You do not know Bukho and Nkululeko Pokwana, both my children by my Zimbabwean ex-lover, both who are now living under the grotesque and gripping chill of xenophobia.
Anxious about their safety I called their mother Amanda, only to hear her huffing after a sprint to escape the violent whirlwind in Gauteng last weekend.
Today most development debates are pitched around the web of economic relationships, poverty, social infrastructure (education, health provision), governance and human rights. But the problem is that this framework does not adequately embrace the holistic nature of social progress in which cultural vibrancy and interaction – in short, a people’s sense of themselves – is integral.
Development will not succeed unless it is grounded in people’s own perception of their world as individuals and communities, their histories and their future potential.
I charged that the precondition for collective engagement in the Eastern Cape’s (or South Africa’s) development would be the “empowerment” of all people so that they could regain self-confidence, draw strength from their heritage, rediscover themselves as historically enlightened, progress-loving, proud, active agents of change, with a strong sense of their own rich history and liberation and development. Further, as people with the freedom to dream, to have aspirations, to exercise creativity, and to show commitment to the cause of their own development and to justice.
As I write my children are carrying on, but their lives have been profoundly blighted by the xenophobic tendencies.
It’s such a pity most of us don’t get it: we need arts, culture and heritage practitioners to take centre stage and define a future as one people.
We need the government to play its role in speeding up transformation and bringing economic freedom so that my children can live without fear.
I fell in love with Zimbabwe after reading the incipient and searing writings of literary giant Charles Dambudzo Marechera. Bukho and Nkululeko are a product of that love.
I learnt the art and craft of filmmaking from Zimbabwe after I was drafted at the African Script Development Fund, sponsored by the Ford Foundation. Some of my favourite artists are from Zim, including Lovemore Majaivana, Oliver Mtukudzi and Chiwoniso Maraire
I am not going to let King Zwelithini and his dumb sidekick, Zuma Jnr, take away my love from me. I’m gatvol with them!
Fell in love with the vibrant soul of Africa
Anxious about their safety I called their mother Amanda, only to hear her huffing after a sprint to escape the violent whirlwind in Gauteng last weekend.
Today most development debates are pitched around the web of economic relationships, poverty, social infrastructure (education, health provision), governance and human rights. But the problem is that this framework does not adequately embrace the holistic nature of social progress in which cultural vibrancy and interaction – in short, a people’s sense of themselves – is integral.
Development will not succeed unless it is grounded in people’s own perception of their world as individuals and communities, their histories and their future potential.
I charged that the precondition for collective engagement in the Eastern Cape’s (or South Africa’s) development would be the “empowerment” of all people so that they could regain self-confidence, draw strength from their heritage, rediscover themselves as historically enlightened, progress-loving, proud, active agents of change, with a strong sense of their own rich history and liberation and development. Further, as people with the freedom to dream, to have aspirations, to exercise creativity, and to show commitment to the cause of their own development and to justice.
As I write my children are carrying on, but their lives have been profoundly blighted by the xenophobic tendencies.
It’s such a pity most of us don’t get it: we need arts, culture and heritage practitioners to take centre stage and define a future as one people.
We need the government to play its role in speeding up transformation and bringing economic freedom so that my children can live without fear.
I fell in love with Zimbabwe after reading the incipient and searing writings of literary giant Charles Dambudzo Marechera. Bukho and Nkululeko are a product of that love.
I learnt the art and craft of filmmaking from Zimbabwe after I was drafted at the African Script Development Fund, sponsored by the Ford Foundation. Some of my favourite artists are from Zim, including Lovemore Majaivana, Oliver Mtukudzi and Chiwoniso Maraire
I am not going to let King Zwelithini and his dumb sidekick, Zuma Jnr, take away my love from me. I’m gatvol with them!
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