Mamelodi

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5min320

I met MoAfrika Mokgathi around 2005 or ’06 at Stanza Bopape Community Hall, where she hosted poetry sessions, Azanian Seeds-one of a few people hosting sessions in Mamelodi. That’s when I was exposed to her work, a huge part of me hoped that she writes a book but now that I know better, she couldn’t have given us My Tongue is a Rainbow at a better time.

Born in my beloved Mamelodi, MoAfrika’s voice is a familiar one. It took me a week to finish this book and I loved how much of an easy read it is. MoAfrika touches on feminism and family orientated issues.

Cover of MoAfrika's book. Photo supplied
Cover of MoAfrika’s book. Photo supplied

My Tongue is a Rainbow is MoAfrika’s first offering and this is also my debut book review- so this is a big deal for me because we’re both infants at this. The title gives away what the poems could be about. Initially when I saw the book’s cover circulating on social media, I had an idea that the book focuses on events taking place in post-Apartheid South Africa. She has a poem tilted Marikana, about the 2012 massacre that saw the police gun down protesting miners in the North West and the piece also talks about how women are violated in South Africa.

When you’ve known someone’s work for as long as I’ve known MoAfrika’s, one prays that one of their all-time favourite poem is included in the book. When I received it, the first thing I looked for was an opening line to a poem I love…They were found fire dancing in the palm of God’s hand…I really love that poem ninani, I was actually sad for a sec [hahhaha].

MoAfrika also pays homage to Her Skin Speaks, a movement I dedicated to telling women’s stories in a poem called Monyamane. It was heartfelt of her to recognize real life events, female trauma and acknowledge the work put into trying to heal the female body holistically.

She has a poem in the book titled Rakgadi that I relate to. The piece highlights the importance of an aunt, specifically from one’s paternal side of the family. Her role in the family is important as it is stated in the poem that…

My paternal aunt has stopped ululating

She has stopped reciting the family clan names during family gatherings gutted that Mokgadi doesn’t greet her with jubilation. Mokgadi is getting married and Rakgadi is taciturn

In our culture Rakgadi is the overseer of everything; she gets the most gifts, and she is one of the people ‘ba layang ngwana’ in this case would Mokgadi.

I truly enjoyed reading this offering and I’m stoked to see what she writes about next. It’s been such an honour to share my two cents

The book is available for purchase. To get a copy you can email MoAfrika here mukgathi@gmail.com


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13min2280

It is said that it’s not about how thick the book is, but about the knowledge you get in those thick books. With less than 70 pages to it, Surviving Loss is as thin as they come. It is a collection of poems written by Busisiwe Mahlangu about her abuse-ridden childhood.

The physical copy of Surviving Loss is a reflection of Mahlangu. Petite and pretty on the outside, but weighing so much because of the accumulated experiences in the inside. “It was written solely around surviving depression and post-traumatic stress disorder. Most of the issues there are around poverty, abuse, rape and violence, and it’s written in a style of searching for healing,” she says.

Chilling on brown leather couches at Black, a restaurant at Pretoria’s State Theatre, I have a two-on-one with Mahlangu and Palesa Olifant. The latter is the director of the play, Surviving Loss-an adaptation of Mahlangu’s book, which opens at the Pretoria theatre today.

The book and the play are more than just close to Mahlangu’s heart, they are her. The abuse she writes about in the book is something she experienced growing up at the hands of her father. When I ask about her dad’s thoughts on the book, with a straight face the poet from Mamelodi says “My father is dead. He passed away end of Grade 10, in 2012. No, it was not good. In all the mental issues, my father always shows up during therapy, during relationships. It was a very violent relationship. Most of the abuse I talk about, is the abuse from my father.”

“I don’t like talking about the specifics of the abuse, but it was physical and emotional,” she tells me. She grew up with both parents, two older siblings and a younger one. “With abuse and violence that happens in the house, everyone gets abused and gets violated in a way. Even my mom went through the abuse, and she was aware that we’re feeling the pain and are being abused. But to an extent, it’s kinda difficult when you’re going through the same thing, it’s not like someone from the outside walking in and saying ‘oh, this is so hard’ and then saves us. It’s different when someone is living in the abuse.”

It was only when she got to Wits that she sought therapy from school, after a friend advised her to seek help from professionals. She only spent years at Wits, then got excluded because of outstanding fees. That’s when her poetry became more of a catharsis, even though she had been writing since high school, the 23-year-old had no inclinations of becoming a poet.

The poems on Surviving Loss date back to 2015. “When I left high school my poetry became more personal, writing more about things that I experience, see and feel. In 2016 is when I started performing, I took poetry more serious.”

“I was studying electrical engineering at Wits. I entered slams because they said you can win R500 and I was a broke student. So I thought, since I do write I might take advantage of the platform”

After her exclusion, she entered the Tshwane Speak Out Loud competition where she made it the finals, and walked away with a big cheque. “R30 000 could’ve paid for my debts at Wits and allowed me to continue with my studying. But poetry was setting my soul on fire, it made me feel lively,” she says without a drop of oomph missing.  She decided to put the money into studying Creative Writing at UNISA.

“Then last year, Vangile Gantsho asked for my manuscript of poetry, and when I sent it to her she said ‘we’re publishing you’ and at the time I didn’t know they were opening a publishing company.” The book is published by Impepho Press.

Reception of the book has been amazing, Mahlangu has done readings across the country. “I didn’t think I’d get to experience so many things. I grew up in Gauteng and whenever I left the province, was whether for a wedding or funeral or some big event in Mpumalanga. But within a year into poetry, I was travelling to Cape Town and other provinces and seeing more of South Africa. I was wowed, and I keep getting surprised with the journey poetry has taken me.”

She had been praying to be part of State Theatre’s Incubator program, and then last year she received a call to come to the theatre’s offices. “When I got there, they told me about the incubator but first, they wanted to have an idea of what I will do. I knew I wanted to adapt the book for stage.”

“I knew I want it to be called after the book because every title I came up with, it didn’t feel like it was strong enough. The title of the book was very strong and every other title that came to us at the time, felt like it was underplaying it.”

The play’s director, Olifant says images shot at her as soon as she began reading Surviving Loss. “Her writing is very raw, and I think that’s the thing I enjoyed most about reading the book, because of how raw and relatable it is, it’s sharp. You can’t ignore it. Those images stick out. Coming into the space, I wasn’t trying to make work that’s polished and pure, I wanted to stay true to her voice. It’s so fragmented and that’s how memories are,” says the director.

Madam Director, Palesa Olifant. Photo Supplied

Olifant continues “She’s talking about so much, that we actually had to make it smaller; we had to find specific points to focus on, so relationships with her father and men, her admiration and the tensions between her, her mother and female members of her family-how all those inform her healing. Then we found music and dance that could speak to what that journey looks like.  Basically, adaptation of the book into a production has been about finding her voice through the music, through the movement and through the poetry as well.”

Mahlangu performs her poetry for the play, with Susan Nkatha doing the choreography and a musician, Darlianoh who wrote original music for the piece.  “I was very direct. I wanted a black woman director. A young black woman director to direct the piece. I didn’t want someone who’s older and established, besides the fact that I couldn’t afford them [bursting into laughter], but I wanted a young black woman director, and on stage I wanted young black women as well.”

FREEING HERSELF: Busisiwe Mahlangu. Photo Supplied

“…the piece is very intimate and I don’t think a man would be able to access some level of intimacy that was needed for the piece because of the different experiences, also some of the poems speak directly to men.”

“I’d be okay with a man coming and giving an opinion, but not the man adapting the whole production. I needed someone who could relate to what I was talking about. As women we share most of our suffering with each other, even if you haven’t experienced it, you kinda understand.”

The play is on for two nights at State Theatre, at 20:00



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