas owned by CIC-Warner. The films made in the 60s did not explore a national cultural psyche, ignoring the socio-political turmoil and the realities experienced by black South Africans, focusing on the ideals of the Afrikaners.

Hosting the world cup this summer has given a new hope to the country. It remains to be seen if South Africa’s cinema will benefit from the recent event and only time will tell.

Soccer Cinema is a travelling cinema, bringing some of the world’s best soccer documentaries to 50 small towns, villages and townships, spread across all 9 South African provinces.Ahead of the FIFA WC, Soccer Cinema’s journey started on 6 April 2010 in Cape Town and ended there on 2 June 2010, followed by a Soccer Cinema Festival held at the Labia Cinema from 5 to 10 June. The key objective of the project was to share a common passion and build unity in South Africa by inspiring South Africans through documentary cinema with insight into famous players, teams as well as incredible highlights and events from the game’s colourful past. Soccer Cinema set up its mobile screen in small remote towns that will not be able to experience the World Cup live, towns with special histories.The films screened were sourced from broadcasting commissioning editors and filmmakers from across the world to provide access to the best documentary films ever made about soccer.

Below is a list of ten film makers who have sculpted and shaped the history of South African cinema.

1.Joseph Albrecht
Joseph Albrecht was a pioneer in South African film making. One of his first films The Piccanin’s Christmas was a cute children’s tale featuring a bright little herdboy and a nasty white witch who turns out to be his more kindly employer on the farm
Sarie Marais is the title of the first South African talking picture, made in 1931. Filmed in Johannesburg, Sarie Marais manages to pack a lot into its 10-minute running time. Set in a British POW camp, the film concentrates on a group of Boer prisoners as they pass the time under the watchful eye of their British captors. One of the internees, played by Billy Mathews, lifts his voice in song with the popular Afrikaans patriotic tune “My Sarie Marais”. His enthusiasm catches on with the other prisoners, giving them hope for the future. Afrikaner nationalism was emerging as a force in these years, and Sarie Marais portrayed the British cultural and economic imperialism negatively (the desire to spread the English language, culture and influence even where it was unwelcome). Shortly after this film’s release, a group of Afrikaner nationalists established a film production organisation called the Reddingsdaad-Bond-Amateur-Rolprent Organisasie (Rescue Action League Amateur Film Organisation), which rallied against British and American films pervading the country. In 1938 Albrecht made the epic and very costly film Bou Van ’N Nasie, retelling of the history of South Africa from 1652 to 1910 and made to co-incide with the 100th anniversary of the Great Trek (1838)

The Piccanin’s Christmas 1917
Isban Israel 1919
Sarie Marais 1931
Bou Van ’N Nasie 1938

2.Jamie Uys
He made his debut as a film director in 1951 with the Afrikaans-language film Daar doer in die bosveld. He directed 24 films in total, and is South Africa’s best known film maker. Uys received the 1981 Grand Prix at the Festival International du Film de Comedy Vevey for The Gods Must Be Crazy, and in 1974 he received the Hollywood Foreign Press Association award for best documentary for Beautiful People. The two Beautiful People films were documentaries about the plant and animal life in South Africa, Namibia, Botswana and Zimbabwe, especially desert creatures. A highlight of the film included a scene with elephants, warthogs, monkeys and other animals staggering around after eating rotten, fermented marula fruit. Jamie Uys’ biggest and best known movie was The Gods Must Be Crazy. In this movie he featured a bushman called N!xau in the lead role. This was a comedy in which a Coke bottle that was thrown out of an aeroplane, fell in the Kalahari Desert and was found by the San tribe. As this was the only “modern” object in their world, it led to strife and it was decided that the bottle had to be returned to the Gods, who must have sent it in the first place. The character played by N!xau was given the task to return it. The movie generated massive word-of-mouth success in America, Japan, Europe, and other territories, with the movie rights initially being sold to 45 countries. It spawned a less successful sequel, The Gods Must Be Crazy II. Uys earlier made another movie set substantially in the Kalahari Desert. This is Lost in the Desert, and tells the story of 8-year-old Dirkie Hayes’ efforts to survive in the desert after surviving a plane crash, whilst his father Anton mounts increasingly desperate efforts to find him. As well as directing the movie, Jamie Uys also played the part of Anton, and his son Wynand Uys played the part of Dirkie. Uys’ other well-known movie was Funny People in 1978, which was a comedy in the same genre as Candid Camera in the U.S., putting unsuspecting people in embarrassing positions. These included a talking postbox, with the voice of a man claiming to be trapped inside, who asks a passer-by for help. When the passer-by returns with his friends, the ‘talking’ postbox is silent, and his friends accuse him of being drunk. The sequel, Funny People II was released in 1983, and features a young Arnold Vosloo, who has since found fame in Hollywood.

Daar doer in die bosveld, 1951
Lord Oom Piet, 1962
Citizens of Tomorrow, 1962
All the Way to Paris, 1965
Dingaka, 1965
The Professor and the Beauty Queen, 1968
Lost in the Desert, 1969
Beautiful People, 1974
Funny People, 1977
Gods They Must Be Crazy, 1980
Funny People II, 1983
The Gods Must Be Crazy II, 1989

3.Jans Rautenbach
Born in Boksburg in 1936, Jans Rautenbach is arguably South Africa’s most celebrated and, at the same time, most controversial filmmaker. He began his career in the film industry working for Jamie Uys Film Productions and can be glimpsed as a bar patron in Emil Nofal’s Kimberley Jim.
When Emil Nofal and Jamie Uys parted company, Nofal started his own production company with Rautenbach and thus began what could be considered South Africa’s golden age of cinema, with the partners releasing King Hendrik (1965), Wild Season (1967), Die Kandidaat (1968) and their most controversial and thought provoking feature Katrina (1969). The latter film is still considered to be a milestone in South African cinema – a searing examination of South Africa’s unjust racial policies under Apartheid – and also a film which was applauded (instead of being vilified) by those who instituted those exact same unjust laws. In 1970 Rautenbach created his masterpiece Farewell Johnny (Jannie Totsiens) The Citizen Kane of South African cinema. In a private asylum for the insane, seven patients play a dangerous game of life and death with a catatonic new arrival. With echoes of The Magus, the works of Alain Robbe-Grillet and Pasolini’s Theorem, Jannie brings the panacea of love to one patient and death’s finality to another.

King Hendrik, 1965
Wild Season, 1967
Die Kandidaat, 1968
Katrina, 1969
Jannie totsiens 1970
Ongewenste vreemdeling, 1974
Broer Matie, 1984

4.Dirk De Villiers
Devilliers was South Africa’s most prolific film maker. He was known as a king of the sexploitation film and b movie, and was notorious for being a ladies man. His first feature film as director was in the light comedy Jy Is My Liefling, starring Franz Marx (also in his first film role) and Min Shaw, where he also acted as Franz Marx’s boss. He followed this up with one of his finest films, Die Geheim Van Nantes, an adaptation of the famous Springbok Radio serial, starring the entire voice cast including Pieter Hauptfleisch, Francois Du Bruyn, Dawid Swart and Raedawn Stevens. Among his other films, his 1972 thriller My Broer Se Bril, the adoption drama Met Liefde Van Adele (1974), the adventure film The Virgin Goddess (1974) and the euthanasia – oriented drama Decision To Die (1978) as well as his international successes Glenda (1976) and The Diamond Hunters (1976), based on the book by Wilbur Smith and starring David McCallum and Hayley Mills.

Jy Is My Liefling, 1967
Die Geheim Van Nantes, 1969
My Brother Se Bril, 1972
Met Liefde Van Adele, 1974
The Virgin Goddess, 1974
Glenda, Snake Dancer, 1976
Diamond Hunters, 1976
Decision To Die, 1978

5.Richard Stanley
Richard Stanley is the award-winning South African-born filmmaker. Stanley made his first short film Rites of Passage in his native South Africa. The short film gained a cult reputation and enabled Stanley to continue working in the usa and England. His first feature film was, the sci-fi movie Hardware (1990). A low budget movie about a mad-dog android loose in an apartment was released in 1990. Critics slammed it as a Terminator rip-off, yet the film became a financial success. The 1.5 million dollar budget was paid back quite handsomely and continuation was imminent. In 1992, Stanley returned to South Africa and filmed Dust Devil (1992), a story based on the myth of a Namibian serial killer. A fallout with the distributors led to the re-cutting of the US version, while the bankruptcy of the British-based production company Palace Pictures temporarily shut the post-production down in Europe and the film remained mauled or unfinished, depending how you look at it. Finally Stanley himself managed to finance a new, restored print from the original negative, which has later gained a cult following similar to Hardware. His third feature was to be The Island of Dr. Moreau (1996), an adaptation of the famed H.G. Wells novel. Unfortunately it ended up a victim of creative disputes, leading to him being sacked a few days after production began. The finished film, released in 1996, carries little to no resemblance to the version he was originally set to make, using only about two words of his original script. Stanley has made several well known documentaries including White Darkness about Haiti’s voodoo culture and the Secert Glory about a Nazi officer’s search for the Holy Grail.

Rites of Passage, 1983
Incidents In An Expanding Universe, 1985
Hardware, 1990
Dust Devil, 1992
Secret Glory, 2001
White Darkness, 2002

6.Darrell Roodt
South African filmmaker/screenwriter Darrell Roodt made an international name for himself with his debut feature A Place of Weeping (1986), a passionate condemnation of apartheid. Educated at the University of Witwatersrand, South Africa, he gained further acclaim for The Stick (1988), another look at the anti-apartheid struggle. In 1990, he made his first film with American backing, Jobman (1990). Roodt’s best-known film is his adaptation of the anti-apartheid stage musical Sarafina! (1992) starring Whoopi Goldberg. He has since alternated between making films in Hollywood and South Africa. His Hollywood films have never been as successful though.

A Place of Weeping, 1986
the Stick, 1988
Jobman, 1990
Sarafina!, 1992
Cry the Beloved Country, 1995
Second Skin, 2000
Yesterday, 2004
Lullaby, 2008
Winnie, 2011

7.Oliver Schmitz
Oliver Schmitz (born 1960) is a South African film director and screenwriter. He has directed eleven films since 1988. His film Mapantsula was screened in the Un Certain Regard section at the 1988 Cannes Film Festival. Mapantsula tells the story of Panic, a petty gangster who inevitably becomes caught up in the growing anti-apartheid struggle and has to choose between individual gain and a united stand against the system, and remains one of the hardest hitting films to come from South Africa. His next film Hijack Stories was a far glossier film but was a big success. It tells the story of one man’s dedication to “learning by doing” has dangerous consequences when he tries to land a TV role as a criminal in this drama set in South Africa. Sox Moraka (Tony Kgoroge) is a young actor from a comfortable, middle-class background who thinks he may have gotten his big break when he auditions for a television series, playing the roughneck leader of a township street gang . However, Sox flubs the audition, and the producers inform him he’s just not convincing in the role. Eager to prove that he can play “street” if he wants to, Sox connects with Zama (Rapulana Seiphemo), a friend from childhood who is now a hard-core gang banger, and asks Zama to show him the ropes. Since then Schmitz has moved between South Africa and Germany making tv programmes and commericals. In 2010 he returned with Life Above All, a touching mother-daughter relationship that reflects the modern South Africa.

Mapantsula, 1988
Hijack Stories, 2000
Life Above All, 2010

8.Gavin Hood
Gavin Hood (born 12 May 1963) is a South African filmmaker, screenwriter, producer and actor, best known for writing and directing the Academy Award-winning Foreign Language Film Tsotsi (2005). He is the director of the 20th Century Fox film X-Men Origins: Wolverine, released on 1 May 2009. He is currently working on a film about the 1925 serum run to Nome of Alaska and Balto, the sled dog that became a celebrity because of the run. His first feature film, A Reasonable Man, came in 1999. The film portrays the accidental killing of a young child who is mistaken for a tokoloshe. He also starred in, co-produced and wrote the script for this movie. Hood then went on to direct the Polish language 2001 feature film In Desert and Wilderness (W pustyni i w puszczy) when the original director fell ill. This was followed by *Tsotsi * in 2005. Tsotsi won the 2005 Academy Award for Best Foreign Language Film and was nominated for the Golden Globe for Best Foreign Language Film in 2006. Gavin Hood was also nominated for the 2005 Non-European Film – Prix Screen International at the European Film Awards for his work on the film. Now working in Hollywood it is hoped that Hood may return to South Africa one day to shoot a smaller budget film.

the Storekeeper, 1998
A Reasonable Man, 1999
In Desert and Wilderness, 2001
Tsotsi, 2005
Rendition, 2007
X-Men Origins, 2009

9.Mark Dornford-May
Dornford-May is a British born director of both film and theatre. He first worked as a director for the Royal Shakespeare Company, as well as for a community theatre in Stoke. In the 1990s, he started the Broomhill Opera with musical director Charles Hazlewood. In 2001, the two men assembled a cast of local South African singers to form a musical company, Dimpho di Kopane. They staged an adaption of Bizet’s Carmen and a version of the Chester Mystery Plays called The Mysteries-Yiimimangaliso for the Spier Festival. Dornford-May also took his productions on tour to Australia and to the East End where they received positive reviews. After a four-week period of rehearsal, Dornford-May began to film a Xhosa language version of his stage production of Carmen, U-Carmen e-Khayelitsha. The film was shot entirely on location in Cape Town, South Africa without dubbing. Dornford-May received the Golden Bear Award at the 2005 Berlin International Film Festival for the film.

Son Of Man, 2006
U-Carmen, 2005

10.Zola Maseko
Even with apartheid finished and many films being released charting the plights of black people in South Africa the director’s chair is still white dominated. Zola Maseko is a director aiming to end this and his film Drum struck gold at FESPACO film festival winning the Golden Stallion. This film is a visually stunning epic chronicle of life in Sophiatown before the apatheid government bulldozed this beacon of non racialism. Maseko has yet to make another film and one can only hope that him and many other black filmmakers will get to make more films and tell their own stories.

Drum, 2004
Life and Times of Sarah Baartman
A Drink In the Passage, 2002

SOME OTHER INFLUENTIAL FILMS TO COME OUT OF SOUTH AFRICA
Hansie, Regardt Van Den Bergh, 2008
the Mother’s House, Francois Verster, 2005
Bitter Water, Garth Meyer, 2007
Meokgo and the Stickfighter, Teboho Mahlatsi, 2007

A Trade of Cultures, Wynard Dreyer, 2005
Max and Mona, Teddy Mattera, 2004
Born Into Strugle, Rehad Dessai, 2005
the World Unseen, Shamim Sarif, 2007

Gangster’s Paradise: Jerusalema, Ralph Ziman, 2008
District 9, Neill Blomkamp, 2009
The Struggle Against Apartheid: Come Back Africa, Lionel Mogosin, 1959
End of the Dialogue, Antonia Caccia, 1970

Jemima and Johnny, Lionel Ngakane, 1965
Saturday Night At the Palace, Robert Davies, 1987
Boesman and Lena, Ross Devenish, 1972
My Country My Hat, David Bensusan, 1981

Summer Is Forever, Cedric Sundstrom, 1971
Land Apart, Svenn Persson, 1974
Die Storie van Klara Viljee, Katinka Heyns, 1991
Bunny Chow Know Thyself, John Barker, 2007

Jump the Gun, Les Blair, 1997
the Man Who Drove With Mandela, Greta Schiller, 1998
Long Run, Jean Stewart, 2000
Stander, Bronwen Hughes, 2003

Forever Young, Forever Free, Ashley Lazarus, 1976
Shirley Adams, Oliver Hermanus, 2009
Fuck Off Police Car, Bryan Little, 2009
Behind the Rainbow, Jihan El Tahri, 2009

On the Other Side of Life, Stefanie Brockhaus, 2009
Pumzi, Wanuri Kahiu, 2009
the Tunnel, Jenna Bass, 2009
Panic Mechanic, David Lister, 1997

Breekpunt, Daan Retief, 1971
Netnou Hoor Die Kinders, Franz Marx, 1977
Bankrower, Manie Van Rensberg, 1972
Siener in die Suburbs, François Swart, 1971

SOME FILMS SET IN SOUTH AFRICA
Waati, Souleymane Cisse, 1995, Mali
Gandhi, Richard Attenborough, 1982, UK
Invictus Clint Eastwood, 2009, USA
Goodbye Bafana, Billie August, 2007, USA

The Making of the Mahatma, Shyam Benegal, 1996, India
Rough Aunties, KIm Longinotto, 2008, UK
the Power Of One, John G Avildsen, 1992, USA
Zulu, Cy Endfield, 1964, UK

the Burning, Stephen Frears, 1968, UK
Country of My Skull, 2004, John Boorman, USA
Cry Freedom, Richard Attenborough, 1987, UK
South Africa Belongs To Us, Chris Austen, 1980, Germany

the Colour of Freedom, Billie August, 2007, Belgium, France, Germany, Italy, UK,
Disgrace, Steve Jacobs, 2008, Australia
Skin, Anthony Fabian, 2008, UK
Mrs Mandela, Manuel Samuels, 2010, UK

 

INTERVIEW + VIDEO:: ‘The African Cypher’ Director Brian Little

Interview:

‘The African Cypher’

Director Brian Little

<p>"The African Cypher"_ Official Theatrical Trailer from Fly on the Wall on Vimeo.</p>

The African Cypher is the birthplace of ritual celebration, council, story telling and dance.

“I dance as if I have a gun to my head.” – Mada Sthembiso, (Shakers&Movers) 

Street dance in South Africa is a complex, convoluted underworld; that, like most sub-cultures, exists as a sum of its participants. 

In Mapetla, Soweto if you steal phones and hand bags you will not live long. The community will kill you. If you do a heist, they will tell the police you are not there. Prince tells me this as we walk back to Mada’s place from the shisa nyama. (an informal outdoor fire where you can buy some meat to cook and drink a beer.) 

Prince is a pantsula. He used to be a tsotsi, a gangster, a thug. Today he walks his streets with pride; he is a pantsula dancer and a little bit famous. Tom London from Soweto’s Finest says, “When we dance we find purpose with our bodies”. Prince, strolling down the dusty street with his fluid movement, a little trouble in his hat and a slight swagger, is perhaps the embodiment of that sentiment. 

When he dances on the street corner with Mada; the kids, the tsotsi’s, the mama’s, the unemployed and the hustlers all stop to watch him. I always wonder how it must feel to have that power residing right inside you. No props, no burning hoops – nothing. 

Whatever this dance thing is. It is beautiful, part circus/part soul. No matter the context or style. We all ultimately dance for an audience of one.

++++++++++++++++++++++++++++++++++

In her keynote address at the Goethe-Institut’s Über (W) unden Art in Troubled Times conference, ‘On the Pain of Death’, South African writer-poet Antjie Krog offered the following insight: that perhaps the only thing that art can do is “to try to transform pain into a kind of beauty so that one, at times, can live with loss”. It’s an apt observation and perhaps one that applies somewhat to Brian Little’s moving feature-length documentary, The African Cypher.

Part ethnographic, the film charts the journeys of several street-dance-crews in the townships of South Africa as they prepare for the Red Bull Beat Battle. What emerges from the different narrative strands is a complex and redemptive story of how urban youth locked up in the country’s ghettos are able to transcend the harshness of their circumstances through dance. We caught up with director Brian Little to chat about the making of the film.

Tell us about the process of making the film, it must have been quite an experience; how long did it take?
The film took us a year to complete. It was an incredible process and one that enriched me a great deal, both personally and as a filmmaker. Our initial objective was to make short films introducing the different styles of dance for Red Bull SA as they were creating a dance event to be held annually. Very soon into the process we realized that there was a much bigger story to be told and so we started shooting with a feature documentary in mind. We shot all over the country, spending months in Soweto, Orange Farm, Mohlakeng and the Cape Flats. We really tried to integrate ourselves into the lives of the dancers and the communities from a place of respect.

We were very careful about how we approached the situation – as filmmakers we have the power of the camera and that is easily abused. People want to be on TV, want to be famous and it is easy to go in and exploit a culture with your camera and pull away with superficial footage. We wanted something deeper, we wanted to find out what fuels their passion and their fear, so we spent a lot of time at first just meeting people and hanging out in the communities, drinking with people, meeting their friends, their mom’s and elders and family. I only wanted our camera to go in when it could be followed by our hearts. It sounds cheesy but I believe that you have to care about the people you are filming or nothing special will come of it no matter how beautiful the shots.

There’s a stigma almost, you could say, attached to urban youth that grow up in under-resourced areas. In the stories that are told there are the usual clichés of drugs and gangs and so forth but The African Cypher is more empathetic in its outlook. On the whole the film is very positive, was that your intention from the start?
My intention from the very beginning was to try and be true to the people in the film. The reason I felt there was a bigger story was because the people I was meeting where bigger than the dance-form they performed. The people I met often did have horrific and frightening ‘back-stories’ but these same people didn’t live that story, they lived with passion and courage through their art form. In the film I make a statement that; “The stories we want to hear as a western audience do exist here – The hopelessness, drugs, violence, poverty and broken homes; but to dwell on it would be a disservice to every aching muscle and screaming heart that dances.”

An hour ago I watched a talk, incidentally, on Okayafrica that spoke so strongly to these fledging and intuitive notions that have formed in me as a filmmaker through the process of living in Africa and making this film. In the talk Chimanda Ngozi Adichie, a Nigerian author speaks of the the dangers of a single story. “The single story” she says, “creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.”

I once wrote on our studio wall – ‘People become our perceptions of them.’ I guess in a sense this is what I was intuitively and consciously avoiding in the film, I wanted people to see the people not the situation. To see the courage, passion and perseverance of talented individuals rather than the abject ‘single story’ that can so often form when making a film of this nature. When I met the heroes of this film they inspired and uplifted me regardless of their situation and I wanted that to be the experience the audience walk away with.

Obviously people will still make the connections that have become stereotypes or clichés as you say, as many stereotypes are founded in generalities of truth and these issues DO exist and permeate the films subtext but the most important thing is to try and separate the individual character from that preconceived truth and allow them to express their own.

On so many levels, South Africa is still a fractured country, what did you come away with during the making of the documentary? And related to that, what would you expect audiences to walk away with after watching the film?
What you say is true, in many ways we are sadly and rightly still a fractured country, people might shy away from admitting this as we have made huge leaps forward and it feels almost unpatriotic now to question, but I don’t believe that intentions in general are bad. Racism is a very complex biological and sociological phenomena and one that will not be solved overnight, if at all, but I believe that curiosity can only be a great starting point for any real growth.

I think that films like this and even on a personal level the friendships I have formed in the process of making it are the slow and true markers of change. I remember first telling my family that I would be working in Soweto for a few months and the reaction was in varying degrees shock and curiosity. Which is an interesting reaction, we as South Africans are frightened of each other, but we also very curious about each other. I am not saying this is true for all South Africans. As some, from either side, have fundamental convictions and aren’t really curious about anything and others are so ‘liberal’ that they have almost atrophied the ability to really engage honestly with their feelings. The real ‘integration’ happens on the periphery of any group, the curious fibers and fingers of relationships formed across cultural divides.

I hope that as an audience member if only for a moment you feel a real connection with one of the people in the film, then I will feel that the film has succeeded. Whether you are white and he/she is black, you are Zulu and he is Sotho, you are a Pantsula and he is a B-Boy – we all have one universal and inherent commonality and that is the turmoil and joy of being human.

Lastly, what are your hopes for the film? Where will it show after the Encounters Film Festival?
The reaction from the Encounters audience has been really overwhelming with sold out shows and this has really given us faith in the film and has been a wonderful experience. The film has also been selected for the Durban International Film Festival in July which is an amazing opportunity and we are also entering it into major international festivals. From there once its natural festival life has run we will be looking to get it to various broadcasters both locally and internationally. We are also passionate about and committed to having local screenings in the communities that helped make the film possible.

Watch The African Cypher trailer above and a few of Brian LIttle’s 2-minute films for the Red Bull Beat Battle below. Feature photo credit © Suicide Monkey.