kagablog

November 5, 2009

gary cummiskey’s romancing the dead: a sharp cunt dripping honey

Filed under: reviews, pravasan pillay, poetry, dye hard press — ABRAXAS @ 9:00 pm

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pravasan pillay’s tearoom books has published the chapbook of the year.

there’s no escaping it.

the moment you see gary cummiskey’s face you start screaming

because

there is fire in the enema of art

he put it there

poignantly

not yet free of the dream nor of the memory of when you came to me not wearing panties beneath your light summer dress

but the moment you got on top of me and you saw my face you started screaming

As far as South Africa is concerned a reason for Gary Cummiskey’s neglect may stem from the fact that he spent almost 20 years in Randburg, and by the time he returned to settle down in Sandton, the political situation had changed and so Cummiskey’s surrealist work seemed out of place. Thus Gary had become a marginalised figure as a result of poth psychogeographical and cultural factors.

He writes in “European Writers” “Some people became poets after corresponding with European writers. I became a poet after sleeping on a razorblade.”

And this means that Gary is sharp.

He’s busy looking for a magic wand - no strings attached.

Another problem that may account for the relative obscurity of Gary’s work is the difficulty of placing it within the various ‘movement’ categorisations. While Romancing the Dead contains a number of poems dealing with the Colonial City scene in Joburg, the rest of his work does not particularly reflect the social context in which it was created.

In the end it boils down to the “Painting”:

I am hungry and dirty.
My feet stink.
I want to brush my teeth.

However, it can also not be ignored that Cummiskey’s illness sometimes made him an extremely difficult person, and most publishers and editors were reluctant to deal with him. For this reason alone Pravasan Pillay must be commended. Despite there being no physical attraction Pillay liked Cummiskey as a friend.

Gary was aware of his outsider status, and openly declared that he did not wish to fit in with any particular group or category. But there is a difference between being an outside and being marginalised to the point of neglect - and Cummiskey’s work is neglected. (Although Stephen Gray would probably not agree).

Romancing the dead is a funeral ceremony and all Gary’s sleeping relatives sit on the floor of the bathroom around the bath where his corpse is laid. Once the sleepers have been given the pills to swallow when you left you took them out from your handbag and slipped them back on.

Some people become poets after sleeping with European writers. Gary Cummiskey is a razorblade. Very sharp.

Aryan Kaganof
5/11/2009

tearoom books
ISBN 978-0-620-44717-1

October 14, 2009

Classic Political Records: This Heat Deceit

Filed under: reviews, cherry bomb, music — ABRAXAS @ 10:39 pm

reviewed by Alexander Tudor

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Judged by its cover alone, Deceit (1981) is the great prophetic record of the era – the front depicts a scream beneath a mask that is a collage of: Mushroom-Cloud between-the-eyes; JFK & Khruschev shaking hands; Stars & Stripes across the tongue; Ron & Nancy on the forehead. These are the images still familiar in 2008. The lyric-sheet is scattered with the same clippings, and some more helpful captions. Much of this is identical to the collage ingredients for OK Computer (1997) and its singles: what to do in the event of a bomb, or when the siren sounds; where tactical nukes are deployed, worldwide; those oddly dehumanizing line-drawings of how to prepare your fall-out shelter. Deceit came out in 1981, though – a couple of years before Star Wars (the Strategic Defense Initiative); before Donald Rumsfeld shaking hands with Saddam Hussein; before the first massacre of the Kurds. Ten years later, GW1; ten years further on, 9/11; then the War for Oil, then the Credit Crunch; and only this week can we see real hope of a decline in Republican war-mongering and financial mismanagement (the legacy of Milton Friedman, via Reagan & Thatcher). You know most of this; the point is, to get a sense of history… but also a sense of “prophecy” as a meaningful term in the context of avant-garde music.

Back in 1979, punk in the sense of scuzzed-up glam or sped-up blues had already exhausted its capacity for subversion. Nonetheless, a door had clearly been opened for the experimentalism of post-punk (in a loose sense), and within that (or overlapping), a kind of proto-industrial music that has little to do with Ministry, NIN, or Front 242. Alongside Lydon’s definitive nail-in-the-coffin of the Pistols – Metal Box (1979) – This Heat’s debut was the sound of re-invention and refutation, both musical and ideological. Heavier than Throbbing Gristle or Cabaret Voltaire, the industrial analogies (at the time) require some contextualizing: industrial as a simile (metal on metal), industrial as a reflection of process (customized machines), industrial as an allusion to critiques of the “military industrial complex”. The best (or worst) was yet to come, however…

Deceit (1981) is prophetic, for a start, in that it’s glossolalic – it’s gibberish, it’s speaking in tongues, it’s too many ideas at once, and if you throw them at the wall, some of them are bound to stick, and look like a warning three decades later, if not like Revelations. Thing is, prophecy often attracts the wrong people, and gets ignored by the rest, when they assume it must refer to some specific event in the future (i.e. Kabbalism), rather than referring to the horror here and now, but visibly imminent to those who can see the historic patterns (…which is one aspect of Gnosticism). Track 5, ‘Cenotaph’ spells this out: “his-tory / his-tory / repeats itself / repeats itself / Poppy Day – remember poppies are red / and the fields are full of poppies” – it’s literally a song about decoding symbols, and not letting the signal become noise; it’s not a Fuck You to the jingoism and self-righteousness of the generation who “served” (as Sid, Siouxsie, and others claimed their Nazi regalia was meant to suggest), nor does this song disrespect the dead, but it does demand that we re-consider our values. The most recognizably “punk” track on the album, ‘SPQR’ (Track 4), identifies another repetition, and how we’re taught by rote to repeat the values, and sometimes the mistakes, of our parents – right back to the imperialism and centralized government of 2,000 years ago: “we’re all Romans / we know all about straight roads / every road leads home / home to Rome / amo, amas, amat, amamus, amatis, amant.”


The devastating industrial freak-out, ‘Makeshift Swahili’ (Track 8) , condenses most of these ideas into one song, although you wouldn’t know it at first from the Dalek-voice: “…makeshift she sings / in her native German / you try to understand / what she’s trying to say / she says ‘You’re only as good / as the words you understand / and you, you don’t understand / the words.’ / CHORUS: Tower of Babel!!! / Swaaaaaaahili!!! / It’s all Greek to me!” The middle-eight introduces a pretty guitar figure, and a second voice relates a fragment of history that might have been dropped in as a sample, years later: ” ‘we give you firewater / you give us your land’ / ‘white-man speak with forked tongues / but it’s too late now / to start complaining…’” The sinister drones resume almost immediately, and then the song explodes with an intensity surpassing punk at its most violent – Charles Hayward shrieking “Rhubarb! Rhubarb! Rhubarb!” Granted, this track may not be the most obvious demonstration of the genius of This Heat – Yes, Babel remains the best-known parable of the dangers of imperialism (if not globalization) collapsing under the weight of its ambition; there are also hints that language is power, and literacy was an instrument of subjugation, in the case of the Native Americans, rather than being the gift of enlightenment (see also, Gang of Four’s contemporaneous Entertainment!). These allusions operate according to the collage-principles of juxtaposition and partial-tearing to create new meanings – collage being the best known Dadaist strategy – but This Heat also employ sound-poetry and a kind of automatic-speaking akin to channelling and possession (these being associated with Dadaism’s loopier, more magic(k)al experiments, pre-WWI). Art-history lesson almost done, it remains to point out that when inter-war Surrealism re-visited Dadaism, it used the slogan “Surrealism in the service of the revolution”, and was firmly Marxist in its orientation. If 1970s English Progressive Rock was a debased surrealism in the service of trippiness, This Heat brought the revolutionary spirit back.

What of the rest of the album? It’s a complex beast, whose intra-textualities are as numerous as the inter-textualities. The use of loops, drones, found-sounds, and unusual percussion (girders, dummy-heads) was so elaborate that you have to look to The Beatles’ ‘Tomorrow Never Knows’ for a precursor, and as far ahead as Aphex Twin when describing the more danceable and abrasive tracks. A guitarist as evil – but subtle – as Charles Bullen wouldn’t be found until Dave Pajo (of Slint), and if you want a comparison for the first album, only Liars have come close, with Drum’s not Dead (2006). Personally, I can hear the ghost of Nico channelled into This Heat’s weird mix of fucked-up lullabies (Track 1: ‘Sleep’), and drone-based proto-industrial nightmares. The drawing of parallels between the End of Rome & the Cold War Era is also very Nico, and the phrase “the sound of explosions” on ‘A New Kind of Water’ (Track 10) feels like a reference to Eno’s “bomb-noises” for Nico’s The End. (Eno also recorded Manzanera’s pre-Roxy band, Quiet Sun, who included one Charles Hayward, later of This Heat. Rhubarb Rhubarb.)


Opening track ‘Sleep’ tells us we’re all unconscious, lulled by commercials (hence “softness is a thing called Comfort”), and these operate on us like Pavlov’s dogs (CHORUS: “stimulus and response”). ‘Triumph’ might be suggesting a parallel between Neighbourhood Watch (imported from the US in 1982 – a landmark in the history of surveillance), and the early years of Nazism, when Riefenstahl assembled her filmic montage Triumph of the Will. ‘SPQR’ is sung in the first person plural and refers to the supposedly democratic electorate as “unconscious collective” – Cold War propaganda and sci-fi alike often fantasized the enemy as an insectile hive-mind, but this song isn’t about an external enemy: the enemy is now internal. ‘Independence’ (Track 9) is, quite literally, the Declaration of Independence. Ask yourself, as a UK-citizen, have you ever read it? Do you know what it says? Could you imagine trying to implement its ideals now? Doesn’t its endorsement of revolution sound – well, “un-American” (as the Patriot Act defines “American”)? The climax is post-punk masterpiece and personal favourite, ‘A New Kind of Water’, which layers un-synchronized drums, bass, and a chiming guitar line – a distant siren that hasn’t yet been recognized as a warning signal. As the parts cycle, and change in volume, the notes interact differently. The initial chorus vocals are those of impotent, infantilized consumers (”we were told to expect more / and now that we’ve got more / we want more”). After that, the vocal delivery is soulless and hollow – Winston Smith at the end of 1984 – we have hope, it says: ‘a cure for cancer / we’ve got men on the job.’ Urgency increases… the drums begin to pound… you realize the apocalypse is here and you wish you were in Neverland (”fly away Peter / hideaway Paul…”). The title of the final track is written in Japanese characters, transliterated into Romaji (’Hi Baku Shyo’), and then translated into English (’Suffer Bomb Disease’). There are no words in this murky, marshy soundscape – maybe this is the world in which only cockroaches have survived. Maybe English-speakers are only tolerated as slaves of the victorious “Yellow Peril” (hence the Romaji-script). Then again, maybe the bomb has already dropped, and we became insects without realizing it.

this review first appeared on drownedinsound.com

October 10, 2009

sigrid punter (oor) reviews winterland live

Filed under: dick tuinder, reviews, music — ABRAXAS @ 4:12 pm

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this review first appeared in oor.nl

October 9, 2009

Classic Albums: Miles Davis ‘Bitches Brew’

Filed under: reviews, mick raubenheimer, music — ABRAXAS @ 8:25 pm

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This ink is daunting. In preparation of teasing this feature into view, I am listening to ‘Bitches Brew’ for the first time in years. And the opening strains, instructively, and deceptively quietous (the proverbial ellipse preceding rupture), displace me: I am seventeen again, and I have unwittingly opened Pandora’s box by nothing more innocent than pressing ‘play’. I am unprepared for this shit. A new alphabet is at the door, and I’ve naively let it in.

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‘Bitches Brew’ is one of those inspired works of art that can’t be over-praised, words literally pale. It is also one of those rare works - rare in any technical field of endeavour - that don’t date. This is a central characteristic of true, naked originality: To be so self-contained, so self-defined, as to bear no signs of its location in time. Miles Davis was quite a kerel; few today can dispute his gargantuan presence in 20th century music. He shared the insatiable, dionysian genius of that other creative giant, Picasso. By the 60’s Miles had already altered the currents of Jazz twice, re-introducing melody and space to the then-buzybee soloing era of Be-Bop, with his appropriately named ‘Birth of The Cool’ in 1950, and freeing Jazz from its ironically rigid chord-obsessions by spearheading modal Jazz, in what some have called the perfect sonic event: ‘A Kind of Blue’ (1959).


But Mr. Davis didn’t know about standing still. It was the late Sixties - Rock was hitting its second mighty crescendo; everybody and their tannie were opening the doors of perception; Funk was beaming into view; and Sex was tearing off its clothes. Times were stimulating. Miles was with a young beaut called Betty Mabry (who herself would turn out quite the motherfucker - hint, Mabry was her maiden name), whom Miles had recently pedestalled as his central muse, with the sonic gorgeousity of 68’s ‘Filles De Kilimanjaro’. Mrs. Davis (yes, THAT Betty Davis, underrated Funk Maestress ala ‘They say I’m different’) was very much of-the-scene at the time, and introduced Miles to the psychedelic punch of Hendrix and Sly Stone.
The deal was sealed. Jazz didn’t know it yet, but a bomb was about to go off, ironically cued by the hush of ’69’s ‘In a Silent Way’.


At the time of recording, Jazz was considered an art of the acoustic instrument. The handful of jazzos who dared explore electricity were seen as musicians using gadgets to disguise obvious lack of skill and finesse. Electric instruments were taboo, a vulgar crutch. Having tentatively insinuated electricity into 1968 recordings ‘Water Babies’ and the afore-mentioned ‘Filles’, Miles finally shrugged off the purist’s glare with ‘In a Silent Way’, a fully electric silence that preambled ‘Bitches Brew’.


But ‘Brew’ is a beast unto itself. AT LEAST two drummers, two bassists, and two horns are juggling sound at any given point in its timespace, resulting not in cacaphony, but blisteringly detailed sonic texture. Interestingly, the impression ‘Bitches Brew’ leaves in hindsight is that of storm, and slow-motioned explosions; but on actual listening, the stretches of sound are for the most part laid-back. There Are many bursts, many slashes of fever - especially in John McLaughlin’s staccato-pathic fretwork, which suggests the scrawls of mechanical arachni - but, ultimately, ‘Bitches Brew’ doesn’t flaunt its energy, its potency. Most of its space is a lazy stretching of musculature.


One of the first albums to hint at what would become Fusion and Jazz-rock - certainly the most influential - ‘Brew’ had Rock fans’ jaws clanking onto the floor. McLaughlin was a guitar revelation, and Miles showed that Jazz could do fire-and-brimstone as well as any stadium-straddling Rock outfit.
Also influential on the yet-to-be-born Electronica movement, ‘Bitches Brew’ is a crackling meditation more than an album - as ambient as Aphex Twin’s ‘Selected Ambient Works vol.2′, only an ambience of storm. Its production was also phenomenal. Opener ‘Pharao’s Dance’ alone contained 17 edits, with frequent loops and cut’n'pastes - unheard of at the time - producer Teo Macera wielding the studio like an instrument in itself.

Turbulence shaking hands with chill.
Darkly dazzling.

[first published in Muse magazine]

October 4, 2009

The Texas Chainsaw Massacre - Tobe Hooper (1974)

Filed under: reviews, mick raubenheimer, film — ABRAXAS @ 9:37 am

“Things happen here about, they don’t tell about. I see things. You see, they say that it’s just an old man talking. You laugh at an old man, this thing that laughs and knows better.”

A pretty mundane line on page, the above - drunkenly spewed by some sun-blanched drunk towards the film’s beginning - depresses that little button that tells the audience, and Should’ve tipped the victims-to be, that this little Texan roadtrip is not to end in sunshine and flowers. Not that the title wasn’t to the point. Made on a shoe-string budget with mostly amateur actors (shot, then, like porn) this study in terror and dementedly human evil, is phenomenal. The only reason I’ve subjected myself to its visceral hysterics more than once, is that it contains moments that transcend into a kind of… poetics of evil.

There is more than a shiver of genius to this cinematic creature, specifically recalling that original sense of genius as being possessed by some higher consciousness. The soundtrack is unmatched - the sonic, the psychological, equivalent, of nails dragged across a chalkboard. The frequent citing of the sun, that profound entity of perpetual explosion and ungodly temperatures; the scattered logic of seriously twisted home-decorations; the morose consciousness of cattle awaiting slaughter; the (seemingly) arb comment about astrological tidings; and finally the sickeningly, senselessly sadistic reality of the cozy little killer family, seem to quest the bounds of ethicality. ‘Evil just is’. It seems to whisper into your ear. ‘Don’t blame it, don’t try to understand it. Just stay away.’

The film’s resident monster - the gibbering hulk Leatherface - launched the unfortunate careers of dime-a-dozen evil freaks with curious headgear, but the evilest evil lurks elsewhere in the movie…

Excepting the film’s centrepiece, where the unbroken shrieking momentarily re-introduces disbelief (for an ironic reason, since it Is realistic), this is inspired film-making, and, quite literally, breathtaking. But be warned, this be not placid fare.

September 25, 2009

Civilization And Other Chimeras Observed During The Making Of An Exceptionally Artistic Feature Film

Filed under: reviews, kaganof short films — ABRAXAS @ 3:02 pm

reviewed By Mike Everleth ⋅ September 23, 2009

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Civilization and Other Chimeras

The world is littered with movie “making of” documentaries. Oh, we may not consider those self-serving promotional DVD “bonus” features where filmmakers discuss their process the way a cheesemaker may wax eloquently about the way they make cheese as “documentaries,” but in their own way they are. Some may even exhibit some artistic creativity in and of themselves.

But South African filmmaker Aryan Kaganof elevates the “making of” documentary to a brilliant piece of artistry in his Civilization and Other Chimeras Observed During the Making of an Exceptionally Artistic Feature Film. However, a bit of a correction, as labeling Civilization and Other Chimeras as simply a “making of” doc is very misleading. What’s really happening here is Kaganof has taken the occasion of the making of a particular film to ruminate on the very nature of reality and to push the paradoxical idea of “Even if an action is recorded on camera, did it really happen?”

Kaganof sets up his premise with an on-screen quote from the post-modern French philosopher Jean Baudrillard, which says in its entirety:

There are two-way mirrors which allow you innocently to spy on people. This is one of the finest metaphors for consciousness. There is no two-way screen because there is nothing to see on the other side of the screen, nothing to see without being seen.

The Baudrillard quote also pops up repeatedly throughout the film. Someone — and we can assume Kaganof — has written the quote on a mirror hung on the wall of the film set’s make-up room. Kaganof films various crew and cast members reading the quote, but the only person it really seems to stick with is a young pre-teen actress, Kiriko Mechanicus, who seems to view the quote as a puzzle she needs to solve.

Mechanicus is the star of the “exceptionally artistic film” whose production Kaganof is documenting. Called Winterland, it is the directorial debut of fine artist Dick Tuinder. The centerpiece image of Winterland is of Mechanicus as her character, Sally DeWinter, riding a giant eyeball balloon. If the young actress could only see an image of an audience watching her watching the giant eyeball watching her, she might actually solve that puzzle she’s so desperately trying to figure out.

Baudrillard’s screen metaphor gets a physical workout through Tuinder’s directing style. When scenes of Winterland are being shot, Tuinder sits back watching the action on a playback monitor rather than watch the live action happening just a few feet from him. The actual scenes being performed are so close to the monitor that Kaganof is able to capture both the live performance and it’s immediate playback on Tuinder’s screen.

The effect of being an audience member watching a screen filled with another man watching a screen of simultaneous action that we can also see happening is an extremely disconcerting one. It makes that audience member question where does reality actually lie? The acting of the scene in Winterland is completely irrelevant unless it’s being captured by a camera. Yet, Tuinder acting as a director is also being captured by a camera. So, if Kaganof wasn’t filming Tuinder, would Tuinder’s directing being similarly irrelevant? And who is watching the audience watching Tuinder watching the acting? If nobody is watching somebody watching Civilization and Other Chimeras, does Kaganof’s documentary actually exist?

It’s tough to point out anything that’s real in the documentary. First of all, there’s never any discussion of what Winterland is about and the scenes we see being shot don’t offer any clues as to what the plot may be. Plus, many of the actors we never see outside of their costumes so that most of them don’t seem like real people, just characters living inside some hazy dream. Even Tuinder’s role as director becomes suspect as it slowly becomes clear that he has cast himself as a character in his own film. Where Tuinder the director stops and Tuinder the character begins — and vice versa — is unknown.

The “making of” documentary typically follows fairly rigid structural and formal conventions. For Civilization and Other Chimeras, Aryan Kaganof has completely subverted those conventions to concoct a real challenging mind-bender of a film that intriguingly weaves together layers upon layers of conundrums, paradoxes and mysteries.

this review first appeared on badlit.com

world premiere is on 29 september during the netherlands film festival in utrecht. more information here

September 14, 2009

LADUMA (2004) , un roman de A.K.Thembeka

Filed under: reviews, dionysos andronis, 2004 - laduma (ak thembeka), literature — ABRAXAS @ 9:39 pm

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En attendant avec impatience l’adaptation cinématographique de ce roman prometteur, nous avons voulu vous écrire nos pensées personnelles.

L’auteur (dont le pseudonyme appartient à Kaganof) revient sur son univers à lui : celui de la violence, cette fois dans les townships de Johannesburg. Ce roman aussi se base sur sa devise éternelle “I believe in violence” qui apparait sur sa “Snuff Collection” cinématographique de 2001 mais qui a été bien preparée depuis 1990 et ses premiers films comme “Carnage dans la maison charnelle”. Maintenant dans ses romans comme “Hectic”(Agité) ou “Laduma” cette devise devient plus parlante. Nous sommes contents de voir apparaître le personnage sécondaire de Nick le Grec, puisque nous avons commencé notre collaboration avec Kaganof deux ans avant la publication de ce roman.

Dans “Laduma” l’auteur mélange l’anglais avec l’afrikaans et le xhosa. L’histoire est celle de l’équation de deux identités différentes en une seule : Laduma Moloi, le chomeur et voyou, prend l’identité de son père Kafka Boy qui avait assassiné sa mère. En héritant ses instincts criminels, Laduma se met dans une impasse aussi avec le meurtre “misogyne” de son amante Dorothy. Avec un brio littéraire très fort, le personnage principal se suicide un peu avant la fin dans l’impossibilité de se réconcilier avec sa condition particulière de victime et d’”esclave” (p.169), dont il a voulu se débarasser.

L’écrivain Lesego Rampolokeng (dont Kaganof était le premieur éditeur) écrit sur la couverture: “Laduma emploie une écriture cannibale pour raconter les aventures fieuvreuses et hallucinatoires dans la zone de la mort. Son style ressuscite les cadavres à travers la voix de l’eviscération. C’est un produit cérébral au milieu de la famine intellectuelle”.

Et nous allons seulement citer le premier strophe d’un poème ambigu intérieur (op.cit. , p.121) qui reste intraduisible, pour nous et pour tout le monde :

“Her name was RAINBLAKKKNATION
the poet glanced up at the blakkk sky
from where his blakkk muse reigned
her blakkk inspiration…..”

En faisant la métonymie de la “nation arc-en-ciel” par le biais de ses jeux de mots politiques, l’auteur revient sur une libération - émancipation incomplète.

écrit par Dionysos Andronis

September 9, 2009

julia rosa clark’s sing into my mouth

Filed under: reviews, art — ABRAXAS @ 10:14 pm

Influenced by Tacita Dean’s An Aside, a travelling group exhibition curated by the British artist, Julia Rosa Clark’s Sing into my mouth displayed what might be described charitably as a lightness of curatorial touch that was present throughout the entire exhibition. Devoid of accompanying notes, or ‘informative’ panels of text, spectators could meander throughout the WHATIFTHEWORLD GALLERY weaving their own connections between, and frameworks around, the objects of the exhibit. Conversely, the accompanying Initial proposal notes (12 september 2008) provided a compelling narrative of chance and missed encounters that encompassed and exceeded the boundaries of the physical exhibition. In these Initial proposal notes (12 september 2008) Clark writes of her dilettante approach as ‘a kind of mismatch or a failure to correspond: could this be the inability to communicate (even through artworks).’ Thus a web of connections fortuitously encompasses many of the themes of the exhibition — self-portrait, landscape, object and journey, nepotism.


This play of object and intervention found its apotheosis in the most outstanding piece of the show, the transfixing Record (2001) video by Ed Young of a pristinely endless loop, the needle magically lifting and dropping onto the spinning vinyl to play Michael Jackson’s Man In The Mirror “…I’m starting with the man in the mirror. I’m asking him to change his ways…” Part video and part meditation on medium, it was necessarily afforded its own large space in order to accommodate the outmoded equipment which formed not just the apparatus of the work but a constituent aspect of its subject. The visibility of this huge machine, its movement and its integral noise, emphasised the mechanical nature of the subject, the physicality of the machine required to project it and, by extension, explicitly pointed to its complement to complete the experience. That is to say, the whole exhibition could be read as selfportrait or at least an autobiographical retelling of a journey of discovery undertaken by Clark herself, as she points out in her introduction ‘I think of the mental sustenance and reflexivity one gets from viewing artworks, the memory of a work that stays, or the experience of living with artworks and how they change physically and in meaning over time.’ This is an exhibition where the trace of the artist/curator is insistently present in these connections but where there is also an aporia of space for the viewer to insert themselves and their own stories.

“I don’t think hierarchically, I like to think rhizomatically” Clark announced during the walkabout that closed the show and, when pressed by email as to whether she had actually ever read any Deleuze, responded “I have not read A Thousand Plateaus (do want to) but have read around both Deleuze and Guattari, and have been influenced by the trickle down effect of their ideas on other writings, artworks and projects that have interested me over the past seven years or so. So I would say that there is an important but oblique Deleuzian undertow to the way I work, but I am not responding to his work directly.” Indeed.

first published in art south africa vol 8 issue 1 spring 2009

September 6, 2009

I’ll be 12 forever..

Filed under: reviews, mick raubenheimer, film — ABRAXAS @ 8:06 pm

Palm pictures’ ‘The Work of Director’ is a series of dvd’s that showcase innovators behind the lens of music videos. Thanks in no small part to the roster of seven directors in this series, music videos have become increasingly creative, even - Pop forbid! - artful. We zoom in on two of the more extremely original of the bunch..

Frenchman Michel Gondry is one-of-a-kind. Stuck, by own admission, at the wide-eyed age of 12, he is the son of an inventor, and experiences the world with wonderstruck awe. Gondry never even knew there was a box to think outside of. In keeping with his childly nature, and inventive blood, Michel’s works seem to be attempts at matching the sheer mystery the world presents him with - through Michel’s eyes life is a kaleidoscopic series of head-scratch inducing tricks; mind-teasing illusions by the Master illusionist. And of course there’s nothing more challenging, or enjoyable, than out-tricking the Master!

If his quirky name doesn’t ring a bell (mind you, his subsequent ventures into the longer tricks called Movies should - he brought us ‘Eternal sunshine of the spotless mind’, and ‘The Science of sleep’), a quick sample of quintessentially Gondrian images might: A giant grizzly Teddy tearing through cardboard forests on a soccer-ball sized earth, hunting Bjorkie; The White Stripes’ multiplying drum-kits and amps in ‘The Hardest button to button’; Beck carrying a car; and the famous Foo Fighters fable ‘Everlast’, involving Grohl’s giantized hands rescuing the drummer in dis-dress.

‘The Work of Director vol.3 - Michel Gondry’ is crammed to bursting point with the man’s naive genius, Gondry’s videos are unsolveable puzzles, and his greatest virtue is his love of sets; physically constructed illusions and effects embody his videography in favour of the cool, inorganic sheen of CGI. Even more peculiar and rewarding than the numerous vids - to this reviewer at least - are the various documentaries, shorts and interviews that further explore the brilliant, oddball mind that is Gondry.

Come to Daddy..

‘The Work of Director vol.2′ captures the dark inventions of Chris Cunningham. Tellingly, where Gondry repeatedly draws Bjork and The White Stripes into his dazzling playgrounds, Cunningham mostly hangs out with Aphex Twin and Squarepusher, at night.

Invited at 24 to be animatronics & effects supervisor on no-less than Kubrick’s ‘A.I.’ sets (no, not Spielberg: the original, abandoned Kubrick pre-production - ah what could have been!), Cunningham’s always been a force to be reckoned with - exploding onto the scene with the magnificently frightening ‘Come to Daddy’ ala Aphex, he was swiftly being called up by the who’s-who of the music world, but restricted himself to projects he felt passionate about. From the liquid gothic dream of Portishead’s ‘Only you’ to the New York-cracked zombie of Leftfield/Africa Bambaata colab ‘Africa shox’, Cunningham always defies expectation. His masterwork is possibly Aphex Twin’s ‘Windowlicker’, where he singlehandedly perverts the entire Bling-bling culture of Hip-Hop videos and MTV-land: Sheer, eerie genius in motion! As with Gondry’s package, ‘vol.2′ comes with illuminating interviews, extras, and a fantastic 52 page booklet.

Five-minute explosions of art and experiment - must-have stuff!
Check out www.directorslabel.com for more visceral info.

[originally published in Muse magazine]

August 30, 2009

‘The short films of David Lynch Vol.1’ (1966- [1974]1996)

Filed under: reviews, mick raubenheimer, film — ABRAXAS @ 12:28 pm

The long-reigning king of the American bizarre. Nothing needs be said to introduce the man’s work – his name is a genre unto itself, immediately conjuring up those unhinged, paranoid, disturbedly beautiful fever-scapes so peculiar to him.
Besides the unprecedented employment of sound, the canonical images, and the sheer genius of his masterworks, his greatest contribution to American cinema is perhaps that, with Lynch, viewers finally got hold of the notion that you don’t have to understand a film to appreciate its beauty; that film doesn’t have to make itself understood. Before Lynch films could be weird, but they had to make sense - the ‘weird’ had to be qualified somehow, contextualised, patted on the head. ‘Eraserhead’ (Lynch’s debut feature film) completely exploded that quaint rule.

‘The short films of David Lynch Vol.1’ is indispensable to anyone interested in experimental cinema in general, and Lynch in particular.. Starting with his film-student works, the collection traces the painter becoming the director, then leads into the mid-70s shorts that would contain some of the sparks and cues destined to become central to his cinematic art. Appendixed is Lynch’s 55-second contribution to Lumiere et compagnie.

From a little boy growing his own grandma in the attic; to alphabetic nightmares and concertos of vomiting heads; a dull lady auto-dictating letters while her amputated legs retch gunk; and indescribably deeper into Lynch’s labyrinthine trip of a mind, these shorts make most of his eventual films rate PG on the Bonkers scale.

First published in Muse magazine

August 29, 2009

Turntabla: The Kalahari Surfers’ epic collabadventure.

Filed under: reviews, mick raubenheimer, warrick sony (kalahari surfer), music — ABRAXAS @ 2:08 pm

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Godfather of local electronica, Warrick Sony aka The Kalahari Surfers, needs no introduction. Following his musical rebirth in 2000 Sony has gifted us his epiphanic masterpiece ‘Akasic Record’ (2000), all mystery and dreamy elegance, followed by the more upbeat, bass-driven ‘Muti media’ (2003) and the excellent ‘Panga management’ (2007); this in addition to 2003’s trance outing through Microdot Records, ‘Conspiracy of Silence’.

While all this was going on, a great, unreleased collaboration was coming to life in the shadows. Sony gives us a peek into the makings of what sounds to be a magnificent beast. As he put it: “ex-ORB Greg Hunter and Kris Weston vs. me and Brendan Jury. Unlimited budget and never finished – began in 1998 and a version finished now. 2 continents, self-flagellation, yoga and the beach!”

Warrick’s low-down: “[MELT2000’s Robert Trunz] suggested a collaboration [between Trans.Sky, comprising Warrick Sony and Brendan Jury, and] his favourite producer Greg Hunter, who at that point was finishing off his ‘Alien Soap Opera’ project and decided to swop freezing London for a particularly fantastic Cape Town summer.
‘Turntabla’ began in the summer of 1998 at what was then Shifty Studios in Camp Street, Cape Town. Greg fell in love with a Berimbau I bought when I was in Brazil, and worked on it day and night until he was shitfuckn hot on it. Brendan did string stuff on his viola and processed viola. We were jamming with piano, tabla, viola, veena, berimbau, mridangam, turntables, udu pots.. We even went out and bought and old Wurlitzer church organ for the bass pedals – I’ve never had so much fun in a recording. I think we all did.”

Following the initial swell of inspiration the project was dormant for two years, with Hunter and Weston back in the UK and other key conspirator Brendan Jury moving to Joburg. “Greg returned in 2000 and we finished the album at Milestone [studios], blowing all their main studio speakers in the process. This was a very productive period and the album shifted from the very synthesized sound to more organic; Greg taking control and shaping performances from myself, Madala Kunene, and a string quartet for 2 of the tracks.”

“The album lay around for a decade until Robert Trunz asked me if I wouldn’t mind doing some of my own mixes - a sort of remix of an album that never was. I returned to the album, found amazing performances [to replace some uncleared samples] that we’d done ourselves, and some great Madala Kunene guitar.. and so I reworked 3 quarters of the album.”
With Greg Hunter and Warrick Sony as inter-successive heads of this decade-spun project, and all the heady, exotic ingredients in the mix, I can’t wait to wrap my ears around this one!

[’TURNTABLA’ is out now - go to www.electricmelt.com]

(Turntabla:) First published in BPM magazine

August 28, 2009

andrew worsdale’s shotdown reviewed by roger young

Filed under: reviews, south african cinema — ABRAXAS @ 4:30 pm

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Fragmented, incidentally distorted and vital, Shot Down is not only a remarkable (as in “What the Fuck!”) cinematic achievement, it is also a searing insight into the mind of the artistic white liberal in the last high years of Apartheid.

It’s 1986 and Paul Gilliat is coaxed back from a career in New York, shooting footage of visiting Third World musicians, to his hometown of Johannesburg to shoot a film about banned black playwright Rasechaba. It is all a front however; Gilliat is really employed by the National Bureaucratic government to assassinate the man accused of spreading dissent. Gilliat attempts to contact his target through his old friends who are all dissenting artists and musicians (James Phillips, I say nothing else). Film maker Andrew Worsdale uses this device to show clips and portions of then contempory white protest theater and film. I say white because Shot Down is primarily about how ineffective art is as a protest tool, while itself is acting as a conduit for that art of protest and itself being the very thing whose intentions it seems to skewer. But more than that it serves through this cutting up, to show how fragmented the liberal white man’s psychological burden must have been at the time.

The nuances of Shot Down’s point of view are highlighted when Bella (Irene Stephanou) talking seemingly to no one, proclaims “I’m sorry I’m White”. Bella is not literally saying what is on her mind, she is practicing a sketch from a political “cabaret”. Is she really sorry? Is she playing the part of someone who is sorry? Is her character a true reflection of herself? Is portraying white guilt as a way to drive a larger point home within the confines of the “cabaret”. These are questions that, satisfyingly, Worsdale never attempts to answer. Therein lies the brilliance of Shot Down. It illustrates a worldview by being totally part of it, but it never stoops to explain nor offer answers in any traditional sense.

When Gilliat finally gets out of the headspace of protest artists and on the road to find Rasechaba the film settles into a different pace. Our hero sets out to kill in confusion and then settles into to a slow searching for answers, in this regard Shot Down almost functions as a Apocalypse Now in reverse, but it’s invested with a lot less portentous rambling and a lot more absurdity. A key scene is Gilliat, James Phillips and Caesar (A Young Barker Heyns, um, I mean, Robert Whitehead) sitting in their car at a roadhouse (How do you tell it’s still the eighties? A drive-in non-franchise burger joint called Casablanca) watching a guy in another car shout at his girlfriend and then them for watching. It highlights all the intricacies of the relationship without anyone really working at it.

Shot Down is the truest of white protest films, it capture the confusion of being white, knowing things aren’t right and being ill equipped to deal with it, all in a gloriously off hand manner. When Gilliat makes an impassioned plea to the go-betweens about the importance of people seeing Rasechaba’s theater, he is told “Our theatre has no meaning to anyone else but ourselves, do you think there is any point in showing it to you?” Never has the well-meaning white liberal dilemma been illustrated more succinctly. And it’s the closest he ever comes to finding or understanding his target.

On film festival release in 1987 (before it was banned for having ‘ no artistic merit whatsoever’) Ivor Powell called it “the archetypal, white, decadent, existential-crisis-ridden, drug-crazed, politically incorrect, misanthropic film.” These words still stand today even though twenty-two years on, Shot Down is hard to find. If you want to see it, there are occasional screenings at WITS. You could try mailing PaulGilliat@telkomsa.net; he’s a pal of the screenwriter Rick Shaw and may be able to get you a copy. Or you could phone M-Net (they have the rights) but that will probably be as effective as Gilliat’s resignation phone call to his bureaucratic handlers. He was answered by a machine.

Side note: Shot Down has some amazing music in it. The Cherry Faced Lurchers, Benny-B Funk, Kalahari Surfer, Bernoldus Niemand and The Genuines.

this review first appeared on mahala.co.za

Altered States – Ken Russell (1980)

Filed under: reviews, mick raubenheimer, film — ABRAXAS @ 1:22 pm

Nice evolutionary flip – Scientist takes drugs, turns into caveman (and then into.. I don’t know what that was..) This deliciously over-the-top witch’s brew sees director Ken Russell, frequent explorer of the grotesque and the strange, the weird and hysterical (‘Tommy’, ‘The Devils’, ‘Gothic’), venture into occult strata of intellectual and genetic sub-consciousness. The film follows mad-monk-as-raging-scientist Eddie Jessup’s increasingly precarious and otherwordly investigations into altered states, via isolation tanks and potent hallucinogens. Jessup’s (William Hurt in a potent screen debut) academic studies into schizophrenia has led him to believe that patients’ delusional episodes are just as viable to their empirical reality as their supposedly sane ones; he projects this idea onto the notion of genetic memory – suspecting that our earlier evolutionary manifestations still lurk inside us as latent, limboid realities, which can be re-manifested.

Stumbling onto a Peyote-esque psychotropic in Mexico - which, the shaman warn him, transports the user back to the dawn of being - Jessup proceeds to ride the drug into the void, with mind-shattering consequences as his body and consciousness get warped into various incarnations, from neanderthal to quasi-cellular thing, and back.

Essentially a 20th century take on the various alchemic and faustian legends, ‘Altered States’ takes full advantage of its time – the characters still live in heady proximity to the age of free love and psychedelia, while Russell exploits to the hilt then-current developments in special effects. An entirely unique film, it moves self-consciously (and with the occasional reflexive snicker) through sci-fi, horror, drama, romance and farce, somehow sustaining uniformly great acting and dialogue while all hell erupts via some of the most impressive and unnerving visuals yet committed to celluloid. A must see!

*****
[originally published in Muse magazine]

August 23, 2009

The Firm – Antony Gray

Filed under: michael blake, reviews, music — ABRAXAS @ 11:48 pm

Pilgrim Church, 12 Flinders Street
Monday August 17th 2009

The Firm, run by those two hard working composers, Raymond Chapman Smith and Quentin Grant, presented the third of the six concerts for this year. This superb concert featured the highly acclaimed London based Australian pianist Antony Gray, who has recorded vast quantities of music for the ABC.

The concert opened with Barcarole and Sleepers Wake, two delicate pieces by Andrew Schultz derived from his cantata, Journey to Horseshoe Bend. The first movement was open and light in texture, yet featured heavily, internally dampened low bass notes, giving an unusual percussive pedal note effect below the gentle melodic line.

Raymond Chapman Smith’s Nach der Natur (After Nature), a three movement piece inspired by the poem by W. G. Sebald, has flowing, lyrical melodic lines running through it over rich harmonies. This is a fine piece of writing with so much inventiveness contained in a relatively short work and Gray clearly relished the chance to play it.

A Fractured Landscape (In Memoriam Edward Said) by South African Michael Blake, influenced by Brahms, was written especially for Gray’s 2009 Australian performances. This was a complete contrast to the first two pieces, with intense chords and sudden rhythmic and dynamic changes. Where the first two works allowed us to see Gray’s sensitive and thoughtful approach to his playing, this was a showcase for his virtuosity.

Four Inventions by Andrew Schultz is music taken from his opera A Children’s Bach and the four contrasting sections gave an opportunity for Gray to exhibit more of his technical skill and considered interpretation.

The second half of the concert began with the Sonata No, 1 in F Major by Malcolm Williamson, Gray lamenting the fact that so few composers now write piano sonatas, although he pointed out that two of the works in the first half could be considered as sonatas, even though not specifically labelled as such. There was plenty of fire and passion in this piece.

The Sonatina by Peter Sculthorpe, by contrast, opens with sparse writing moving to alternating fast and slow passages with varying harmonic density, cramming numerous ideas into a surprisingly brief piece of music.

Quentin Grant’s Angels was inspired by Duino Elegies, written by the poet Rainer Maria Rilke, who was also represented in the last concert. This is a highly imaginative work with a wealth of variation. Appropriately, this piece had a wonderfully meditative quality and Gray did it full justice with a reverent and subtle interpretation.

Malcolm Williamson’s frenetic Toccata Americana closed the concert. This was the first performance of this very brief, unfinished work, discovered amongst his ex-wife’s papers. Gray’s humorous introduction, with tongue in cheek reference to the works’ subtitle, Daniel Hurrying to the Lion’s Den, set the scene for this fast and furious piece that served almost as an encore.

Antony Gray combines enormous technique, sensitivity, deep understanding of the music and a sense of humour. These attributes made this a memorable and most enjoyable concert. Visit the ABC shop soon for recordings by this fine performer.

There are another three concerts in this year’s series, the next being tenor, Robert Macfarlane, with pianist, Leigh Harrold, on Monday 28th September. The concert on Monday 2nd November features pianist Kristian Chong, and then The Langbein String Quartet will play at the final concert on Monday 30th November. All concerts are at 8PM in Pilgrim Church. Don’t miss them.

http://www.glamadelaide.com/whatshot/Reviews/Latest_Reviews.html

August 15, 2009

Review of a literary Journal: Green Dragon 6

Filed under: reviews, literature, dye hard press — ABRAXAS @ 3:46 pm

reviewed by David wa Maahlamela

“Welcome to the sixth issue of the resurrected Green Dragon.” That’s the first line of the editorial of this 2003 founded literary journal. In the fifth issue the editor, Gary Cummiskey announced that he was euthenising it, and thanks to Poetry Africa festival in University of KwaZulu Natal which inspired him to carry this heavy yoke again.

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The first time I came across Green Dragon, I fell in love with its layout and the use of what I regard as reader-friendly theme font, Palatino Linotype. Unlike other few literary journals, Gary is not putting his name on the cover, bolded and in caps as if it’s his own compendium. Of course working alone in a journal, one will expect common typing errors such as in the third sentence of this sixth issue’s editorial: “Producing a literary journal can a lot of work and-”. I believe he forgot word such as ‘demand’ or ‘create’ after ‘can’.

A question that emerged in my mind is that how do we motivate few individuals who out of passion decide to do whatever it takes to run this few benevolent journals in the country? This came after Gary regarded it as “a thankless task”, I then realized that whatever they do; they are actually doing it for us, as writers.

Green Dragon consists of great wordsmith such as Ingrid Andersen, Janet van Eeden, Gus Ferguson, Allan Kolski Horwitz, Kelwyn Sole, Mphutlane wa Bofelo and Mxolisi Nyezwa. One other thing I like about this issue is variety of writing styles and themes used. The only problem which is not a problem is use of same writers. I spoke to several editors and realized that it’s safe to use people that you already know to avoid things like plagiarism. The only challenge is to be careful not to end up publishing names of writers rather than their products.

Former editor of New Coin, Alan Finlay’s second poem entitled ‘the flood…’ left me licking fingers. Choice of words plays a big role in this poem. Instead of saying I’m weak, he says: “my strength defeats me”. Furthermore he keeps on painting his own pictures in lines such as: “i am bitten by my own tears/ their long hot arrows, hot as sorrow…”.

As usual, Vonani Bila brings those age-restriction kind of pictorials where sensitive viewers should be cautioned. The poem, On Julie’s menu is about Julie who ‘burrows the heap of dead babies and miscarried brood at the hospital, cuts the head off, cooks and eats with pap.’ If you’ve read most of Vonani’s work, you will realize that he writes about stuff that are happening in our villages yet most writers; due to the question of credibility; avoid writing about them. Such stuff we normally talk about them in whispers, he says them loud. Poems such as Dahl Street, Pietersburg which starts with a very heavy statement; can bear evidence: “Sex-worker are burgers/ we chew the fresh ones…”. Mbengwa, Mpho, Hola Gazi and Porto Alegre Prostitute support my argument.

One poem that will adhere to your teeth is ‘homicide’ by Cecilia Ferreira. The poem is about a person who’s about to be judged or interrogated yet deep down confessing that he/she won’t sell out whatever secret he/she is keeping.

my tongue
is on a butcher’s board
(it’s not dead yet)

my tongue
is going to be slaughtered
(for dinner tonight)

my tongue
will be a platter
(with secrets on the side)

my tongue
is poison
(when silent)

Gary Cummiskey’s poem, Afterwards, just like Aryana Kaganof’s poem, The man without skeleton have something in common. One may think I’m say this hence they both use the f- language; but that’s not my focus. Of course in Gary’s poem there’s a line: “when we fucked against the wall” and in Aryan: “instead of booking into a cheap hotel and fucking the bejesus out of each other”. What I personally liked out of these poems is that they are able to take one into emotional situations and make you feel what the person felt. The use of simple or basic vocabulary enables them to be easily understood. Basically they used simple words in an artistic craft.

List of sound effects by one of the editors I respect the most, Kobus Moolman left me groping for understanding. The style of writing he applied; the same as the one on Alan Finlay’s first poem return (that’s after reading full version on Green Dragon blog), are broadly ambiguous. There are both advantages and disadvantages of this style. They are flexible to fit any situation and they turn to be relevant to any other occasions even after ages. The disadvantage is that they have many possible meanings in such a way a reader might misinterpret them.

The next poem is Visiting Hours by David wa Maahlamela – Oh it’s me! Well as much as I would like to chop myself, I don’t think I’m brave enough to do so. I will leave it for other critics. (the poem is great, actually it is very relevant around this time when government is discussing issues of a National Health Insurance. I’m not giving kudos to this poem simply because David wrote this review but the first thing that came to mind at reading it was ‘how can it be relevant to the doctor’s strike and rhetoric coming from Luthuli?’ David shies away from confessing that he, like Vonani seem to have appointed themselves as carriers of the ghetto cross, all the way to the Mount of Olives. If I had to chop the poem it would be an injustice, however the jury is out and anybody who has read Green Dragon is welcome to taunt the poet – Editor)

Tania van Schalkwyk’s Hierophant is also one of those poems you would enjoy reading again and again. It’s nice to see how a person fears the presence of a ghost yet not happy when it has to leave hence it’s someone beloved.

In The Litchis’ song lyrics I married a goose emerges the type of ambiguity I personally prefer. Goose here can imply in two ways, as a bird and informally as a stupid person or person from a stupid race. A persona might be in love with this bird in such a way that people do not approve their bond or he might be in love with a person of a different race and people of his race not approving this cultural interaction. In conclusion he says to his own race:

“If they grew feathers
If they grew a beak
Then maybe from them
A wife I would seek”

Joop Bersee portrays a descent sexual scene in his poem, A game. His second poem, Crap Pizza beautifully tells of a woman’s worth. How what we regard as small things like cooking counts in the absences of the wife. On the second line there’s what I assume to have been typing era: “the pizzas are coming un” I guess it was suppose to be “in”.

Colleen Higgs in her short story, The poet and the woodcutter which in the index list is spelled as ‘woodcuter’ with single‘t’, is short and straight to the point. The story is alerting writers not to end up living writing in such a way that they will not even lighten up for their spouses when they deepen themselves in to the world of muse. It is true, most writers find themselves at times having to answer the “between me and your writing/poetry, whom do you love the most?” question.

Anton Krueger’s poem, Naked also stole my heart. To be honest, short poems like haikus are not my thing, that’s why I find it difficult understanding poems by Mick Raubenheimer. Below is one of them entitled Loci.

there is no inside
there is no outside
even is
is taking things
a bit far.

Having said that I still enjoyed his last poem entitled Hoove print. So gently romantic in a form of questions, the person asks his “tenderest creature” if she enjoyed what he calls “monstrous sensitivity”. He beautifully asks: “does your body still throb with echoes…?”I really saw and felt what was happening that evening…that urgent net.

The hip-hop influenced poet and founder of www.kasiekulture.blogspot.com, Goodenough Mashego is sharing shame of his neighbourhood in a poem shatale (part two).

“nothing you get in here only weedsmoke & AIDS
the girls ain’t giving us love they steal our cash get us poisoned
though it’s my hood i swear to god i’ll catch the first plane out”

Goodenough’s poem reminds me of the inferno which was burning me recently. Most established writers are into weed nowadays. It is believed that it results in writing quality stuff. Bob Marley and poets such as Han Shan, Mafika Gwala, Dambudzo Marechera but to mention a few, were writing best under the influence of either marijuana or alcohol. I really don’t know if that is a right way to inspire the coming generation.

“…I ask lots of difficult/ questions most of which/ I cannot answer myself” That is a quote from Aryan Kaganof’s second poem, Letter from a girl with no head. Aryan’s short story, Glock for sale literary made me to read it again. He tells a sad story comically. The story is about a person who got mugged by “the tall so-called black” while he was in position of his glock.

“It’s hard to argue with the barrel of a 9mm in your face and the very tall so-called black man in front of you looking nervous and his finger wriggling itself all over the trigger.”

He kept on creaming the story with light jokes and informality. Unlike the conventional way of quoting where we normally say: “like said so-and-said…”, Aryan gave a quote and later he said: “You might have noticed that the previous sentence was written by a much smarter person than myself, and it was.” They say as long as the lion can not learn how to write, the hunter will always be the hero in a Lion & Hunter story, but with Aryan is the opposite. He kept on sarcastically criticizing his failure in sentences such as this: “I probably couldn’t kill myself if I tried putting the barrel in my mouth and pulling the trigger”. The quote I loved in conclusion of the story, which made me understand why he kept on saying “the so-called black man” is the following: “There are no so-called blacks or whites anymore, just a dirty shade of grey called reality” (one rapper I love, Immortal Technique says there are no longer Blacks, Whites, Coloureds and Latino but only rich and poor people, I found that quite intriguing – Editor)

Megan Hall’s poem Valentine’s Day portrays contradiction of the haves and the have-not. How relaxation time to the have is working time for the have-not.

Neo Molefe Shameeyaa also outstood herself with her documentary poem; I heard fame and fashion calling your name. In this poem she just explains things as they are without giving any input. It is written in a dream-kind of style where one is just duplicating a picture without adding any personal colours.

Arja Salafranca concludes by reminding me of James Matthwes as she embraces age in her poem Chapped hearts, observing changes on her body and memories in the heart, bearing testimony to thirty-seven year she’s completing.

All in all, I give thumbs up to this resurrected Green Dragon issue and wish it could forever conquer death.

For more information on Green Dragon, visit the following blog http://www.dyehard-press.blogspot.com/ . Mo Faya!

this review first appeared on kasiekulture

August 3, 2009

the snow that killed manuel jarrow

Filed under: reviews, dionysos andronis, literature — ABRAXAS @ 3:20 pm

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« La poudreuse qui tua Manuel Jarrow » de Douglas Rushkoff »

In «Disco Biscuits », sous la direction de Sarah Champion, éditions Alpha Bleue, 1998, traduction par Aline Azoulay

Avec ce recueil de nouvelles, sa directrice Sarah Champion, a fait une erreur inexplicable au titre. Toutes les nouvelles incluses parlent de techno et d’ecstasy. Donc, la disco n’y fait pas partie. Pourquoi alors ce titre trompeur ? Nous avons voulu parler de cette fiction ordinaire parce qu’elle nous a fait penser au film préexistant « Wasted » de Ian Kerkhof produit en 1996, une année avant l’original anglais.

Douglas Rushkoff est un professeur universitaire américain. Il a collaboré plusieurs fois avec Genesis P-Orridge, qui est le sujet de notre film précédent « Pandrogeny Manifesto ». Avec cette fiction courte Rushkoff nous présente une histoire tragique de mort accidentelle provoquée par la drogue dans le cadre joyeux d’une boite techno. La victime serait Manuel Jarrow, un jeune squatter new yorkais, qui trouve la mort dans un bar de sa ville accompagné par son amie Bess.

Un néologisme dans le texte nous a fait penser aux jeux de mots employés par Genesis P-Orridge tout au long de sa carrière : «des rythmes variés par des ornementations Zepplinesques », in « Disco Biscuits », op.cit., page 233. C’est le même état d’esprit « psychédélique » qui pousse P-Orridge à employer des mots inexistants depuis ses premiers manifestes Coum du début des années 70.

Les retours fréquents au passé douloureux par le mourant jeune homme Manuel nous font penser aux hallucinations provoquées par la drogue dans le film préexistant « Wasted » de Kerkhof. Ses mauvais souvenirs d’un homme en train de mourir sont soulagés par son amie Bess. Dans le film de Kerkhof les mauvaises hallucinations du couple étaient « guéries » surtout par l’insistance de la jeune protagoniste. Et la personne à mourir par la drogue à la fin dans une boite techno était le DJ, incarné par Thom Hoffman.

Rushkoff écrit seul son CV à la fin de cette anthologie avec un peu d’humour en disant : « Etant américain, il se fait taper sur les doigts chaque fois qu’il affirme à son lectorat britannique (ndlr : Sarah Champion est irlandaise) que tout ira bien » op.cit., page 345.

écrit par Dionysos Andronis

lemn sissay reviews Poor.Old.Tired.Horse, ICA, London

Filed under: reviews, art, poetry — ABRAXAS @ 2:09 pm

Poor.Old.Tired.Horse is an exhibition inspired by concrete poetry at the ICA. Though concrete poetry was established in Brazil in the Fifties, it took hold here during the Sixties: a golden era of poetry in Britain. But the term concrete poetry doesn’t do justice to the fluidity, the free-falling work that flies around these rooms. The true rebels have arrived.

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Full circle: Ferdinand Kriwet’s ‘Text Sign’ (1968)

Concrete poetry is Letraset graffiti. It’s punk, at once unintelligible and visceral, where words give off texture and tone freed from any pedestrian need to enslave, used for what they are rather than what we think they should be. But whoever named this stuff concrete poetry deserves to be lopped on the head with a piece of it.

Poor.Old.Tired.Horse. is, we are told, “an exhibition of art that verges on poetry.” I want to fight the description. Is it not an exhibition of poetry that verges on art? Could an arm wrestle with the curator settle it? In truth, the narrative of the exhibition is about art more than words and shows how words seeped into art in the Sixties and are doing so significantly today. Contemporary artists make poems, contemporary poets make art. Truth.

The exhibition opens with the work of Ian Hamilton Finlay. I wouldn’t wrestle with him. His verse pulsates as muscular, taut and steadfast as a kung-fu fighter. He throws shapes from beyond the grave. The centrepiece is Sea Poppy I (1968), a giant swirling kaleidoscope in the guise of a poppy, a bewilderment of letters and numbers – the names of ships, we learn but I’d assumed they were fighter planes. For me, the poppy signifies war and as I stand before it, a child transfixed by a spinning propeller, the physical reaction is dizzying.

Adjacent is “The Sound of Running Water” text smeared along the wall. I am reminded of dried blood, until at a corner, one word slips onto the next wall and takes on the colour of revolution: bright red, oxygenated.

In the belly of this room, display cabinets present the intestines and vital organs of the British movement of concrete poetry, including copies of the periodical, Poor.Old.Tired.Horse produced by Finlay, which gave this exhibition its name.

Textual works that utilise the language of signage, advertising, lyrics, pop are evident in Vito Acconci’s Four Book (1968). It takes the New York yellow pages, but Acconci has typewritten snippets of conversation or thoughts caught in the margins. Pure poetry. In seeking to demolish the functionality of the word, Acconci has defined it.

I am haunted by three ghostly conical shapes on rotating turntables by artist Liliane Lijn. One of them, POEMKON=D=4=Open=Apollinaire (1968), like the nose of a space shuttle, stands three feet from the ground. As it turns, the old-fashioned revolutions of the turntable produces a distant braying like that of mechanical sheep. POEMKON = D tells me more about space travel than any film. It is as if the shuttle has smashed through space clouds of description. Words have stuck to it in the chaos. This is what happens when you allow art to fill spaces.

Ferdinand Kriwet’s Text Sign, also from 1968, features 10, seemingly municipal square pieces made from stamped aluminium, display words laid out in circular patterns. They could be grid lids outside a New York police station or hospital or school. From the distance, the signs feel safe. It’s what signs do. But, as I step closer there’s un-nerving juxtapostion. Concrete poetry forcing a way into the real world: SODOMESTICK SADOMASORRY EXCITER- OTIT. Slamming words together makes for an emotional shock. Gorgeous. Words not bound by sentence but freed in their exisentence as Ferdinand might say.

Upstairs, more words, more investigation of the indefinite space between reality and fiction. I stand transfixed in front of a two-foot tall poster by Janice Kerbel with its invitation to roll up to Remarkable: Faintgirl (2007).

If aliens were to try and understand the human condition they would not find it in Parliament and its consititutions but at the ICA. Here, the alien would know humankind and cry. They should paint massive signs on the roof “Alight Here. A Light Here”. You should. It might be one small step for man (or woman), but it’s a great leap for the mind.

Until 23 August (020-7930 3647; www.ica.org.uk/poth )

this review first published by the independent

June 18, 2009

sean jacobs reviews Not White Enough, Not Black Enough: Racial Identity in the South African Coloured Community

Filed under: reviews, afrikaans hip hop, sean jacobs — ABRAXAS @ 7:42 am

Mohamed Adhikari. Not White Enough, Not Black Enough: Racial Identity in the South African Coloured Community. Africa Series. Athens: Ohio University Press, 2005. xvii + 252 pp. $24.00 (paper), ISBN 978-0-89680-244-5.

Reviewed by Sean H. Jacobs (University of Michigan, Ann Arbor)
Published on H-SAfrica (May, 2007)

Coloured Categories

What are “Coloureds”? For most South Africans and others familiar with South Africa the answer will be “people of mixed race.” This invocation of “mixing” inevitably links to a racial binary that relies on two opposing and ossified (primordial) identities of black and white. Linked to this view is of course the persistence of the stereotype of “tragic mulattoes”–long a trope in South African writing–in which the “products of miscegenation” can never be “true” South Africans. These were the views of apartheid’s planners and retain their resonance for most South Africans today, including many whom self-identify as Coloured.[1]

Mohamed Adhikari’s work attempts a corrective to this kind of de-contextualized portrayal and assessment of Coloured politics and identity. In Not White Enough, Not Black Enough–a slim volume of 187 pages–Adhikari attempts to place Colouredness as a product, not of any biological process such as “mixture,” but rather as one of the politics of the last century or so. For him, Coloured identity is, in fact, both a product of apartheid category-making and of vigorous identity-building on the part of Coloured political actors themselves. That is, Adhikari also targets attempts to “do away” with Coloured identity, as by proclaiming it a species of false consciousness. The book’s main focus is on attempts by Coloureds themselves to construct identity and history. While much of the material he covers is useful and interesting, it is not clear that Adhikari has quite managed to get out from under the weight of inherited categories and analytic frames in quite the way he sets out to do.

Coloureds make up 4.1 million of South Africa’s 46.9 million people.[2] Mostly working class and concentrated in (but not restricted to) the Western Cape Province (where they comprise 53.9 percent of the total population) and the more rural Northern Cape, they, along with Africans–despite some changes at the apex of the class pyramid–account for most of South Africa’s urban and rural poor.

Renewed interest by academics and journalists in Coloured identity and politics was triggered by the results of the inaugural democratic elections in 1994.[3] In those elections, the votes of a plurality of Coloureds (alongside the majority of whites) ensured that the National Party (NP)–the party of apartheid–won the right to govern the Western Cape. The result also secured for the NP a prominent position in the first “government of national unity” with F. W. de Klerk as one of two deputy-presidents and prevented the African National Congress (ANC) from gaining a two-thirds electoral majority nationally.

But during the next two election cycles–1999 and 2004–the ANC first ousted the NP and then consolidated its hold over the Western Cape provincial government, with the help of Coloured voters. It might be true that lower turnout among Coloureds as well as an expanding African population in the province had much to do with the latter two election results. But growing support for the ANC among more rural-based Coloureds and the actions of a range of Coloured politicians who abandoned the NP for the ANC and the Democratic Alliance (DA), also clearly had significant effects on the respective outcomes. That the NP would eventually disband in 2005 was also largely hastened by these developments.

Since then Coloured voters have been central to the resurgence of the increasingly right-wing DA (the DA is erroneously labeled as “liberal” in South Africa, a relic of its position relative to the NP within a very limited white public discourse under apartheid). While the DA is largely led by whites, Coloured support is central to its newfound dominance in controlling the more significant local government administrations (such as the Cape Town metropolitan city council) in the Western Cape.

Throughout this period most observers wondered why in contrast with other “races” in South Africa among whom post-apartheid voting patterns are more “stable,” Coloured voting patterns are so unpredictable: For much of the twentieth century–when Coloured identity solidified–the most visible political organizations, either led by Coloureds or with significant Coloured membership or support, were either closely aligned or identified with broader black resistance. They are well covered by Adhikari. These included the African Political Organisation or APO (during the first half of the twentieth century), the Industrial and Commercial Workers Union or ICWU (the 1920s and 1930s), Non-European Unity Movement (1940s), South African Coloured People’s Organisation or SACPO (mid-1950s until it was banned in 1960), the Black Consciousness Movement (in its original incarnation in the 1970s), and the United Democratic Front or UDF (1983-1990).

Of these the APO, NEUM and SACPO were either exclusive to or dominated by Coloureds, the Black Consciousness Movement had a number of Coloureds in key leadership positions, and Coloured activists and communities were central to the formation of the UDF, the mainstay of anti-apartheid opposition in the 1980s in the absence of the long-banned ANC. Coloured communities were especially central to the success of the UDF’s various rent and service boycotts and school disruptions. The largely Coloured textile worker base was also behind the growing worker militancy at the heart of the formation of the Congress of South African Trade Unions in 1985. The ANC (and some observers) thus seemed justified in expecting overwhelming Coloured support for the organization in 1994.

One explanation for post-1994 Coloured political behavior lies in the different regimes of domination that the colonial and apartheid regimes maintained for its subject “races;” regimes that in turn highlighted and cemented differences in the way people experienced apartheid oppression or enjoyed degrees of “relative privilege.” (The term “privilege” should be used cautiously, however; relative oppression might be more apt.)

In 1948, when the NP came into power on its electoral platform of Apartheid, it quickly introduced a slew of laws on residential segregation, classifying of the “races,” employment, and education. For some Coloured elites it meant that the limited franchise rights they enjoyed (as a function of property ownership), were now abolished. The Group Areas Act that enforced residential segregation had profound effects on the city life of Coloureds. However, in contrast to Africans, Coloureds were never subject to the system of pass books, nor deported to “homelands.” Significantly, the Western Cape was declared a “Coloured Labour Preference Area” meaning basically that in the absence of white job candidates, Coloureds would be considered to the exclusion of Africans.

In the wake of its “self-determination” policy (that introduced the “independent states” model for Africans in the 1960s), the NP government established a Coloured Representative Council in 1968. In the 1980s, the NP regime eager to maintain apartheid by other means, worked with some success to co-opt more moderate Coloured leaders (mainly clergy, traders and teachers) to legitimize its 1983 “Constitutional reforms” (alongside its ever-expanding security state). These reforms established separate “houses of parliament” for whites, Coloureds, and Indians. Whites would retain control over “national” affairs such as defense, finance and foreign policy, while Coloureds (and Indians) would retain “control” over “own affairs” such as education, health, and social welfare. However, whites could override any decisions of the two other houses even on the latter set of issues. Africans were excluded from these reforms.

The reforms were rejected by the majority of Coloureds and “Coloured elections” for the House of Representatives (as the Coloured chamber was named), drew average polls of less than 20 percent of registered voters in 1983 and in 1989. But significantly, Coloured organizations that emerged in the wake of the reforms provided a crucial basis for the later political organization in Coloured areas by the NP.

A second explanation for recent Coloured political behavior and identity traces it to the transition of the early 1990s, a period that would witness the fundamental reordering of South Africa’s political landscape. Then the major political actors–both the ANC and the NP–openly courted Coloureds as Coloureds; not as so-called Coloureds. (For a long time being Coloured was associated with stigma both by whites and blacks, including Coloureds themselves, hence the prefix “so-called”).

The NP, led by an invigorated De Klerk (soon to be awarded the Nobel Peace Prize) and aided by white commentators in the media, began to play up the supposed close affinity of whites (especially Afrikaners) with Coloureds. This was of course totally at odds with the public ideology and policies of the NP for much of the preceding fifty years. But it proved effective nonetheless as De Klerk “apologized” for apartheid and the NP emphasized its Christian roots, something that played well with a large section of the Coloured community. Finally, the NP also played on fears that working-class Coloureds had of competition from Africans for dwindling resources.

The ANC, in the wake of its unbanning, also tried “Coloured politics,” but with less success. Mandela famously publicly re-introduced the idea of “four races” (at the center of antiapartheid politics in the 1950s) and of “Coloured ethnicity” into the ANC’s lexicon. As Adhikari reports, around the same time, however, Winnie Mandela, still then a very senior figure in the organization, commented that Coloured people are the result of white men raping black women (p. 28). The NP and conservative Coloured leaders pounced on this gaffe as a sign of the ANC’s insincerity to Coloureds, and ANC activists had a hard time defending the outburst. More generally the ANC appeared either unable to counter the NP’s very effective propaganda or unaware of its importance.

Despite the evident power of these top-down explanations, Adhikari’s study of Coloured identity tries to show them insufficient to make sense of Coloured racial and political identity both under apartheid and particularly since 1994. A former high-school teacher (he taught in the Bonteheuwel Coloured township on the Cape Flats in the 1970s), Adhikari spent his recent work-life affiliated to the University of Cape Town. Currently he is an associate professor in historical studies at that university. The bulk of his research and publishing has revolved around documenting the history of progressive, mainly anti-colonial and anti-apartheid Coloured politics in the first half of the twentieth century in Cape Town, and includes studies of the APO and its leader Abdullah Abdurahman, along with the Teacher’s League of South Africa (TLSA) and the NEUM.

The central thesis of the present book is that Coloured political identity must be understood in light of four “enduring characteristics rooted in the historical experience and social situation of the Coloured community that regulated the way Colouredness functioned as a social identity under white domination.” These include an assimilationist tendency, with the goal of acceptance into the dominant society; the intermediate status of Coloureds in the racial hierarchy, which raised fears that that they might “lose their position of relative privilege and be relegated to the status of Africans”; the shame associated with “mixed” origins; and finally, political marginalization, “which caused them a great deal of frustration.” For Adhikari, Coloureds’ marginal status is the most important of these attributes “as it placed severe limitations on possibilities for social and political action” (p. xii).

Not White Enough, Not Black Enough consists of four sets of case studies, prefaced by a review of writing by Coloureds that is supposed to represent “the entire historical spectrum of opinion” (p. 64). Adhikari classifies these works into three broad categories or “contending historiographical paradigms.” The first of these is the “essentialist school” that associates Coloured identity with miscegenation going back to the earliest days of European settlement. This is an inherently racialized approach, assigning racial origins and characteristics to Colouredness. Much of popular writing and earlier academic writing is cast in this mold. The second approach to Colouredness is “instrumentalist.” Broadly, this tendency regards Coloured identity as artificial, imposed by the white state in a deliberate attempt to divide and rule the black majority.

A third approach is “social constructionism,” with which, not surprisingly, Adhikari identifies himself. Emerging in the 1980s as a response to the first two “paradigms,” social constructionism “criticizes both these approaches for their tendency to accept coloured identity as given and to portray it as fixed.” In reifying identity, Adhikari argues, the first two approaches fail to “recognize fluidities in processes of coloured self-identification or ambiguities in the expression of the identity.” Essentialists are blinded by their Eurocentrism and/or racism, while instrumentalists narrowly focus on Coloured protest politics in a way that exaggerates “the resistance of coloured people to white supremacism and plays down their accommodation with the South African racial system.” According to Adhikari, “the overall result has been an oversimplification of the phenomenon [of coloured identity]” (p. 35).

Adhikari reviews the small body of book-length studies of Coloured identity produced by Coloureds between 1936 (when two Coloured teachers, Dorothy Viljoen and Christian Viljoen, published a history textbook, The Student Teacher’s History Course: For the Use in Coloured Training Colleges) and 1994 (when Roy de Pre, a historian then based at the University of Transkei, published his Separate, But Unequal: The Coloured People of South Africa_). For Adhikari, all these books exhibit traces of both essentialist and instrumental understandings of Colouredness.

To contrast this “oversimplification,” Adhikari constructs his own account based on the journalistic and literary production by Coloureds in the twentieth century. He begins with a combined study of the APO Newsletter (started in 1902) and the Education Journal, the publication of the TLSA. Neither organization organized for broader black political demands, instead insisting on working for Coloured demands only, at the same time reflecting and fostered an acceptance of the racial order among the Coloured petty bourgeoisie.

Next comes the Torch newspaper published by the NEUM between 1943 and 1963 and the writings of the novelist and ANC political activist Alex La Guma (basically a close reading of his novel A Walk in the Night [1962]). These are examined as examples of the main Communist and Trotskyist strands of the “radical movement” among Coloureds in the mid-20th century. This is followed by a textual analysis of on the one hand, the work of the Cape Town poet and publisher James Matthews, a fairly prominent figure in the black consciousness movement during the 1970s and the popular resistance of the 1980s, and on the other, the “alternative” newspapers Grassroots and South, published in Cape Town throughout the 1980s until 1994 by a mainly Coloured and UDF-affiliated editorial staff.

While all of these individuals and publications explicitly rejected Coloured identity and racial categories more generally, Adhikari argues that they, too, share essentialist assumptions. For him, this illustrates an essential “stability” of Coloured identity in the twentieth century.

The final chapter is an evaluation of the post-apartheid period. This contains probably the most interesting parts of the book as not much useful work has been written by academics about Coloured identity after apartheid. Adhikari lists some of the movements and tendencies that have emerged since 1994–from the right-wing Coloured Liberation Movement, a Khoisan “Revivalist” Movement (whose members premise their claims for rights on a primordial link to the first inhabitants of modern-day South Africa) to the ANC-derived December First Movement, among others.

This book has much going for it. Its “counterintuitive argument” that Coloured identity was stable (rather than evolved gradually over time or changed abruptly) is not original (it is a common refrain among some activists and political operatives), but is certainly bold as a scholarly argument. So is Adhikari’s use of a range of texts and approaches from content analysis and literary approaches. The same can be said for the book’s broad historical sweep–an approach absent in most studies of identity in South Africa.

However, the easy categorizations into which he slots Coloured writing and writing on Colouredness may be due at least in part to a bias in his selection of texts to examine. For example, it is not entirely clear what Adhikari wanted to achieve with his review of “historical writing.” For one, judging a teacher’s training manual, partisan newsletters and pamphlets, novels as well as a smattering of mostly obscure monographs, by a seemingly narrow set of historical criteria seems odd. Also, this reader at least, remains unconvinced that these texts represent the “entire ideological spectrum of opinion within the coloured community on the nature of coloured identity,” or even a representative sample. For example, one of the texts he cites, a political science dissertation published in Canada by expatriate Maurice Hommel, was certainly never widely available inside or outside South Africa and as such could not have much impact on debates about Coloured identity and politics.

Adhikari’s literature review also omits some important works, most notably Vernon February’s incisive study of Afrikaans literature and Coloureds, Mind Your Colour: The Coloured Stereotype in South African Literature (1981).

With the exception of the APO Newsletter, and the more recent Grassroots and South, the bulk of Adhikari’s case studies are about publications and individuals, whose work–despite its wide reach among elites and outside the country–were in fact very marginal to what Adhikari is concerned with here: Coloured public discourse (if such a public sphere can be said to exist).

Harassed and hounded by the apartheid regime, Alex La Guma, for example, spent the bulk of his most productive years in enforced exile outside South Africa–apart from his vocation as a writer, he was longtime ANC representative in the Caribbean. His writings were banned inside the country, and as a result were neither easily attainable nor widely read, even less so among Coloured elites. In fact, as Adhikari’s discussion of La Guma demonstrates, his work had a much greater international impact as a “third world” or continental writer and intellectual. Similarly James Matthews, a more popular figure than La Guma inside South Africa, had a more limited impact among Coloureds than Adhikari would want us believe. In Matthews’ case, talent did not necessarily translate into influence. When poetry reached that genre’s most popular phase (at political rallies in the 1980s), Matthews was already winding down his career. Matthews’ work enjoyed a brief revival after apartheid, but cannot necessarily be treated as representative.

Adhikari, to his detriment, focuses mainly on intellectual work done in English and Coloured communities based in the Western Cape. This may hold for intellectual life before the Second World War, but is less convincing for the period after 1960, when writers such as S. V. Peterson, P. J. Philander and Adam Small, writing mainly in Afrikaans, had a much larger impact on popular Coloured consciousness and intellectual politics than either La Guma or Matthews could ever achieve, and which receives no attention from Adhikari. (February covered this ground excellently in his book Mind Your Colour.)

A poet and playwright, Small was one of the first black faculty members of the University of the Western Cape, where he taught first philosophy and later social work. In both his written work–written in the Afrikaans spoken in working-class Coloured neighborhoods in Cape Town (what Small coined “Kaaps”)–and political activism, he maintained an ambiguous relationship to both the official Afrikaans literature establishment and the black consciousness movement. The important thing to note about Small is that because his work was prescribed in Coloured schools, his opinions appeared in newspapers, and his plays (which explicitly dealt with Coloured identity and politics) were widely performed in venues in the townships, he had significant impact on political ideas and consciousness among Coloureds.[4]

Similarly, no mention is made of the “Alternatiewe Afrikaans” movement of a younger generation of Coloured language teachers and writer-activists (as distinct from the cultural movement among young white Afrikaners in the mid-1980s), who in the wake of the 1976 student uprising (caused directly by the state’s policy to enforce Afrikaans as a language of instruction in African schools) sought to divorce their first language from its association with the oppressor,[5] but also to present new interpretations of Coloured identity and history.[6] This line of thinking had wide resonance in the fairly moderate Cape Teacher’s Professional Organisation (that had replaced the TLSA as the premier organization of Coloured teachers) led by Franklin Sonn (later the first black ambassador of South Africa to the United States) or the later, more outspokenly ANC-orientated South African Democratic Teachers’ Union (through its leader Randall van den Heever, a school principal in Cape Town and later ANC member of Parliament). The Alternatiewe Afrikaans movement had a major impact on the teaching of Afrikaans in Coloured schools, particularly in the Western Cape (p. 7). Alongside this group one could also mention the establishment and success of the Swart Afrikaanse Skrywersvereniging (the Black Afrikaans Writers’ Association), led by writers with links to popular movements and trade unions such as Leonard Koza and the late Patrick Peterson in the late 1980s .

Also given short shrift is the impact of religious institutions in forming political identity among Coloureds. Along with the African Methodist Episcopal (AME) church, with its overt opposition to apartheid, the Dutch Reform Mission Church (”the Sendingkerk”) had considerable influence among Coloureds, maintaining high membership levels among Coloureds throughout apartheid and after. What impact the “Sendingkerk,” or other more conservative churches such as the growing evangelical movement or the Apostolic sect had on Coloured identity still needs to be explored by scholars.

Adhikari includes case studies of newspapers, but by any criteria all the newspapers or newsletters that he cites (with the exception of the APO Newsletter) were hardly at the center of Coloured political life. There is no substantive discussion of newspapers with a bigger impact under apartheid such as the Cape Herald published by the Argus Group (at the time, part of the mining corporation Anglo-American) or the Afrikaans-language Rapport-Ekstra and Die Burger-Ekstra, published as racially exclusive editions by the Nasionale Pers group, which were closely allied to the National Party.

Both these sets of newspapers, despite their compromised ownership, were widely read by Coloureds since the 1970s, much more than the newspapers Adhikari focuses on. Throughout the 1970s and 1980s the main (whites-only) editorial and news sections of Rapport or Die Burger covered white news and its editors supported extreme segregation or the policies of successive NP governments, while at the same time the separate edition for Coloureds often reflected various positions of left (including the leading Charterist and Trotskyist opposition to apartheid) opposition groups.

Moreover, a strange logic underlies Adhikari’s assessment of the APO Newsletter through to the newspapers South and Grassroots as well as what he considers the leading Coloured intellectuals of that time. Adhikari works with the idea that confronting racism as a Coloured in a social setting that demands, even more so forces you to do so, is in some ways an acceptance of a conservative Coloured identity and therefore of the South African racial hierarchy. So for example, when discussing La Guma he claims that because La Guma “appealed to people’s identity as Coloured to mobilize resistance to apartheid and had no qualms about being an officer of an organization, SACPO, that explicitly identified itself as Coloured,” there can be little doubt that La Guma identified himself as Coloured and “accepted Coloured identity as given” (p. 123). Apart from being an oversimplified view of La Guma’s politics, there is no clear evidence for this charge–in fact Adhikari writes in the same section that “this is never made explicit in A Walk in the Night.” We just have to trust Adhikari’s judgment. Similarly, in the case of the news weekly South, he argues that because the newspaper’s founders claimed their main objective was “to articulate the needs and aspirations of the oppressed and exploited in the Cape and in so doing serve the interests of the working-class people,” there was therefore “no question of South identifying itself as a Coloured newspaper or following a narrowly racial agenda” (p. 150). He writes about James Matthews in the same vein.

Before World War Two Coloured political life, with few exceptions, was largely limited to a few “elite” families, schools, trade unions, teacher training colleges and neighborhoods around the center of Cape Town. This is the terrain that is covered well by Adhikari for the first half of this book and in his previous work. But that pre-eminence ended after the mid-1950s and early 1960s. As a result of a number of factors, migration, urbanization, greater access to education, and political factors as diverse as the emergence of Black Consciousness and the establishment of the Coloured Representative Council, resulted in Coloured intellectual and identity politics–up to then highly centralized–becoming more dispersed and reorganized in the process.

In the aftermath of the state’s clampdown on popular movements and intellectual and resistance political culture in the mid- to late 1950s and early 1960s, many of the movements associated with Coloured political action were decimated with activists forced into exile, house arrest, or either intimidated or simply discouraged enough to leave politics behind. New faces and organizations emerged often to take their place, with the result of multiple centers of Coloured identity formation over time.

So for example, much of the impetus for the reactionary politics of the Labour Party that entered the Tricameral Parliament in 1983 came from politicians and leaders based in the Eastern Cape and Gauteng. Resistance politics in the Western Cape came increasingly from the “Cape Flats,” to where most Coloureds were forcefully removed from the mid-1950s onwards. On the flats, “rejectionism” had to vie with radical youth politics, either closely allied to the remnants of the Trotskyists and the black consciousness movement on the one hand, or on the other hand the ANC’s internal ally, the UDF.

Since the early 1970s Coloured resistance politics and intellectualism came from mainly Afrikaans-speaking, formerly rural Coloureds who had come to Cape Town for education–among them university students and professors–as well as unionists allied to the Congress of South African Trade Unions. These people’s politics were not always explicitly Coloured nor did they necessarily revolve around Coloured identity, but they were deeply concerned with the social, economic, and political conditions of this part of the population. (They include people such as Jakes Gerwel, at the time an Afrikaans professor and later president of the University of the Western Cape; Allan Boesak, a leading cleric; the trade unionist Johnny Issel, and the activist-intellectuals of the Call of Islam).

Finally, in writing of more recent political events and the present, Adhikari rightly points to the fact that the UDF’s relationship to Coloured people has been romanticized, but he does not offer an alternative account. He does not engage with the utterances or writings of those figures who were at the initially doomed foray into the tricameral parliament, but who because of clever politics would become central to post-apartheid power politics in the Western Cape and elsewhere after apartheid. These include Peter Marais, who served both as Premier of the Western Cape and later as Mayor of Cape Town. The same goes nationally for Allan Hendrickse, who would in a long political life, be associated with both the black consciousness movement and later with the recently deceased apartheid dictator P. W. Botha. On the one hand, he was at the lead of the Labour Party as it made compromises with the NP government, while later he would broker the Labour Party’s partial restoration under the ANC. Also problematic is the fact that many of the organizations Adhikari writes about–the December the First Movement or the Khoisan Resistance Movement–had more or less disintegrated at least four years before the book’s 2003 publication date. Which is perhaps why–oddly, given the emphasis on “stability” throughout the book–Adhikari argues on the last two pages of the book that Coloured identity is characterized by “fragmentation, uncertainty, and confusion” (p. 186), “remain[ing] in flux” as well as “experiencing a degree of change unparalleled since its emergence in the late nineteenth century” (p. 187).

Notes

[1]. See Gomolemo Mokae, Robert McBride: A Coloured Life (South Africa History Online and Vista University, 2004). In the foreword to this biography of a leading African National Congress (ANC) guerrilla and former death-row inmate, the newspaper columnist Sipho Seepe wrote: “Would the so-called Coloured people ever find an accommodation in South Africa?” Seepe followed the book’s author, Gomolemo Mokae (at one time a leading Black Consciousness activist under apartheid), who later speculates that McBride’s decision to join the ANC’s military wing and some of his subsequent political choices were for the most part influenced by his desire “to be blacker than black.”

[2]. According to the official statistical service, Statistics South Africa (see South African Yearbook 2006, p. 2). The yearbook also reports that according to the last official census in 2003, Coloureds make up 8.9 percent of South Africa’s 44.8 million people.

[3]. Some of the more lasting works on Coloured identity, apart from the ones referenced in this review, include Ian Goldin, The Politics and Economics of Making Coloured Identity in South Africa (London: Longman, 1987); Gavin Lewis, Between the Wire and the Wall: A History of South African “Coloured” Politics (New York: St Martin’s Press, 1987); and Zoe Wicomb, “Shame and Identity: The Case of the Coloured in South Africa” in Writing South Africa, ed. David Attridge and Rosemary Jolly (New York: Cambridge University Press, 1998). More recently published is Zimitri Erasmus, ed., Coloured by History, Shaped by Place: New Perspectives on Coloured Identities in Cape Town (Cape Town: Kwela Books; South African History Online, 2001).

[4]. For more on Small, see Steward van Wyk, “Die Groot Small–oor die lewe en werk van Adam Small,” Woordfees, March 7, 2006.

[5]. Zoe Wicomb, “Shame and Identity: The Case of the Coloured in South Africa,” Woordfees, March 7, 2006.

[6]. See Randall van den Heever, ed., Tree na Vryheid: ‘n Studie in Alternatiewe Afrikaans (Kasselsvlei: CPTA, 1987).

this review first appeared here

May 24, 2009

Bad critics, good drink and young women

Filed under: reviews, 2003 - stones again, trevor steele-taylor — ABRAXAS @ 12:02 am

Citizen Kohen; The Freedom Fighter; Stones Again
Aryan Kaganof
2004, Pine Slopes Publications

Reviewed by Trevor Steele-Taylor

The ever prolific Aryan Kaganof’s latest publications (as apart from an array of new films) are, as ever, self-reflective diaries; narratives formulated from ceaseless notetaking, filtered through carnal nets of young girls, alcohol and cinema and guided through the maelstrom by the philosophers Hegel, Nietzsche and Wittgenstein.

Citizen Kohen is a truly breathtaking work. A book on cinema to rival Tarkovsky’s Sculpting in Time and equally a book of lies, which creates a myth where cinema is intrinsic along the lines of Stephan Laws’ Demoniac, Tim Lucas’s Throat Sprockets and the classic of them all, Theodore Roszak‘s Flicker.

Citizen Kohen is a filmmaker who, travelling internationally to film festivals as an honoured, if badly behaved guest, slips into the roles of assassin, seducer and philosopher. That which surrounds the narrative is what really matters. The progress of Kohen’s travels is interrupted by film reviews and analyses written by fictitious critics with names concocted from slight alterations to the names of the living. These analyses generally involve a film by the title of Femme de Siecle, a film directed by Kaganof’s previous embodiment, Ian Kerkhof, as a homage to the Spanish director, Jesus Franco. The film does exist. A crystalline meditation on the feet of a girl as she ascends a staircase to indulge in vampiric fellatio. The film being analysed though, does not bear any relation to the film as it exists and references all manner of other Kaganof/Kerkhof productions, including those, which do not exist.

The joke of jokes is the vast filmography, which concludes the book. Some films listed really exist. A good deal of them don’t. Many will never. Some will in time.

freefight.bmp

With The Freedom Fighters, Rimbaud stands at Kaganof’s elbow as he anguishes over turning 40. A slim volume of poetry, beautifully produced by the Amsterdam-based illuseum press, the brief verses take us on a journey through low budget eateries and sexual episodes with Joan of Arc, escaping the process of ageing and, more importantly feeling the scorn of Rimbaud who, by that age had given up poetics altogether for the more fulfilling epiphany of criminal activity.

“He finishes typing the manuscript of his fictional autobiography and realises that he has not written a novel”
Kaganof’s intrinsic romanticism is doom laden to be sure. Shedding tears over growing old is a difficult river to cross safely (and joyfully) and his memories of women veer from the blunt (”I once fucked a girl in Beaufort West”) to the visionary (”In my dream, a naked woman drove my car without her seatbelt on”) but the lesson is Rimbaud’s once again with support from Wittgenstein – Silence – “without Rimbaud’s silence there is no Beckett. Not yet mature enough for silence, Kaganof writes poems in shabby bars – entertaining the teenage waitresses”.

Stones Again, Kaganof’s most recent opus is the follow on from this. By no means silent, but without a plot, he sits in a shabby bar (Stones, on the right side of Main Road, Melville, Johannesburg, going up and on the left, going down), entertaining the teenage waitresses with his notes, observing alcoholic delirium tremens, cocaine-fuelled visits to the toilet and young girls playing pool. Wittgenstein will not leave him alone and neither will the obsession with turning 40.

The narrative is divided by brief haikus called Shooters (the concocted drink guaranteed to land one on the floor – 12 certainly would to even the stoutest stomach). Kagonof sits on his barstool and the interminable bustle of meaninglessness goes on around him. He would never pursue a conversation with a girl (be she barmaid or waitress) who had never heard of Wittgenstein, but, the pre-finale of the book involves teenage waitress, Nina slicking her tongue deep into his mouth, unrepulsed by his prophylactic tooth-brace. Is it a dream or is it not? Does it matter? Has she heard of Wittgenstein? Forty is just around the corner.

If viewed as a sub-Bukowski presentation of alcoholic eternity, Stones Again comes a trifle short, but that is clearly what this book is not. It is a book about the failure to construct sense (plot) out of senselessness (life). He says so himself:

“Kaganof has failed. He finishes typing the manuscript of his fictional autobiography and realises that he has not written a novel. There is no plot.”

Trevor Steele-Taylor is co-director of the Cape Town Film Festival

this review first appeared on africanreviewofbooks.com

May 4, 2009

koos kombuis reviews uselessly

Filed under: reviews, koos kombuis, 2006 - uselessly — ABRAXAS @ 8:42 pm

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buy uselessly now (in south africa)

review by Koos Kombuis

Daar is heelwat Suid-Afrikaanse kunstenaars wat baie graag naam wil maak oorsee. Daar is ouens wat liedjies komponeer oor plekke soos Brakpan, maar eintlik droom hulle van ‘n uitverkoop-aand in die Royal Albert. Daar is skrywers wat boeke skryf oor longdrops in die Karoo en drug trips in Seepunt, maar in hulle harte voel hulle dat hulle die script vir “Trainspotting” sou kon doen.

Dan is daar Aryan Kaganof.

Reeds vir jare lank is hy bekend oorsee. Hy hou kunsuitstallings in New York, vervaardig kultus-flieks in Amsterdam. Onder die naam “Ian Kerkhof” behaal hy roem en respek op die internasionale front; helaas nie ‘n huishoudelike naam soos Tretchikoff of Steven Spielberg nie, maar nou ja. Ian Kerkhof is iemand om mee rekening te hou. Hy is cutting edge.

Toe, een dag, ontdek hy sy roots. Toe, een dag, onthou hy dat hy eintlik in Suid-Afrika gebore is. Toe, een dag, word hy “wedergebore” as ‘;n Suid-Afrikaner, verander hy sy naam na Aryan Kaganof, en koop ‘n vliegkaartjie hiernatoe.

In Seepunt word hy herenig met sy biologiese vader, en hy trek by hom in die woonstel in. Hier begin hy sy mees persoonlike gedagtes neerskryf in ‘n reeks notaboekies. Uitiendelik groei hierdie aantekeninge tot ‘n roman; ‘n Suid-Afrikaanse roman. ‘n Roman gevul met karakters uit Seepunt, Stellenbosch, Alberton, en allerhande mundane plaaslike plekke.

As Aryan Kaganof probeer die voormalige Ian Kerkhof nou naam maak as ‘n Suid-Afrikaanse skrywer.

Die roman “Uselessly” is sy eerste vollengte literêre poging.

Daar was ook ander pogings. Hy het ‘n hele rolprent in Johannesburg geskiet op selfone en dit versprei op die Internet. Daar was ook digbundels, uitstallings, selfs pogings tot mode-ontwerp. Aryan Kaganof is ‘n Renaissance-man, en as sulks deel van die Afrika-Renaissance; miskien nie op presies die manier wat Thabo Mbeki dit sou wou hê nie, maar, nou ja, you can’t keep a good man down.

Anders as J.M. Coetzee, wat die Pullitzer-prys gewen het toe hy nog hier gewoon het, en toe Australië toe getrek het om alleen te wees tussen die skape en die kangaroo’s, het Kaganof besluit om hiernatoe te trek en sy inernasionale loopbaan vireers “on hold” te sit.

Hierdie gegewe alleen behoort genoeg te wees om enigiemand se nuuskierigheid te prikkel. Ek moet egter erken dat ek “Uselessly” gelees het voordat ek enige van hierdie feite geweet het. Ek had geen benul Kaganof en Kerkhof is dieselfde persoon nie. Ek was onbewus daarvan dat die grootste deel van die roman inderdaad autobiografies was, en het dit gelees soos fiksie. My reaksie op die teks was totaal en al gestroop van enige vooropgestelde idee’s.

Eerstens: ja, daar was hinderlikhede. Was ek ‘n uitgewer, sou ek ‘n boek soos “Uselessly” dalk ‘n bietjie meer ge-edit het. Daar is geweldig baie herhalings – soms tot ‘n hele bladsy – en die voor-die-hand-liggende woordspeling tussen die titel “Uselessly” en die James Joyce-werk “Ulysses” is ietwat deliberaat en boonop nie vreeslik snaaks nie. ‘n Te groot deel van die boek bestaan uit slimmighede en one-liners; goeie one-liners, okei, maar hel, mens kan net soveel genialiteite hanteer voor jy begin voel dit hinder die verloop van die storie.

Ten spyte van hierdie slaggate (wat Kaganof nie vermy nie, en waarteen sy uitgewers hom klaarblyklik nie gewaarsku het nie), is “Uselessly” ‘n boeiende, eerlike, interessante, en werklik vars leeservaring.

Ek is nie seker presies hoekom ek in die loop van die 192 bladsye verlief geraak het op Kaganof se manier van werk nie. Ek weet ook dis nie enige leser se koppie tee nie. Maar daar is iets in sy prosa – die soort varsgeid wat mens laas ervaar het met die vroeë werk van Kurt Vonnegut, gemengd met die kinderlike sinsime van Darrel Bristow-Bovey, wat jou eenvoudig om die hart gryp en meesleur, meesleur. Aan die einde van ‘n boek soos hierdie is jy of ‘n Kaganof-fan vir altyd, of jy wil jou polse sny. Of beide.

‘n Ou wat dinge kan kwytraak soos die volgende, verdien ons volgehoue aandag:
“Life in Cape Town is an ongoing soap about waiters and menus. It’s a bit like sitting in a Peter Stuyvesant ad.”

“My entire childhood, I longed for abuse. Everywhere I went, I was always hearing how some kid got abused, and gradually I began to believe that I was the ugliest, most unappealing child in the world, because nobody ever took time off from their busy schedules to interfere with me.”

“I have raped, I have battered, I have lied, I have cheated, I have stolen, I have betrayed, I have perjured, I have bullied, I have depraved, I have run away. In short, I have led a very normal life. But I have never committed genocide. Not yet.”

Nou ja, wat kan mens hierop sê?

Baie, baie welkom in die Nuwe Suid-Afrika, Aryan Kaganof. Jy sal beslis tuis voel hier.

this review, in a slightly altered form, was first published in the rapport newspaper.

April 12, 2009

apprenticeship - apprentissage (1995)

Filed under: reviews, dionysos andronis, film — ABRAXAS @ 10:59 am

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My friend Dionysos Andronis sent me a video tape with this 53-minute anthropological narrative on it. I am not sure if « film » adequately describes the sensory experience of viewing « The Apprenticeship ». We see a collection of photographs, stills from the early childhood of Dionysos. These stills are interrupted occasionally by pages from a calendar, beautifully numbered and accompanied by a child’s drawings. There are also five interruptions of moving image, which are of film leader. There are also two quick bursts of movement where we see a hand, or just a couple of fingers, turning the photographs over. Then there is the narrative, which is a text in both Greek and English that tells the story of a strange tribe of people called « the Greeks », and their fantastic obsession with bottoms. The « film » is occasionally hilarious, although one is never quite sure if it is deliberately so, it may well be Dionysos’ point that the Greeks are hilarious. The film is always carefully beautiful, the faded colours of the highly personal photographs reminding us that there is no going back, that childhood only exists in memory – even for the child. That the Greeks are a nation with a particular sexual history becomes abundantly clear throughout the dry anthropological tone of the text. But the real power of this piece of experimental cinema is to uncover the truth : that ALL sex is strange . There is no soundtrack. None at all. But « The Apprenticeship » cannot really be called a silent film. My viewing of it was accompanied by great howls of laughter. And before I went to bed last night I checked my bottoms in the mirror, hmmm, not bad, not bad at all.

Kaganof 6 – 3 –05

Réalisateur: ANDRONIS Dionysos
Titre: APPRENTISSAGE
Pays: France/Grèce
Année: 1995
Format: 16mm ou mini DV
Son: sil
Chromie: coul
Vitesse: 24
Ecran: 1
Durée: 53′

this review was originally published in the cjc catalogue

March 23, 2009

eben venter’s trencherman reviewed by leon de kock

Filed under: reviews, literature, eben venter — ABRAXAS @ 1:41 pm

Every now and again a novel rises out of the slew of new fiction titles and makes a claim on one’s attention that is extraordinary. Trencherman by Eben Venter is such a novel.

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Published in Afrikaans in 2006 as Horrelpoot – to wide critical acclaim, and to some controversy, too – it is quite simply the most devastating fictional account of apocalyptic South African collapse yet written, and it has been superbly translated into SA English by Luke Stubbs.

Novels of apocalypse (or ‘dystopia’) in local fiction are a well-established tradition, many of them incorporating anti-pastoral variations of the farm novel. These novels include Karel Schoeman’s Na die Geliefde Land (translated into English as Promised Land), Nadine Gordimer’s July’s People, and several of J.M. Coetzee’s novels (specifically In the Heart of the Country, Life & Times of Michael K, Waiting for the Barbarians, and Disgrace).

However, none of them travels quite as deeply, and quite as startlingly, into the very heart of livid, psychic fear, into the focal point of horror and the terror of dissolution – collapse of every known system and quantity – as does Trencherman.

Venter is a hard-hitting writer, and deeply contemptuous of political correctness. But he is also a lyrical, subtle writer with a developed literary sense.

Trencherman is a deliberate rewriting of Joseph Conrad’s Heart of Darkness. Its narrating character, Marlouw (Martin Louw), a SA émigré living in the over-refined, ‘sepulchral city’ of Melbourne, is convinced by his sister, Heleen, to go back to South Africa to find her lost son, Koert.

All of this is a replay of Conrad’s Marlow going on a riverboat journey into the Congo, into the ‘heart of darkness’, to find Kurtz. Each chapter in Venter’s novel is introduced by an epigraph from Conrad’s novel.

In Trencherman, however, the unspecified future South Africa is a scene of abysmal collapse and dark chaos not simply in realistic terms, but more so as the stark realisation of the deepest, most collective and ancient of white fears about belonging in Africa. More precisely, the novel plays out these fears in explicit, psychologically dramatised detail.

So, as Marlouw penetrates the country in shadowy images of a river journey (although the land is wrenched by lack of water), he encounters every white fear in the book: dysfunctional infrastructure; bribe-taking, corruption and desperate barter as the only valid currencies; devastated roads; hordes of shadowy masses converging on anything of value; collapse of electricity and water distribution systems; political anarchy; starvation; and near-universal HIV/Aids infection.

Taking off where Coetzee’s Disgrace left off, with the symbolic hand-over of the white farm to its actual black occupants, Trencherman sees a strange reversal. Heleen, Marlouw’s sister who, with him, handed the farm over to its black labourers and left the country for Australia, has a son called Koert.

Unlike the rest of his family, Koert returned to the abandoned South African farm, Ouplaas. Once there, he established a corrupt power-base in the guise of a meat-mogul, cornering the consumer meat market and growing obscenely corpulent himself.

Ramparted off from his minions in a section of the old farm house on Ouplaas, he gathers together an inner circle and runs an autocracy grounded in ‘Bells and meat’. He and his crazed confidantes obsessively play a Nintendo game called Mario Kart.

On a larger scale, Koert dispenses meat and Bells inconsistently and arbitrarily, keeping his growing province of subjects in a state of expectancy and dependence. Their regard for him is a mixture of awe, adoration, mystery and hatred.

Koert is possibly one of the most grotesque and fascinating fictional figures I have yet encountered in a South African work of imaginative writing. He is an abomination, a demi-god, the apogee of inward fear and horror. Physically, he is a malformed, obese and sweating Hulk who spits vengeance, largesse and crazy intelligence by turns. He is the ultimate white anti-whiteman. His repulsiveness knows no bounds.

Koert’s meat-stuffed body is collapsing on him, gangrene spreading from his legs upward. He is self-restricted to his bed in a room in the middle of the old garage cordoned off by ex-farm furniture. This throne-hovel stinks of stale sweat and the contents of the overflowing pottie under his bunk. Somewhere in the folds of his crumpled beddegoed lies a bottle of Bells and a Nintendo game console.

He is everything that every white man fears becoming: a gangrenous despot whose life and language has degenerated into a tinpot mélange of debased dialects, a SA pidgin creole that is as liberating as it is monumentally awful. (Stubbs deserves a few prizes for his rendition of this demotic under-language.)

‘Hast thou heard what Koert tunes you?’ he bellows at Marlow after Marlow eventually gains access to this über-whiteman-devil-king. ‘Not one snot makes sacrifices for me, mine brudder … Mammie’s stopped loading mine credit card. Right? Right! Love is reality, brudder … Do youz realise how many little sheep I graze on dis farm … how many little sheep I myself got for de town and de districts an de global province? Meat fo’ de people. Right? Right! Wij hebben gedansen an celebrated on thiz liddle Platz. Bells ran like syrup. I showed them Mario Kart and we gamed … Peware, I warned de mudfucker. Laughing ends in shit …’

Everything that has been consecrated in the name of whiteness and Afrikanerdom over the course of more than three centuries is finally brought into a kind of glorious, riotous, and lyrical abasement in the figure of Koert. He is the heart of darkness. ‘De horror. I am de horror’ (‘die horrel, die horrel’ in the Afrikaans original), he shouts in the climactic moments of the novel, when his wayward meat-acolytes turn the knife on him and carve him up during an orgiastic, ultimate, apocalyptic farm party, the party to end all parties, the ultimate outcome of the big SA jol, the one that self-destructs cataclysmically and decisively. Finally, a denouement. Finally, the SA story comes to its end. Nothingness. It’s what we always feared, isn’t it?

In Venter’s novelistic intelligence, this self-destruction, this realisation of the fear of internal and moral, as well as external and systemic, downfall, has been lodged in the white SA psyche since time immemorial, in the amygdala (the almond-shaped structure in the brain linked to emotional states) – and it is coupled in the novel to what Venter calls ‘erfvrees’, a kind of fear and loathing so deep that it is carried physically in the body, phylogenetically passed from one generation of white progenitors to the next. Eventually, like Conrad’s Heart of Darkness, it eventuates in its own self-fulfilling prophecy, it becomes what it has always feared it will become.

The abomination and destruction in Trencherman is complete. Not only does Koert stack up the family furniture (‘erfgoed’) and sideline it, for good, in the passageways leading to his smoky and demented meat-lair, but the crazed people of his principality of corrupt flesh also succeed in desecrating the graves of his and Marlouw’s immediate family.

In a brilliantly realised scene in the novel, Marlouw (with the gangrenous Koert strapped on his bed to the back of a bakkie) travels to the family graveyard, intent on destroying the family graves himself so the hordes can no longer continue pissing and shitting on the forefathers’ tombstones, as they regularly do, and, once there, the party encounters gravediggers, coffin thieves, in the act of excavating their parents’ and grandparents’ earthly remains. The scene that follows is high drama, breathtaking reading.

This is the beginning of the end of Koert’s shady meat-kindgom. As it is, the sheep are ill, Koert’s bloated body is collapsing and his consorts are dying of Aids.

The party escapes from the massing grave-throngs and Koert announces a celebration, a boisterously self-destructive finale. The mad ‘witch’ who crawls around on all fours in the surrounding hills, crepitating and cursing, Ouma Zuka, comes down to the drunken bonfire celebration and pronounces: ‘He’s the mzungu. He’s not one of us … This mzungu is vermin that’s come to live on your werf, meant for humans only.’

Mzungu – the greatest and final curse upon the white person in Africa – a non-being. Koert’s henchmen take out a long knife and begin to stab him, ritualistically murdering the King of Meat, the apogee of white self-elevation. Koert himself, in his dying moments, exclaims: ‘I am the trencherman, Marlouw. I am he … I have devoured you and your language. I have cut you up into pieces.’

A ‘trencherman’ is one who cadges meals, an eater of meat, but a ‘trencher’ is also a cutting instrument, a person who carves meat.

Asked to comment on the doom-laden preoccupation with meat in his novels (one of them entitled Foxtrot vir die Vleiseters), Venter says: ‘I think in all cultures meat is seen as a privilege. In Foxtrot van die Vleiseters this privilege is specifically connected to the white farming community. A lot of meat becomes an indulgence.

‘Consuming even more becomes decadent and eventually repulsive, Venter continues. ‘Koert is the personification of the fallen Afrikaner that is so feared by Marlouw’s father (the ghost voice in the mountain, in Trencherman). Koert is a meat-devouring abomination, a full-on monster that has also managed to bastardise and destroy the language of Afrikaans. I think this is the guy readers should be worried about, not the black people who’ve screwed up their farm.’

Indeed he is. It is in whiteness, rather than blackness, that the horror, Kurtz’s horror, and Koert’s abomination of all things sacred to white flesh, becomes fully and finally real.

● This is the full version of a review that appeared as ‘Book of the Week’ in the Sunday Times on 24 August 2008, cut down to half its original length in the print version.

eben venter’s website is here

March 11, 2009

GO HOME OR DIE HERE: VIOLENCE, XENOPHOBIA AND THE REINVENTION OF DIFFERENCE IN SOUTH AFRICA

Filed under: reviews — ABRAXAS @ 1:26 pm

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Victor Frankl’s experiences in a concentration camp led him to write that “there are two races of men in this world, but only these two - the ‘race’ of the decent man and the ‘race’ of the indecent man. Both are found everywhere, they penetrate into all groups of society.” (Man’s Search For Meaning Pg. 94)

Alon Skuy’s photograph on page 102 of GO HOME OR DIE HERE, of an axe- wielding man in jeans, sandals and a white zip-up training jacket, leading a mob, is a frank and unerring portrait of such an “indecent man”.

The great power of Skuy’s photography lies in his choice not to focus primarily on the suffering of the victims, on “regarding the pain of others” as Susan Sontag describes this particular genre of war photography, but by giving us rare and chilling glimpses into the ranks of the perpetrators.

What these blood-curdling photos reveal is what none of the academic, statistic-driven, hopelessly apologetic left-leaning articles in the book allow themselves to consider: the sheer unbridled jouissance of killing.

To fully understand these photographs (and not necessarily the events that the photographs document, for these are entirely different ontological subjects) one needs to view Skuy’s work in the context of Georges Bataille’s theory of Eroticism in which he argues that sex and death collapse into each other at moments of orgasm, in ritual, or in sacrifice.

Skuy’s photographs reveal the ongoing saga of an ancient tradition of sacrifice in human societies. Bataille noted that after a sacrifice, “what remains, what the tense onlookers experience in the succeeding violence, is the continuity of all existence with which the victim is now one.” (Death And Sensuality Pg. 82)

When I asked him how he felt about his images of violence being received as art Skuy replied, “I really need to wrap my head around the concept of what art is before I answer this question - but the image is either aesthetically pleasing or not, regardless of the subject; pictures of atrocities are often the most intriguing and compelling.”

This is an answer as forthright and honest as his exquisitely framed photographs that are taken using a wide angle zoom lens (16-24mm, 2.8). “On the scene of one xenophobic attack, ex Bang Bang Club member Joao Silva, commented that the scene in front of us was reminiscent of township violence in old South Africa. Creating an awareness about social injustices is very important to me, which I try to communicate via images.” (Alon Skuy, e-mail correspondence)

These photographs perhaps reveal more than Skuy or the editors of this book have bargained for; “cruelty is the specifically human aspect of war.” (Bataille, Erotism, Pg.78)

Aryan Kaganof

this review was first published in art south africa vol 07 issue 03 summer 2009

March 6, 2009

helgé janssen reviews wasted!

Filed under: reviews, helge janssen, 1996 - wasted! (naar de klote!) — ABRAXAS @ 10:07 am

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Wasted (Naar de Klote - 1996) directed by Aryan Kaganof

(this film made 13 years ago, has not dated an iota)

Kaganof has masterfully tackled the vexing conundrum of ‘90’s drug culture with stroke after stroke of perceptive genius….superbly supported by a cast of players who never for a second falter, all bearing equal import…

“the invisible tensive straws that can save us are those of individual human integrities..in daring to steer the individual’s course only by truth, strange as the realised truth may often seem….wherever and whenever the truths are evidenced to the individual…wherever they may lead, unfamiliar as the way may be….”

thus wrote Richard Buckminster Fuller in CRITICAL PATH (1981)

…and its as if Kaganof has, using the perceptual license of film and all its associated chemisty and possibility of revelation, set out to transmute and demonstrate exactly how this statement morphs, into and from, real life…forming a potent contextual value system within our seemingly random life paths…

…the threads that bind….

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…as an artist might create a daub of pure red oil paint on an otherwise multifaceted incoherent backdrop and let it sit there speaking volumes…rising to the occasion….burning into consciousness….Kaganof illuminates the undercurrent of tetchy and/or tender personal relationships from a deceptively simple self evident view point, allowing the complexities, the intra/extra-personal tropisms (needs, wants) to run their course in this snippet of ‘90’s slice-of-life drug culture. In so doing, Kaganof never misses a beat, a thread, a nuance. He constantly places these kaleidoscopic points of human behaviour under the microscope and extracts from them an essence, a heart…an energy, that, with uncanny precision and insight, travels both backwards and forwards in time within an instant…..

…..we get the full picture immediately…we get the real deal.

Personal interactions within the drug world are never fully explainable: they are lived, driven by an interconnective energy that has its own inherent logic…magnified by a speeded up time frame…

…each and every archetypical character that Kaganof focuses on within this subculture becomes a geodesic link, a portal - an immediate visual connection - to an invoked conceptual insight of human behaviour….

…in order to concertina the individual histories into the shortest yet clearest possible statement…

…manipulating the medium into a coherent whole…

…determining an existential experiential participation from the viewer…

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Wasted Still….transmuting that geodesic architectural infrastructure/concept filmatically into the visual construction of a ploy (DD - Afke Reijenga - and Yoyo - Jarinda Moll sizing up and making a move on DJ Cowboy - Thom Hoffman), of a sentence, a body gesture, a sweep of the hand, the styling of a garment, dark hair geometrically styled and knotted in pouting baubles, party tickets illuminating into money, spinning vinyl multi-layered by flashing disco UV, lower-lid eye muscles contracting in forwarning of emotional pain - yet ignored, a switch of the degree of lighting and colours from Wasted Stillgarish to drab, a clinical study of different degrees of maturity pulling apart (Jacqueline - Fem van der Elzen - and Martijn - Tygo Gernandt), a dissipated semi-erect penis, dance crowds morphing along random lines of interconnectivity, a thirst quenched like no other after sexual abandon, a pliant woman yielding within the peaks of drugged debauchery, different ambitions and drives crisscrossing on this flighty ladder of one-upmanship, the emphemeral vacuousness of fame swinging from potency to impotence in an instant, weighted directions balancing on precarious and fragile egos, inherently terminal drug addled mindsets resting on their tender laurels….

…in keeping the framework carefully hung within the tenuous frailty of the human condition…

…incidentally…..petulantly…

…the chaos within the detail, the order….

…the order within the chaos, the insanity….

…the film swings back and forth, forth and back…

…pulsating at different speeds, different levels….different dimensions…

…..the interactivity hangs in there, in-between the casual conversations, the flippant connections…the meanness of intent, the breaking of trusts…..gaining momentum…..encapsulating the deeper import…….embedded, having been injected into the undercurrent of the tensile relationship/s….simmering……upward….gathering momentum…..cause and effect…..

…and then is left to reach its own…

….moment of reckoning….

…its inherent consequence of deed….

…must prove its intrinsic value….

…a complex karmic relentless mechanism bound together cinematically from the very first frame to the very last….

….nothing less will do….

and layered into this still is:

“Tensegrity describes a structural-relationship principle in which structural shape is guaranteed by the finitely closed, comprehensively continuous, tensional behaviors of the system and not by the discontinuous and exclusively local compressional member behaviors. Tensegrity provides the ability to yield increasingly without ultimately breaking or coming asunder”

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embodied most profoundly by the character of Jacqueline (Fem van der Elzen: giving a beautiful and nuanced performance and in essence thereby becoming the quintessential ‘90’s pioneer heroine) who tranforms, survives, matures, having tested her integrity to the limit….incidentally….

…and i come away with a profound feeling of an understanding (which i cannot fully explain) of why some people die, and others live….why some people must die, and others must live….

…carrying with me an elated feeling of the thrill of what it means to have…..

….integrity….

this review was first published on helgé janssen’s website

February 16, 2009

kagablog contributor mary corrigall wins the prestigious thomas pringle award for her reviews

Filed under: reviews, mary corrigall — ABRAXAS @ 3:29 pm

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