kagablog

September 30, 2007

africa remix digital discussion

Filed under: art, stephen hobbs, stacy hardy — ABRAXAS @ 10:21 pm

In relation to the exhibition Africa Remix, Africalia was hosting a full day seminar or discussion programme, at JAG, on African art, and I was sort of lucky to enjoy the first half. Ismail Farouk had a piece on his work, including five minutes of infoporn on SowetoUprisings.com.
Ismail was on a panel with a few other South African artists, one of them being Aryan Kaganoff (sic), whom is ‘known’ for shooting a film with a cellphone. Kaganoff (sic) tried to be the enfant terrible of the panel and succeeded in coming across as extremely arrogant.
Also on the panel was a Stacy Hardy who liked to talk about bringing digital social networks to the people and although she said all the right words, I couldn’t deduce whether she was actually any good as far as understanding the technical aspects of digital social networks go.
But the worst addition to the panel, albeit temporarily, was Danielle Roney. Although pleasant to listen to and well spoken, her presentation and idea of putting up a series of internet kiosks which she herself designed (gasp!) to bring into contact people from as far away as Johannesburg and Beijing felt ten years overdue. She even dared to show a video, recorded a week earlier, a picture-in-picture video, of someone in Johannesburg, talking (”about anything”) with someone from Atlanta.
Next, she was going to build on the synergy of the Beijing olympics and take this wonderful technology to China, I’m sure to bring people across the globe closer together.
Seriously, what crap is this? Someone is actually paying her to do this shit? Get a kiosk; install an operating system; install any one of a host of instant messaging or video conferencing tools; put one kiosk in Jo’burg and the other in Atlanta (or Beijing or, wait a minute, both!) and, voila, you’re done.

this article originally appeared on a blog called babakfakhamzadeh

tomas

Filed under: poetry — ABRAXAS @ 10:09 pm

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I happened to have participated in the 9th Poetry Africa festival held in Durban, South Africa in October 2005. There I met over 30 other poets who read their works to an appreciative audience for a full week.

The welter of voices was extraordinary, with its stunning wealth of styles, modes and poetic forms – from the quiet and subtle exhalations of the conventional “page poets,” for whom the poem as seen on the printed page is the ultimate in creative expression, with its verbal reading only an occasional offshoot – to the wildly munificent oratory of performance poets, usually younger, who spun all sorts of technique-accented hark-back to the bardic tradition by sharing their faux-spontaneous lines with live audiences.

Why, if this is what they call “hip-hop,” I said to myself in Durban, then by all means let’s have more of it. And let there be a happy merging of the spoken word, rap, performance poem, slam jam and what-have-you with the written verse, for all its dependence on traditional else evolving forms.

It was the substance of poetry as oracle that became primary. We had a communion of spirits whose sacred host was passion. And it was the poetry of openness, of no exclusion, of no borders or delimiting categories such as gender, age, color, nationality, language, and, why, yes, even poetic form.

I was aware that performance poetry had also been thriving to a certain appealing degree back home, so that to hear the slam jam poets in Durban was to be reminded of the efforts of our own performance and spoken word adherents in Manila.

A convergence and not a confrontation is what this special TOMAS issue is all about. Here we have a dozen Filipino poets exercising varied forms of poetry, in a rich, woven tapestry alongside a dozen foreign poets doing the same. To say that each contributor is of international caliber is to beg, uhmm, the issue.

Mphutlane Wa Bofelo and Leo Janssen of South Africa were the major attractions in the Durban Slam Jam contest. Lemn Sissay of the United Kingdom and Celena Glenn of the USA are seasoned Spoken Word performers who blow everyone off the stage, worldwide.

Here their poetry finds like company in the experimental, jazzed-up or rock-n-roll lines of singer-composer Lourd de Veyra and the precocious neo-Dadaist Angelo Suarez. De Veyra’s music sheets, and artist-rocker Igan D’Bayan’s illustrations, also find a counterpart in Aryan Kaganof’s in-your-face poetry that has been recited to the accompaniment of jazz, just as Sissay’s has been.

The love poems of young poets Anna Bernaldo and Natasha Gamalinda find kindred insights with those of Dutch poet Hagar Peeters, whose translated works also find a parallel in the contributions of Mamta Sagar of India and the very young Joseph Saguid of the Philippines. These last two are also represented by works in their original languages, Kannada and Filipino.

Exile poetry, often driving home strong socio-political commentary, finds expression in the haunting works of Tibetan Tenzin Tsundue, South African Gabeba Baderoon, and

Filipino expatriates Bino Realuyo, Wendell Capili and Merlinda Bobis, whose poetic prose excerpts somehow find echoes in the extended, ruminative lines of Joan Metelerkamp of Cape Town. Eric Gamalinda and Allan Pastrana deliver poems of lissome but strong cerebration, while Njoki Muhoho of Kenya and Malika Ndlovu of South Africa celebrate womanhood in all of its poignant, defiant, and regnant evocations.

Stirring the brew is a splendid “prose divider” – ironically functioning as an equalizer – an essay on the art of the lyric, subtitled “A Way to Hear,” by esteemed poet-critic Dr. Gémino H. Abad, who himself grew up in the periphery of the great university on Manila’s España. He enlightens us: The ear can only be universal when it listens to echoes of poetic craft.

From Manila to Durban, then, by way of New York, London, Amsterdam, Sydney, Wollongong, Nairobi, Johannesburg, and the Himalayas, the poetry in this truly special issue of TOMAS offers a wide array of oracles. The forms are myriad, the substance lyrically strong and memorable.

krip yuson
this article originally appeared on krip’s blog

hamlet of constantia: episode 1

Filed under: ian martin, literature — ABRAXAS @ 9:28 pm

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No, in the 21st century you don’t get tragedy. Only sordid stories of disgraceful behaviour leading to predictable consequences.

This planet has become so small it can be taken in at a glance. It’s not a pretty sight at all, infested as it is with billions of humans: the most successful, the most prolific, organism to creep across the face of it.

No, no tragedy, because tragedy is supposed to elicit pity, not disgust. This is the disgusting story of Matt Dreyer’s short life and it begins with the murder of his father.

*

Houghton, leafy suburb of Jo’burg where some of the richest pigs live. On Google Earth the paved driveways leading to mansion roofs set in rectangles of green are evident everywhere. Each garden is big enough to be a public park, and there are blue pools and perimeter walls and gates and guardhouses.

It was March 2006, and the evening was warm and stuffy. It felt like there was a good chance of a late summer thundershower.

“That was Claude,” said Bruce Dreyer, returning to the room. He was referring to his brother, to whom he’d been speaking on the phone. “He’s got to get back to Cape Town in a hurry. Damn it!” He drained his whisky. “Look at the bloody time. I’m going to have to go over and get him to sign some papers before he leaves. I don’t suppose you want to come for the ride?”

“No, I don’t think so.”

Dreyer went to the study to fetch his briefcase and car keys. He was a slightly built man of 52. Although he was balding, his hair still had no grey in it. He had always kept himself fit and was determined not to let himself go to seed like so many of his slobbish peers. His brown eyes were humourless, and from the hard lines of his mouth and the irritable edge to his voice it was clear he was used to getting his own way in life.

Barbara was 34. She had been living with him for a year and a half. Most people called her ‘Barbs’ or ‘Barbie’, and she did indeed have the very long legs of a Barbie doll. She also had big tits, blue eyes and long blond hair. Trudy, Bruce’s estranged wife, referred to her as ‘Bimbo’. “How’s Bimbo?” she’d ask. Or, “Bimbo still around?”

“Actually,” she said, swinging her long legs from the couch and feeling about for her shoes, “I will come with you. It’s too early for bed, and I don’t feel like watching on my own. I’ll just go to the loo while you get the car out.”

The car was only a few months old. It was the latest in a long line of grand saloons he had acquired and disposed of over the years. He wasn’t as obsessed with cars as his brother was, but whatever he drove, it had to be of sufficient substance to make the right statement. Large cars confer status, and Bruce Dreyer believed in status. That’s why he would never consent to Claude acquiring a vehicle superior to his own.

He eased the long, gleaming shape out of the garage and backed it up to the entrance porch. Harsh floodlighting had turned the car’s finish from midnight blue to stygian black. The V8 purred almost inaudibly, and while he waited he got the surround sound to play some Nora Jones. Nineteen speakers, the car consultant had told him. Nineteen speakers and ten airbags. And four-zone climate control with air purifier plus pollen and smog filters – it was already cooling down nicely. Although he wasn’t bothered with the technical details, he knew that these features were of paramount importance. These were the features that put a car into a certain class and bestowed high social standing upon its owner. This was one of those possessions that made other men respectful and envious.

Another of Bruce Dreyer’s enviable possessions got in beside him. As she made herself comfortable in the heated, ventilated and electronically configurable seat he let the vehicle slide down the driveway through an avenue of trees and shrubbery.

The uniformed guard at the gate hurried from his sentry box, automatic rifle over left shoulder, two-way radio in right hand.

“All clear?” Dreyer asked, not bothering to greet the man.

“I check with the outside, Sir.”

He spoke into the radio in a mixture of English and Sesotho. The radio crackled and a voice came back loud and clear.

“All is 100 percent, Sir. I open the gate.”

As the gate began to roll back, the window completed its silent ascent, sealing off the driver and passenger from the hostile environment they were about to pass through. They could relax in sumptuous security for the duration of the short journey to Parktown East.

In the dark street they passed the two guards on foot patrol. One of them waved his flashlight in a kind of salute as the limo swept by. What a state of affairs, Dreyer thought to himself. What a country. All this security just to be able to drive in and out of your private residence. You had to throw more and more money at it to keep ahead of the problem. And if you didn’t, you’d end up another dumb-fucker statistic.

Yes, the dumb fuckers were the ones who were negligent, or didn’t have the bucks to keep upgrading their security arrangements. They were the ones hijacked at their entrance gates because they didn’t have armed guards in the street as well as on the property. The ones murdered by intruders because they didn’t have a properly monitored CCTV surveillance contract. Or razor wire bolted to the wall as well as electric fencing on top of it.

*

Claude had a plane to catch. He phoned his brother to find out what the hell was keeping him, and got no reply. It was 10:30. Security confirmed that the boss and missus had left at 9:15. He could wait no longer. First he instructed the agency to drive his brother’s route. Then, as was correct, he informed the police. Maybe they’d respond, and maybe they wouldn’t. Panting with exertion, Claude was the last person to board the flight to Cape Town.

A passing motorist spotted Bruce Dreyer not three kilometres from his Houghton home. He was lying in an undignified position in the gutter, like a dog knocked down at the side of the road. The motorist was too afraid to get out. He phoned the emergency 112 and waited, engine idling, hazard lights flashing, headlamps playing on the sprawled shape.

The security firm’s patrol car was first to arrive, ahead of the ambulance and police van. The motorist got out and joined the two men in paramilitary uniform. In the glare of the headlights they stood looking down at the crumpled heap. One of the security men donned surgical gloves and bent over. The victim was undoubtedly dead, for the right side of his face and head was a bloody mess, all smashed in from the impact of several bullets. The man straightened up.

“This is no tramp got knocked down by a hit-and-run. This oke’s got money – check the shoes.” The almost-new black leather shoes shone with the soft lustre their designer had intended them to shine. “No, I think this could be the gent we’ve come looking for. This has got to be another hijack victim.”

*

So, in spite of all his wealth and the precautions he had taken not to become another crime statistic, Bruce Dreyer had been shot to death and dumped at the side of the road – for the sake of his grand saloon. Not that the motive mattered much: people were murdered for their cell phones. What mattered was that the criminals were able to take out such a high profile businessman. It was confirmation that law and order had broken down and that no one in the land was safe.

The press went to town with the story, giving it front-page, headline prominence and extensive coverage for more than a week. In a TV feature the crime was graphically re-enacted, and the talk shows and phone-in programmes were flooded with calls.

This was a loss to the nation. In bullshit obituaries and profiles Dreyer’s career was described in adulatory detail. From the moment he entered his father’s engineering firm he had shown hardheaded entrepreneurial flair. He had expanded the business and won lucrative orders from top mining houses. After the death of his father he and his younger brother had begun to diversify. By his mid-forties he was at the helm of an organisation with interests in mining, engineering, construction and retail. His political shrewdness was legendary, and had greatly assisted in the relentless expansion of his business interests as the country’s economy continued to grow. His dynamism and acumen would be sorely missed. South Africa could not afford to lose men of this calibre. The government must declare war on the criminals.

No mention was made of his less admirable qualities or the fact that many celebratory glasses had been raised to mark the news of his passing.

Although it was agreed that Dreyer had died at the hands of car hijackers – there was no dispute about that – there was a puzzling aspect to the crime. In the absence of broken glass or any other evidence of a violent hold-up, how had the car been brought to a halt, and why had the driver opened his window? After all, this vehicle was fitted with the latest security system. It included an anti-hijack radar device that acted as a double-layer force-field around the car. This would have automatically locked doors and closed windows and set off a siren if anyone had approached too close.

Two days elapsed and neither the car nor the female passenger had been found. A rumour began to circulate that the police were investigating the possibility that the woman might be implicated in the crime. Then on the third day she was found.

*

A man who worked as a gardener was trudging along the verge of the highway leading to his employer’s suburban enclave. The road passed through some open veld and was busy with 7am traffic. He had been feeling uncomfortable for some while, and now the need to defecate was urgent. He looked about and saw a clump of bushes some 20 metres from the road.

Buckling his belt after having relieved himself, he skirted the bush in order to rejoin the highway. It was then that he stumbled upon the naked body of a white woman.

On arriving at work he first had breakfast, prepared by the housekeeper, and only then did he request an interview with his employer. The Madam of the house let out a theatrical scream when he described what he had stumbled upon, and collapsed onto a nearby sofa. She had him relate his simple tale another three times, all the while repeating, ”Oh my God, it must be Bruce Dreyer’s wife.”

She phoned the police and they promised to send someone; but they were short of transport. She kept phoning on and off throughout the morning until a battered police car arrived just before midday. The gardener repeated his story yet again, and then drove with them to the stretch of veld where the body lay.

First he led them to where he had performed his toilet, and pointed out the evidence that proved he wasn’t lying. Then he showed them the corpse.

A swarm of blowflies was hard at work. After two and a half days in the hot African sun she had lost her chief attribute, her figure. Distended with gas, she had become a bloated, middle-aged matron. And her lovely pale skin was ruined forever, having turned a blotchy grey and brown and black. It made her blond hair look white. As the primary biodegraders in the decomposition process, the blowflies were taking their job seriously and continued to lay their eggs, by the thousands. The first larvae had already hatched and were greedily consuming Barbara’s nutritious flesh.

One of the policemen went back to the car to radio for the detectives.

The blowflies were concentrated about the orifices. Mouth, ears and eyes, anus and vagina – these were the normal points of entry. Also, after having been repeatedly raped, she had been both stabbed and shot, thus providing additional access points for the industrious insects.

The gardener looked on with ghoulish fascination, and thought some heavy thoughts. Like, ‘Why such violence?’ and ‘Why such abandonment of restraint?’ And ‘Why such total surrender to the devil?’

thank you mask man (by lenny bruce)

Filed under: film — ABRAXAS @ 3:37 pm


late at night

Filed under: danila botha, poetry — ABRAXAS @ 3:34 pm

i love you more than anything
is that enough
is love the thing that connects
or the thing i’ll reject down the line
movies make these things look easy
choices written on paper
solved like mathematical equations
tv shows from america use words like deal breakers
and live with it or don’t
like everything
life’s hardest decisions
can be boiled down to their basics
our needs can be oversimplified into catch phrases made up by bored
advertising execs in need of something to do on a saturday night
i wanted bukowski to move you
instead it made you sadder
you said finding your true love
didn’t make you happy enough to view life optimistically
but it’s fantastic that i did now
and it broke my heart just a little
but i still love you just as much

sufficiently advanced technology

Filed under: art, sven geier — ABRAXAS @ 3:31 pm

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BOOK REVIEW: My life and literature by Omoseye Bolaji

Filed under: free state black literature — ABRAXAS @ 3:28 pm

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Reviewer: Peter Moroe

What do we make of Omoseye Bolaji’s latest book: “My life and Literature” which although written to celebrate his garnering the Chancellor’s Medal from the University of the Free State, ironically has a melancholy essence about it. The book reads like selected reminiscences of an old man tottering towards the grave, rather than what one would expect from someone just starting middle age!

That Omoseye Bolaji from infancy was sickly and the situation has got worse in recent times is of course not his fault. In the past celebrated European writers like DH Lawrence, Louis Stevenson, Kathreen Mansfield etc had their lives somewhat blighted by illness, but they hardly became as negative as this. It seems psychologically Bolaji has “given up”,succumbing to despair.

There is a detachment in this new work that one would not normally associate with a black African writer. The author writes the book in such a way as to give the impression as if his whole life was only about literature which is of course not true. The early pages (pages 6 to 15) contain excellent analyses of many books and authors which make compulsory reading for lovers of literature. Also, pages 47 to 49 contain interesting notes on “the internet and literature”

The author’s apparent detachment can be disturbing starting from the very first sentence of the book: “Father was a great man…” Is it too much for the author to mention his father’s name in the book? What type of black African writer refers to his father as “Father” instead of “Daddy” or at worst “My father”?

There can be no doubt that Bolaji is a man of integrity but when he looks back briefly at his period as a political editor for a newspaper in West Africa and admits taking “gifts” from politicians: “some might call it bribes or ‘brown envelopes’ but it was nothing of the sort. It would have been a monumental insult to these elderly people to refuse their gifts” (page 19) one gets the impression that no matter how much he tries to whitewash this it was a case of receiving bribes!

Yet , as we learn from the book, Bolaji has never been swayed by the lure of money or material things. Again and again he would leave what were “comfortable” jobs that could give him some security; even when he was completely down and out.

But Bolaji’s “whitewashing” continues as he paints a very rosy picture of his association with the late Sam Leballo a book distributor. Bolaji never mentions the serious crisis caused by Mr Leballo in those days as regards FS literature. The “vendetta” some critics insist is always present in his works is absent here; even his notorious arch enemy is referred to as a mild “crank or crackpot”.

Again in real life many associate Bolaji with a love for sports especially football, or the “gentleman who frequents taverns and shebeens” But incredibly in this book there is no reference to shebeens or taverns.

But even more striking is the absence of any reference to women in this book, in a romantic sense. No early loves, or crushes, no vision of loveliness over the years to serve as Muse, partner, lover or inspiration over the years. We know he is in no way gay, so are we really to believe that throughout his life Bolaji has been celibate, and had nothing to do with women?

And if we are mugs enough to believe this, where then does Bolaji get his impressive psychological insight into women from? How come he highlights the intricacies of men/women relationships so well in his fiction in a manner that even female critics have applauded?

Omoseye Bolaji’s latest book: “My life and Literature” is very interesting, so long as we accept that he’s writing about his love for literature, solely. As a teenage novelist we learn (from the book) that he was told by an expert: “You are very economical in your writing, but your ideas and pace are gripping” The same applies till date. Despite all the books published about his literary works, his own books, including this latest one, Omoseye Bolaji still remains an intensely private person.

MARY ANN - UNNATURAL NAMES

Filed under: miscellaneous — ABRAXAS @ 11:09 am

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“Izwi.” reports that in its December 1850 edition, the newspaper, “Isithunywa senyanga”, published a letter by one Mary Ann, an African woman who had been baptised by the Rev John Brownlee in 1823. Having understood that colonialism would destroy traditional African society, May Ann argued that the Africans must reject all notions of racial superiority and inferiority, and strive to build an egalitarian, non-racial society.

Given a “Christian” name to deprive her of her identity, and turn her into a pliable and dehumanised object subservient to colonial domination, like Saartjie Baartmann, Mary Ann was gifted with a prescience far ahead of its time.

She wrote: (a free English translation follows immediately after): “Ubumhlophe, nobumnyama, nobuntsundu asi nto yanto. Asililo ibala elibanga ukuba izizwe zahluke. Into ebanga ukuba izizwe zahluke yingqitano yobulumko, nesihalo esihle, siti esinye isizwe sibe nobulumko obukulu, nesihlalo saso sibe sihle, nezivato zaso.Kokupina okukuhle kwawenu amehlo; nokokuba umntu abe nendlu entle, netafile, nezitulo, nezivato ezimfaneleyo?…Nisiti nje anilithandi elogama lokuba ngu-Kafire (nam andilitandi), lahlani ke obubu-Kafire nitukwa ngabo; nize namkele ubulumko bama-Ngesi.nokufunda kwabo.nendawana zonke ezibonwayo okokuba zilungile, nokokuba zintle emehlweni.”

“The fact that one is white, or black, or brown, amounts to nothing. It is not skin colour that distinguishes nations. What distinguishes nations is the difference in knowledge, wisdom and maturity, and whether they live well, in peace.You, my people, say you hate being called Kaffirs, as I do. Let us therefore advance out of the conditions of life that are cited to denigrate us. Let us have decent and well furnished houses, adequate clothing and food, proper education and access to all the knowledge that the English have.”

thabo mbeki

justice porn

Filed under: jimmy "wordsworth" rage — ABRAXAS @ 11:06 am

the row of soapstone
crosses
wilted in the flames..
above it all
the bronze eagle
was wrestling
with
the marble snake
there were bodies
entwined
with breasts
heaving as
justice
blinded
in pornographic
light
wielded her sword
for them
to walk across
the lawn
like a lake of fiah

blue girl

Filed under: art, hester scheurwater — ABRAXAS @ 11:04 am

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Towards you

Filed under: poetry, mphutlane wa bofelo — ABRAXAS @ 9:07 am

Towards you I
Moved out of myself
Out of my way
To stretch myself
To reach out to you
I rested on your breast
Entered your heart
Ransacked your mind
In search of your essence
I looked inside you
But being inside you
I could not hear you
Passionately calling me
Not to flee from myself to find you
But to look deep within me
To know you and be with you
To hear your gentle voice
Telling me we are one
I close my eyes
See you dancing within me
Singing a silent melody of love
I let the silence seize me
Try to understand the many quiet ways
In which you speak your presence
Yourself in the vastness of the ocean
Your touch in the warm embrace of raindrops
Your dance in the movement of the whirlwind
Your song in the silence of the night
Now I know I need not probe far and wide for you
All I need is to open my heart
Talk to you in me
And nothing can be more pleasing
Than coming to know
I have to move within
And not launch outside myself
To be with you forever and ever

rain

Filed under: art, cecilia — ABRAXAS @ 9:04 am

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nui 86 by sir dark green

Filed under: illuseum — ABRAXAS @ 9:02 am


the society of the spectacle

Filed under: guy debord, society of the spectacle — ABRAXAS @ 8:56 am

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96

The ideology of the social-democratic organization gave power to professors who educated the working class, and the form of organization which was adopted was the form most suitable for this passive apprenticeship. The participation of socialists of the Second International in political and economic struggles was admittedly concrete but profoundly uncritical. It was conducted in the name of revolutionary illusion by means of an obviously reformist practice. The revolutionary ideology was to be shattered by the very success of those who held it. The separate position of the movement’s deputies and journalists attracted the already recruited bourgeois intellectuals toward a bourgeois mode of life. Even those who had been recruited from the struggles of industrial workers and who were themselves workers, were transformed by the union bureaucracy into brokers of labor power who sold labor as a commodity, for a just price. If their activity was to retain some appearance of being revolutionary, capitalism would have had to be conveniently unable to support economically this reformism which it tolerated politically (in the legalistic agitation of the social-democrats). But such an antagonism, guaranteed by their science, was constantly belied by history.

Jaap Hoogstra: geboorte werd hem zijn dood

Filed under: kaganof short films — ABRAXAS @ 8:50 am

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Panorama
De in 1998, op 83-jarige leeftijd, overleden acteur Jaap Hoogstra mijmert over zijn leven terwijl hij vrolijk drinkt en een grote joint rookt. Zijn bespiegelingen over zijn jeugd in Dordrecht zijn intiem en ontroerend. Hij is als homo geboren, zoals hij zelf zegt, en als jongetje van tien door een oudere jongen ontmaagd. Op de plaatselijke zwemclub, waar hij met plezier heenging, neukten volgens hem alle jongens met elkaar. Het vanuit diverse standpunten opgenomen interview wordt afgewisseld met gedramatiseerde scènes, waarin Hoogstra de hoofdrol speelt. Hij speelt in een filmische bewerking van een monoloog van Samuel Beckett, waaruit de titelzin van deze korte documentaire afkomstig is. Hoogstra praat vrijmoedig over het recente overlijden van vrienden en collega’s. Zelf is hij niet bang voor de dood, wel voor de manier waarop. Terwijl het beeld af en toe een vissenoogperspectief krijgt en willy alberti op de achtergrond Mens durf te leven zingt, staart Hoogstra aan het eind weemoedig voor zich uit.

Regisseur: Aryan Kaganof
Hoofd-Producent: Aryan Kaganof
Camera: Ian Kerkhof
Geluid: Harry Caganof
Editor: C.R. Mandala

categorie: Korte Documentaire
genre: Documentaire
Onderdeel: Hoofdprogramma
Premierejaar: 2007
Lengte: 26 minuten
Drager: Video
tint: Kleur
dialoog: Nederlands

01-10-2007 *20:00 uur in Studio
Premiere. Verkoop via de website

02-10-2007 *22:00 uur in Hoogt 1

to order tickets and for more information click here

jaap hoogstra: geboorte werd hem zijn dood

Filed under: kaganof short films — ABRAXAS @ 8:37 am

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September 29, 2007

sun ra - space is the place

Filed under: music — ABRAXAS @ 10:06 pm


No holds barred at SA’s first Sexpo

Filed under: kaganof short films — ABRAXAS @ 8:43 pm

Zahira Kharsany | Johannesburg, South Africa
28 September 2007 03:14
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Meet Max, the Stud Butler. He’s an oversized, flesh-coloured ventriloquist’s dummy with a bow tie and hard-on — the world’s first hands-free sex toy, available at South Africa’s first sex expo, the Sexpo. However, he won’t fit discreetly into the underwear drawer, and will probably require a cupboard all to himself.

“It’s been a long time coming,” said Viv (57), from Bryanston in Johannesburg. She claims the expo is the best thing that has happened to South Africa in a long time, and that “everyone should come as it’s not about sex only; [the] vibe is brilliant and relaxed and I’m waiting for the show on pole dancing”.

The emphasis at the show in a vast hall at Gallagher Estate, Midrand, seemed to be on sensuality and openness.

Sitting for her portrait like a giggling teenage girl having her first class photo taken, Viv posed for Pricasso, grizzled penile artist Tim Patch. Buck-naked, he uses his penis as a paintbrush. He had other portraits on display, including ones of United States President George Bush, former British prime minister Tony Blair — and Paris Hilton.

Sexpo South Africa director Silas Howarth says that the organisers were surprised at the turn-out on Thursday morning even before doors opened. “There must have been a line of about 300 people waiting to get in this morning.”

“Ride the Bucking Bronco … you have to try it out,” said Samantha (24) and Julian (21), a brother and sister from Lonehill, after trying the Bronco, a penis-shaped mechanical “bull”.

Samantha felt a bit let down by the Johannesburg edition after visiting the Sexpo in London. “There’s not enough fetish stands. Those were fun to see in London.”

Julian said he found it a bit awkward to be there with his sister, but insisted that the next time it would be with his girlfriend. He said he hoped it would become an annual event and that there would be more stalls next time.

Intimate images
To have one’s photo taken in the nude may be the ultimate work of art for any aspiring porn star, but to the common man it’s a significant piece in the bedroom. Intimate images are one of the most sought-after items at Sexpo.

Sibongile (32), from Centurion, planned to invest in such an image. “It’s something I want along with the Kama Sutra essential massage oils.”

She had already bought a video from Hustler and was also getting the hands-free Stud Butler.

Sibongile was highly disappointed in what she claimed was false advertising — organisers said that the first 1 000 women would receive a goody bag, “but there’s nothing in here except paper and a Durex condom you can buy for R12″.

The biggest sellers on Thursday had to be Roger the Rabbit — a vibrator — as well as clit stimulators and fantasy outfits. Ray Morgan, of Hot Monogamy, a sex-toy wholesaler, said demand was incredible.

Sharon Gordan, of sex shop Lola Montez, said that the demand for such a shop that was not sleazy drove her into the business. “I was divorced and I needed a vibrator. The shop I went to wasn’t appealing and I saw an opportunity. [I] started four years ago and never looked back. The popular items like Roger the Rabbit sell for R260 and the cock rings for R170.”

Even the staff at the Aids Consortium stall thought the Sexpo was a brilliant idea.

“We love it! It’s a good platform for the Aids Consortium to give information about the risks of Aids and HIV. It’s aimed at the upper class, as can be seen, and we can use it as an opportunity to give everyone information,” said Gerard Payna.

The Sexpo is being held at Gallagher Estate, Midrand, and runs until Sunday evening

osama bin-laden’s plot to assassinate nelson mandela and other poems…

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this review appeared in the weekender of saturday 29/09/07

A PROUD POET - DAVID YALI-MANISI

Filed under: poetry — ABRAXAS @ 8:12 pm

ral331.jpg
In “Xhosa Poets.”, Prof Opland reports on a conference held in Durban in 1985 on “Oral Tradition and Literacy: Changing Visions of the World”, one of whose organisers was one Edgard Sienaert. One of our poets, David Yali-Manisi of abaThembu, attended the conference and did some recitations in isiXhosa. Sienaert openly questioned the poet’s ability to compose poetry “on his feet”.

Incensed, the poet, David Yali-Manisi, rose and said: (the English translation follows immediately after):

Xa kulapho ke
Nkunz’ edl’ eziny’ iinkunzi dla libhavuma
Wathetha ngentetho yakwaXhosa nakwaZulu
Uyamaz’ uZulu no Xhosa?
Uvela phi na, kub’ ezakowenu ziyabasind’ abakokwenu
Wayeken’ amaXhosa noZulu
Ahlale ngesiNguni sawo
Kuba lo mhlab’ uxakekile
Sasigqibele sibantu
Kodwa hay’ ishwangusha lethu
Lokufika kooyihl’ amadun’ asentshonalanga
Basidlavula besibhulusha
Kub’ amaNges’ asigantsinga
Ay’ amaBhulw’ esiqunyuva
Ay’ amaFulan’ esifulathela
Namhlanje sijanyelwe ngamaJamani.

So then,
Bull that bellows as it devours other bulls
You speak of the idiom of the Xhosa and the Zulu
What do you know of the Zulu and Xhosa people?
Who do you think you are, because your nation cannot solve its own problems
Let the Xhosa and the Zulu be
Free to honour their Nguni culture
Because the land is in turmoil
From time immemorial we have been part of the human race
But mark our great misfortune
When your fathers arrived, heroes to the West
They tore us apart and thrashed us
The English ground us underfoot
The Boers blunted our horns,
The French turned their backs on us
Today the Germans watch us with a baleful eye.

The poet, David Yali-Manisi, echoed Tiyo Soga’s dream that his people should define themselves, rebelling against the image of themselves created by the Other, who is their oppressor. He cried out - we are who we are, and, through struggle, we shall be what we want to be!

Thabo Mbeki

high points of my singles collection

Filed under: warrick sony (kalahari surfer) — ABRAXAS @ 8:10 pm

I wonder if they’re still singing the same tune. Of course it helps when Government are subsidising you.1388.jpg1389.jpg

little bitch

Filed under: art, hester scheurwater — ABRAXAS @ 8:06 pm

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I am scared of going into darkness

Filed under: poetry, mphutlane wa bofelo — ABRAXAS @ 8:05 pm

(After Phillip Zhuwao & Alan Finlay)

Your street-corner whistle (is)
A melody evoking in me
Feelings ignited by no love-song

Just like I can sift the growl of the hound
From the howl of the hyena
I can decipher your passionate call
From the roar of hungry lions

Still I am scared of the night’s uncertainties
I fear the boundless possibilities in the dark
What if a ventriloquist jackal decides to hiss
My name in your melodious voice
Or maybe on your way to me
The vampire bites you
And you come to me
With the kiss of death

I love it when your whistle
Calls me towards the tranquility of the night
Into the freedom of the outskirts
Away from the big noise of society
& the censorship-eye of the public

Still I am scared of going into the darkness
I am scared to respond to your sweet melodious call
Only to go into the snares of the devil
I am scared of venturing into the night
I am sacred of cats jumping on my head

I am scared of launching into the darkness
I am afraid of trees walking
I hear frogs daring me into the deep
I fear the hyena mimicking your voice
I dread the night refusing to go
I am scared of never seeing dawn again
I am scared of going out forever
I am scared to come back home to no one
I am scared of going into the night

Still I love to see the moon of your face
Augment the fading streetlights
I cannot stop listening
To the jazzy symphony of your whistle
Drowning the eerie sounds of the night
Calling me into the blindness
& fearlessness of love

Filed under: jimmy "wordsworth" rage — ABRAXAS @ 8:02 pm

hunger and work
in a savage tribe
empire of dust
shit and bones

synaptic transmission

Filed under: art, sven geier — ABRAXAS @ 6:41 pm

1386.jpgAbout the Artwork

Most images on this web site were generated with UltraFractal 2.05 and are presented here directly as they come out of the fractal engine, without any kind of post-processing/photoshopping etc. There are some notable exceptions, though.

Please be aware, that most of these images represent “intermediate” stages of fractal design; concepts that I played with and (for some reason or another) tossed aside.

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