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Kuomboka and Kufuluhela, Lozi Flood Ceremonies, Barotseland

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The Kings Royal Barge, the Nalikwanda (For the People), Barotse Flood Plain, Barotseland Kuomboka and Kufuluhela have both been described as many things but I like to call them mass migration spectacles, a floating symphonic exodus, performances of spiritual renewal of faith in the role of the Litungaship in the entire Kingdom north and south, east and west of the flooded plain.  These ceremonies are both born out of ecological necessity and both over time have become grand texts, myths and unifying performance practices of the Lozi of southern Africa. Kuomboka and Kufuluhela as cultural practices were fully explored by Mutumba Mainga in her article A History of Lozi Religion (1972) and Likando Kalaluka (1979) in Kuomboka: A Living Traditional Culture among the Malozi people of Zambia (neczam). This seminal work covers the cosmology, cultural history, ecology, and explores the political and economic basis for Kuomboka and Kufuluhela.  There are three different

African Women in Cinema

http://www.africanwomenincinema.org/AFWC/Siyolwe.html

Golliwog, Mickey, Buckwheat and Sambo: Racial Kitsch, Performative Utterances and Resistance

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It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.    (Dubois: 1903 ) In Racial Kitsch and Black Performance (2002), Tavia Nyong'o shares a critical racialised perspective that literally and figuratively had my hairs standing on end with thoughts of how displaced bodies, colonised bodies, more prone to marginalised perceptions, resist racial kitsch and racial performative utterances.  Through the use of experiential narrative and exploring the Nyong'o criticism, I will expose these themes by telling a true story. When I was seven years old, I knew there was something inherently wrong with the fact t
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excerpt from Wade in the Water experimental film wabei siyolwe

global posse productions, inc.

http://www.jamodrum.net/music/FA_17_FINAL.mp3