Mama Africa
It’s been a fun few days! I have had the privilege to see in person and on film great performances by powerful, beautiful black women. I danced like no one was watching, heard the voice of an outspoken angel and had a grim reminder of the hardships of the women upon who’s shoulders I stand.

An image from one of Mama's first recording sessions
It began with the Pan African Film Fest and a stunning documentary on the life of Miriam Makeba. It struck me that most of what I know and learned about Mama Africa I did so after leaving SA during apartheid. Mama’s records were banned and along with her decades long exile made it so that unless you had an underground copy stashed somewhere and were careful to listen to it so that her voice , often political and always penetrating fell only on sympathetic ears -you would not know the beauty and power that was Mama Makeba. I learned about the early years of her career in the US her life in Europe, her close friendships with artists, activists and leaders of nations and her courageously calling for boycotts against the South African government, a move that earned her a second ban from her beloved homeland. There is tragedy in the tale but isn’t there always? Regardless, I left the theatre inspired by this force of a woman – and thinking of how I can follow in her footsteps, taking the love I have for my home and spreading it around the world.

"The Hottentot Venus"
Black Venus, a period film set in 1800′s Europe centered around the life of Saartjie Baartman – commonly known as The Hottentot Venus. To clarify, she was a woman of indigenous San descent -people of the Kalahari desert. Lineage that I myself share. The word Hottentot is derogatory and means to stutter – how the language of the San people, with it’s distinct “clicks”, sounded to the Europeans. Saartjie’s life was indeed full of tragedy – she met a undignified death. Hers was one of the first real tales of the tragedy of celebrity ever told and what is known is that the deep longing for her home ultimately broke her heart. I recall watching on the news the return of the remains of Saartjie to SA. The speech by our then President Mr. Thabo Mbeki and the tears of mourning shed for the return of a much loved icon. The video clips at the end of the movie depicting her journey home were the most moving part of the film, unfortunately. The actress who played Saartjie, Yahmina Torres, while giving a brave and committed performance was unsupported by the writing. Also, Saartjie was made out to be a prostitute, diseased and immodest. I found no historical evidence that supported that claim. It disturbed me greatly, as if the real story of her life was inadequately sensational. She was oppressed, lied to, used and then to add insult to injury by taking away the one thing she chose over and over again to fight for – her dignity was absolutely infuriating to me. I look forward to the real telling of Saartjie’s story. It would certainly be, for me, the role of a lifetime.
Last, but most certainly not least I heard live in concert the sorely missed voice of Ms Lauryn Hill. There was some doubt as to whether she would deliver – her last stage appearance being more of an emotional catharsis than a performance. Lauryn heard her fans and came out with blazing remixes all the much loved cuts from the MisEducation album, a few classic Fugees tracks as well a few hits from Bob. In a high energy show that mixed rock and rap stylings, she sent that rich complex vocal power out over a crowd sending nothing but Love back. It was the perfect Valentines day. We love you Lauryn. You continue to inspire a generation of women -empowering us to step into our own, to be strong, to love fiercly and speak our truth. We miss you. If you don’t do it, who will?
These peak moments served to remind me that all voices are necessary and every story is the story of us all.
Blissings
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