Time to Know Palestine:An Interview with Dina Turkeya

 

A head shot of Dina Turkeya. She is smiling and wearing a head scarf.

Dina Turkeya is a Palestinian dentist, author and translator. Her family is originally from Yaffa, but she was born and raised in Gaza. She has survived eight wars and aggressions, and still holds onto her dreams and ambitions. Dina’s love for her homeland inspired her to write her debut book, Time To Know Palestine (2024). She is interested in learning languages, writing, drawing and exploring different cultures.

Gaele Sobott: Please tell us a little about your family, including where they originate from and how their experiences have impacted your life.

Dina Turkeya: My great-grandfather was Turkish. He moved to Palestine in the early 1900s and married in Yaffa, where my grandfather was born. After the Nakba of 1948, my grandfather and his family were forcefully displaced to Gaza. He left everything they owned to start from scratch with the label ‘refugees’ on their identification cards. I still remember how my grandfather longed to return to Yaffa, their lovely house and the orange groves. He was waiting for the moment when his feet would touch his homeland after years of deprivation, but what happened was another Nakba. He was displaced from his house in Gaza to a tent in the south of Gaza in this ongoing war. His body couldn’t bear the inhuman conditions and the heartbreak of displacement again, and he died in the tent after years of suffering and yearning.

GS: Where/when were you born? Describe that place and tell us about your time growing up, including your experiences with siblings, cousins and school friends.

DT: I was born in December 2001 and lived my whole life in a very beautiful city called Al-Zahra. This coastal city is nestled in the heart of the Gaza Strip, boasting stunning natural beauty with lush trees, vibrant flowers, serene and spacious streets and kind locals. Growing up, I resided in our lovely house for about 22 years, which witnessed my earliest steps, first words, school journey and university studying nights. Every laugh, tear and whoop echoed through its walls. It was everything to me.

Al-Zahra showing white apartment buildings with red roofs, a blue sky and two rainbows stretching over the city
Al-Zahra

I had plenty of friends there and neighbours like a second family. I am the eldest of three siblings. We’d grown up in a family atmosphere full of love, involvement and support. My cousins were more than relatives. We gathered every Thursday, talked and shared our updates and stories, played cards and challenge games, ate delicious homemade food and desserts, watched movies and celebrated our special days. These weekly gatherings were cherished moments of respite from our bustling lives. I was fortunate to have wonderful friends I met through school, volunteer work, training programmes and even online international courses. True friends simplify life by offering guidance and support, celebrating victories and lightening the load on tough days.

GS: Apart from Arabic, what other languages do you speak? Where/how did you learn these languages?

DT: I speak English, Spanish and French. I’ve always been passionate about learning new languages. For me, language is not only a tool for communication but also a gateway to discover the world, learn new insights and open doors for new opportunities. My English proficiency was honed through school education and active participation in English clubs and programs. Similarly, I studied French for three years in primary school and continued for two years in secondary school, culminating in taking the DELF exam. Additionally, I dedicated three years to learning Spanish at Instituto Cervantes during my university years.

GS: Tell us what roles different languages play in your life and how different languages give or subtract from your view of the world.

DT: Arabic is my mother tongue; a rich, sophisticated and poetic language. The musicality and rhythm of Arabic, along with its diverse dialects adds to its charm and beauty. While I have studied many languages, none possess the deep meanings and elegant words found in Arabic.

Mastering languages has opened numerous opportunities for me, enhancing my skills in both personal and professional aspects. It helped me understand other cultures and perspectives, especially since living in Gaza has restricted my ability to travel and explore the world freely. Travelling is not a luxury when you reside in Gaza. It involves encountering various challenges along the way.

GS: Describe how the Zionist occupation of Palestine impacted your life from a young age.  If it is not too much for you, can you comment on your experiences of the current genocide in Gaza?

DT: Throughout my 22 years in Gaza, I endured eight wars and aggressions, which left me grappling with feelings of instability and the lasting effects of violence and trauma. The constraints of the siege limiting our freedom of movement, the scarcity of electricity, and the obstacles to accessing education, healthcare, and economic opportunities all contributed to a persistent sense of hardship.

I still remember every detail of that unforgettable day on the 19th of October 2023, around 6:30 in the morning. A man’s loud cry of “Get out of your homes” jolted me awake in a panic, prompting me to rouse my family. We hastily left with only essential documents and some money. Seeking refuge at our aunt’s house down the street, we were startled by a deafening explosion, followed by another. The smoke was suffocating, my heart was about to stop from the intensity of the explosion. The shock and horror of losing our home hit hard as we realised it was our building that had been destroyed. I lost the place where I felt safe, warm, grateful and happy. I lost my sweet memories. I’m the kind of person who likes to save everything. I saved my childhood photos, the old coins, gifts and letters from my friends and family, my summaries, drawings and pieces of writing. I lost everything in the blink of an eye.

During the night, when the city was enveloped in darkness, we were startled by the sound of people running and screaming in the streets. We were informed that Israel was planning to bomb more than 25 towers in Al-Zahra city. Confused and frightened, we rushed out into the streets, unsure of where to go. Moments later, as the bombings commenced, the deafening explosion knocked us to the ground, prompting us to flee as far as we could.

Dina's apartment building in ruins and smouldering the day after it was bombed.
Dina’s apartment block after it was bombed on 19 October 2023

More than 16,000 people found themselves on the streets. Surrounded by fire, the towers were under attack from the south, while nearby cities were being bombarded from the north. War boats approached from the west and tanks advanced from the east. Amidst this turmoil, babies were crying, the elderly were sitting in wheelchairs, women were screaming in terror and men attempted to calm down their families.  I remember that even the dogs were running in panic at the sound of explosions, seeking refuge among the people. What happened is beyond the endurance of any human being and any creature with a heart and mind.

We spent 15 hours in horror; we were afraid, exhausted, cold, hungry and heartbroken. Not only the residents of Al-Zahra city witnessed this difficult night, but also other displaced people who had sought shelter in Al-Zahra after fleeing their houses. It was the hardest night of my life. I didn’t think that we would be alive the next day. I remember waiting for the sun to rise to warm us with its rays. The devastated city was shrouded in grey smoke, evoking a sombre atmosphere. We eventually evacuated to the south of Gaza, and tears welled in our eyes. Witnessing my once-vibrant neighbourhood reduced to rubble was heart-wrenching; a place that had once bloomed with flowers and love.

Even worse,  Al Zahra city has lost all its landmarks and has been completely devastated by the continued bombing. Our city was built in 1998 to stop the expansion of Israel’s Netzarim settlement situated to the North. Netzarim was the last settlement to be evacuated and demolished by Israel when they withdrew from the Gaza Strip in 2005.  Now, history repeats itself in an even more dreadful form. After forcibly displacing all the people in the area during the first weeks of this war of genocide, Israel created the Netzeim Corridor to divide the Gaza Strip into northern and southern zones. They did this by destroying everything in their way, including our beautiful city.

The bombs killed my cousin in cold blood. She was staying with her husband’s family. I didn’t get the chance to say goodbye to her before I left. She was dead under the rubble. It is heartbreaking not to be able to visit her grave, lay flowers or properly mourn her death. The harsh reality of her non-existence brings to mind the concept of annihilation. The pain is profound when someone you shared precious moments with — chatting, laughing, watching sunsets — is gone forever, and we have even been deprived of the solace of burial and mourning rituals.

Many of my friends and colleagues were killed as well. Each of them had dreams and worked hard to create a brighter future. They were simply trying to live, yet what they received was death. It is extremely hard for me to look at their pictures and realise that I will never see them again or hear their voices. I find myself recalling every conversation and every moment spent together. However, what brings me solace is the thought that they are in a better place, away from this evil and brutality. Their souls deserve peace and purification from this harsh world.

GS: Please talk about your tertiary education. What did you choose to study and why? Where did/do you study?

Dina doing dentistry on a young patient
Dina practising dentistry

DT: I was studying dentistry at the University of Palestine. I have chosen this speciality because I feel that relieving a patient’s pain and giving him/her the confidence to smile is out of this world. I was in my final year when the war happened. I was so excited for my graduation after five years of hard work. It was the moment to reap the fruits of my efforts. I had many plans and dreams, envisioning everything as if painting a beautiful picture. War disrupted my plans, leaving me unable to complete my studies due to the destruction of my university. This unexpected turn of events forced me to put my dreams on hold, leaving me with a sense of loss and uncertainty. It’s truly heartbreaking to see how drastically our lives have changed, knowing that things will never be the same again.

GS: Tell us about your experience of leaving Gaza.

DT: Leaving Gaza was the hardest decision we have ever taken. My parents decided to save the last thing that was left, which was “us”. We left in late January 2024 after four months of hardship and witnessing brutal atrocities. Leaving isn’t an option available to everyone. It’s costly and takes a long time. I left behind my beloved family, relatives, friends and neighbours. It felt like my soul had been taken from my body when I received the news that we were leaving. The farewell and our last hugs were so painful, with uncertainty looming over us of whether we would ever see each other again, knowing everyone was at risk of being killed at any moment. The first steps outside Gaza made me feel traumatic shock. A sky without the sound of drones, lights in the streets at night, the feeling of safety where we were staying, knowing that the building wouldn’t be bombed over our heads, charging our phone anytime, having good internet, drinking clean water and food, sleeping in a bed, washing our clothes in the washing machine not manually. These small details have been transformed into distant dreams for every Gazan.

The first months were so hard. My mind couldn’t comprehend what had happened to us, how much the profound loss weighed heavily on our hearts, and how it would be possible for us to live with such emptiness in our souls. It hurts so badly to live with those reoccurring flashbacks of our old life, stuck in the past but hoping that something will happen to bring life and hope to us again. Hearing and reading the news is much more painful, especially since we can’t reach people in Gaza due to the deliberate destruction of the internet and telephone network. We are continually anxious, waiting for a response and fearing that we will see the names of our loved ones on the list of martyrs.

All the people who survived the war share the same pain; we all tell similar stories of our suffering. Wounded people bandage each other’s wounds! I thought that after moving abroad, I could continue pursuing my dreams, only to encounter a harsh reality of exploitation and obstacles placed in our path instead of understanding our circumstances.

GS: You are about to publish your book, Time To Know Palestine. Tell us what this book is about and why you wrote it.

The book cover for Time to Know Palestine

DT: After surviving the war in Gaza, I was trying to recover from the trauma and writing was my way of healing. It was so difficult to turn all the indescribable emotions into words. I was initially unable to concentrate or communicate properly. My family encouraged me to start writing, and I am very grateful to my friend Ana for her unwavering support. She connected me to incredible people from Palestine (West Bank and 48 Lands). They answered all my inquiries and showed me pictures and videos of the places that brought tears to my eyes. It’s so unfair when you can’t visit your homeland while everyone else, including the occupiers, can freely explore its beauty, stroll along its streets and visit all its attractions.

Time To Know Palestine is my way of showing love, pride and respect for Palestine and Palestinians. It’s a message to humanity to see the beauty of my country and know about its long-standing history and vibrant culture. It acknowledges each voice that has been silenced.

This book is for all the lucky people who had or will have the opportunity to live the most beautiful days and memories of their lives in Palestine. And for every Palestinian who is deprived of seeing the beauty of his homeland because of the occupier’s unjust policies.

I will take you on a journey through my words, which I wrote with love and sincerity so that you receive the complete true picture of Palestine, despite all the desperate attempts of the occupier to Judaize and erase its history and geography. This book represents the voice of Palestine that will echo through the centuries, the voice of truth and the voice of the awaited freedom. Time To Know Palestine

GS: What types of international support for Palestine would you like to see happening at this point?

DT: People worldwide have shown great solidarity for Palestine and its people, starting from the Boycott, Divestment and Sanctions (BDS) movement, which proved its effectiveness. Activism and solidarity campaigns to raise international awareness about the Palestinian issue, the human rights abuses in the occupied Palestinian territories and the victims of the genocide. Grassroots campaigns and protests to support the Palestinian people’s struggle for freedom, justice and equality are growing. 

I believe that civil society and social movements play a crucial role in influencing decision-making by applying pressure on governments to implement policies that address the needs and aspirations of everyday people. Many think that providing humanitarian aid and donations to Palestine suffices. However, the real solution lies in tackling the root causes of this ongoing suffering: ending the occupation and halting the genocides.

GS: As one of the places this interview will be published is a zine that will be circulated among young people who like electronic music, I am wondering what types of music you like? What are two of your favourite songs right now?

DT: I like classical music because of its ability to evoke deep emotions and transport me to another world. There is something incredibly calming about the sound of the piano, it helps me unwind and clear my mind. My musical preferences vary depending on my mood and what I’ve been going through recently. Right now, my favourite songs are “I’m Coming Home” by Skylar Grey, and “Gonna Be Okay” by Brent Morgan. They describe the nostalgia I feel for my homeland, my efforts to overcome difficult times and the pursuit of hope.

GS: What are you currently reading?

DT: Most of what I read currently is about dentistry to ensure I don’t forget the knowledge I’ve gained over the past few years and stay updated with new advancements.

GS: What message would you like to send to your generation internationally?

DT: To my generation internationally, I would say: we hold the power to create a more just, compassionate and peaceful world, but it demands collective action, empathy and a genuine willingness to listen and understand each other. In this era of global connectivity, it’s easy to feel overwhelmed by the obstacles we face, but we must remember that we are also better equipped than ever to make a meaningful impact.

We must advocate for human rights, justice, and equality, recognising that the struggles of one community affect us all. Let’s leverage our platforms, education and resources, not only to improve our own lives but also to stand in solidarity with those enduring oppression and hardship. Let’s actively seek diverse perspectives, build connections, and act with empathy and courage.

Our generation has the potential to transform the narrative — from division to unity and from indifference to proactive compassion. The future hinges on how we engage with the world today and each of us plays a vital role in making it brighter.

GS: Describe what you most admire about Palestine.

DT: At this point in history, what I find most admirable about Palestine is the resilience of its people. Despite enduring decades of hardship, displacement and conflict, Palestinians continue to exhibit remarkable strength and determination. Our capacity to preserve our culture, traditions and sense of identity in the face of adversity is genuinely inspiring.

I am also impressed by the younger generations in Palestine who are actively embracing education, technology and activism to amplify their voices on a global platform. We demonstrate creativity, resourcefulness and a passionate commitment to shaping a brighter future, often employing art, literature, and social media to convey our hopes and challenges.

Furthermore, I have great respect for how Palestinian communities worldwide have managed to maintain their identity, fostering a strong sense of solidarity and pride in our shared heritage, even while in the diaspora. The enduring spirit of perseverance and the continual hope for justice and freedom serve as a powerful testament to the strength of the Palestinian people.

GS: What future do you envisage for Palestine?

DT: The future I wish for Palestine is one where its people enjoy freedom and independence, liberated from the oppression of occupation, living in a secure and culturally and economically prosperous state. I wish for Palestine to reclaim its status as a beacon of knowledge, creativity and peace, just as it was before the onset of occupation.

This interview was conducted in English with Dina Turkeya by Gaele Sobott in September 2024.

Purchase a Copy of Time To Know Palestine

Connect with Dina Turkeya on LinkedIn

Read this interview in Arabic

Gaele Sobott writing, culture, social & economic justice by Gaele Sobott is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International 

GAELE SOBOTT – DISABILITY, FIRST NATIONS and CLIMATE by Leslie Tate

Headshot of Gaele Sobott

I interviewed Gaele Sobott, founder and creative director of Outlandish Arts, a disabled-led arts organisation, and author of Colour Me Blue, a collection of short stories set in Botswana, and My Longest Round, the life story of Wiradjuri man and champion boxer Wally Carr.

In the first half of her interview, Gaele introduces her upbringing and disability work, her creative methods as a cross-genre wordsmith and her reaction to the Australian bushfires and the current climate emergency.

Leslie: Could you tell the story, please, of how your interest in various forms of writing and disability arts began, grew and developed? How did your early life shape your creativity?

Gaele: I was born and grew up in regional Victoria, Australia. When I was very young, I did the rounds of all the Sunday schools; Methodist, Anglican, Presbyterian, Catholic, to collect books. I liked the stories. We moved around a fair bit but for as long as I can remember, public libraries were the centre of my world. When we lived in a small fishing town where there was no library, I looked forward to the bookmobile that drove in regularly. My parents also paid off a set of Grolier encyclopedias which provided me with hours of reading. We had an Astor radio with two shortwave bands. I discovered Radio Moscow and would listen to their English program. I received books and plastic records from them in the mail. I particularly loved traditional stories or folktales from around the world about magical and imaginary beings. So I would say that access to stories, books and reading during my early life definitely shaped my later creativity.

My interest in writing developed at school, particularly the secondary school I attended in Melbourne, where I had dedicated English Literature and History teachers who encouraged me to write. I kept a journal during that time and, as a teenager, was influenced by the politics of the Vietnam Moratorium and the growing women’s liberation movement.

I remember seeing demonstrations by disabled people on TV but knew very little about disability politics. I did not then identify as disabled. My understanding of disablement as a political concept only came about in the late 1990s when I began to experience impairment that affected my mobility and my access to buildings, transport and events. My involvement in disability arts only really started in the early 2000s when I came back from living overseas for over twenty years. I met with Amanda Tink and Josie Cavallaro at Accessible Arts NSW, who assisted me quite a lot in understanding the disability arts environment in NSW and Australia. At that time, I started writing my body into my work, the way I moved through the world, my experiences with hospitals and doctors. I was part of the first Australian cohort of Sync, a training program presented by the Australia Council for the Arts that focused on the interplay between leadership and disability. The people I met there and the course itself helped me understand that, as disabled people, we can lead through our art and arts work. I founded Outlandish Arts, a disabled-led arts company for disabled artists across all art forms.

Read More
Dead tree emerging from white sand with red sand hills in the background against a blue sky

Astro Turf

by Gaele Sobott

deserts stalk the earth

at ever-increasing kilometers per year

                    annihilate soil that nurtures new growth

              fill the girlchild’s eyes with grit

         at ever-increasing kilometers per year

                 the Gobi the Sahara the Kalahari

                               fill the girlchild’s eyes with grit

                 propelled forward like dehydrated race walkers

              the Gobi the Sahara the Kalahari

                         whip up disease-laden dust storms

                                     propelled forward like dehydrated race walkers

                         valley fever whooping cough meningitis Kawasaki disease …

Read More

Helen Schloss sitting outside with two Eastern Grey joeys in her care. She is wearing a pink jacket and she is smiling.

An Interview with Helen Schloss

I was gobsmacked by the melted tanks I saw on telly. People lost their homes and there has been a long waiting time for them to receive assistance, especially the wait to get a roof over their heads. I was concerned by the need for water, and I thought, surely if you can build a house out of earthbags, you can make a water tank using the same methods.

Helen Schloss lives on a small property in Bywong, New South Wales, near Canberra. A primary caregiver and dedicated wildlife volunteer, Helen prides herself on her strong work ethic and animal rights principles. Some of her voluntary work includes producing ‘Tuesday Tips’ for Lucky Stars Sanctuary. Her passion drives her to help others help and protect the less fortunate.

This interview is the second of four interviews with volunteers involved in the building of an earthbag water tank at Lucky Stars Sanctuary, Bywong. Vanuatu Earthbag Building assisted in this project. They have provided free plans, support and the materials required to build water tanks for people in need in fire zones in NSW Australia, cyclone zones in Vanuatu and Pacifica.

Gaele Sobott: I believe you were the person who instigated the building of the earthbag tank. What gave you the idea, and how did you go about finding the expertise to commence this project?

Helen Schloss: I already had an understanding of the sustainability and affordability of earthbag building. I was interested in building a second home from earthbags on our property. Then we experienced the bushfires from early December 2019 and January 2020. I was gobsmacked by the melted tanks I saw on telly. People lost their homes and there has been a long waiting time for them to receive assistance, especially the wait to get a roof over their heads. I was concerned by the need for water, and I thought, surely if you can build a house out of earthbags, you can make a water tank using the same methods.  So I put a few words into Google, and one of the first things I found was the Vanuatu Earthbag Facebook page. That was early February this year. I saw a post that Liz Sherborne had written saying they had been using earthbag-building methods in Vanuatu. She noted that earthbag water tanks would be a valuable resource in fire-prone areas of Australia.  Helpful in protecting people’s properties, their lives and the lives of animals. I wrote a comment asking if they would be interested in doing a workshop down our way at some point. She instantly messaged me, and the project evolved from there. Liz said that if we could find ten people to assist with the building, they would come to Bywong. In some ways, it was serendipity.

GS: You found ten people and provided food for everybody, anything else?

HS: Yes, so I rounded up the volunteers to do the work. Initially, we were going to start building around early March, but then COVID hit, and the restrictions meant people couldn’t travel from Sydney or gather together. We had to postpone it, which meant I had to keep those volunteers interested throughout that time, sending them links and chatting with them online. 

GS: What previous organisational and networking experience do you have in gathering people together for projects like this one? Not everyone would know the importance of keeping that group of volunteers interested.

HS: I have some past experience. My family and I were in Papua New Guinea for a while, and I did fundraising events for various organisations. Maybe through the trial and error of that process, I learned that if you don’t keep your communication going, not everyone, but some people will lose interest. I’m pretty sure now, knowing this crew, if I had put them on hold and not had any contact with them, it probably wouldn’t have mattered. Most of them have got properties. Potentially they could use the earthbag building skills on their properties and help neighbours and their communities. But I believe in communication. I’m not fantastic with my friends and family. But when organising events for the animal sanctuary or for people in Papua New Guinea; the hospital there, I feel there’s a lot at stake. Last summer, it was scary because the bushfires were near Lucky Stars Sanctuary at Tallaganda forest and there were various other spot fires around the place. It was really worrying and very stressful for Kerrie and Yee, the founders of the Sanctuary. I think the contingency plan was if a bushfire reached them, they were going to stay and defend. It would be next to impossible to evacuate three hundred animals. That was one of the reasons I felt an affordable, fireproof water tank was necessary. The tank is fitted with a STORZ outlet so fire trucks can connect to it.

Some volunteers building the earthbag tank.

GS: How did you first get involved with the Sanctuary?

HS: In 2017, a year after they opened, I was looking for something to help my daughter, who has been unwell for some time now. She loves animals; in fact, she probably loves them more than most humans. I was looking around for animal sanctuaries and found Lucky Stars on the Internet. We live not too far from the Sanctuary, so I contacted Kerrie and asked her if she would mind if my daughter came over. I remember Kerrie saying, ‘You know it’s not just animals we look after, we look after humans as well.’ My daughter is thrilled working there and now Kerrie and I feel like we’ve known each other a lifetime.

GS: Many people who experienced the bushfires complain that they are still waiting for assistance that was promised by the federal government. I know finding funding for the Sanctuary has been a battle. How do you think a project like building this earthbag tank helps in this regard?

HS: It definitely helps. Earlier in the year, Liz was saying that they like to teach communities the skills involved in the building so that those people can pay it forward. Hopefully, one or two people from each tank-building project can do that. It is one way of getting through this deficit of government funding and developing ways to protect ourselves in the future, especially with sanctuaries. It’s really frustrating that animal sanctuaries don’t get government help, like drought assistance. That’s one way the tank building helps, and I think, also, it helps by promoting awareness. We now have an extra eight or ten people who are aware of Lucky Stars Sanctuary. Hopefully, not only do they know the Sanctuary is here, but they know that we need help from time to time. They also have increased awareness about animals, animal rights, and how tough it is for the animals, especially during bushfire season. Workshops like the tank building initiative serve to increase awareness through social media and word of mouth. More people might contribute to helping financially or by giving Lucky Stars a hand.

GS: Many community projects are continually battling time and funding constraints. People have little time to theorise about what they do, how they do it and where they are heading. How do you think we can solve that problem? How do we begin gathering the data needed to understand our impact and the choices we need to make in the future? 

HS: Hmmm, that’s a really good question. Time and money are always going to be an issue. There are various organisations and government departments that collect data, for example, the Australian Charities and Not-for-profit Commission and the Australian Bureau of Statistics. But whether it’s accessible to charities and communities … I don’t know. A tool that’s simple, affordable and standardised across the sector, could be the answer, like a smartphone app. The majority of people have smartphones now, although not everyone likes mobile apps, I guess they suck up valuable space on their phones. So maybe a website app that has the same functionality as smartphone apps. All the relevant data can be just a fingertip away, no painful paperwork and time saved as a result.

Lucky Stars Sanctuary could gather data such as volunteer info, animal health, fundraising, infrastructure problems or improvements, seasonal conditions. Even information, including photos of soil degradation would be useful for analysis, reporting, planning and decision making. It needs to be well designed, intuitive and easy to use, of course. All the data is there, no more hunting for it down the track. More time saved! Tick!

There’s an app called Farm Tracker, developed by the Department of Primary Industries. It helps farmers collect similar data, including geotagged photo diaries to monitor seasons and dam levels. Some of this information isn’t made public. Perhaps this could be retrofitted to suit charity or community-based work. Then you have the question, who’s going to commission and pay for it? Maybe the Australian Charities and Not-for-profit Commission is a place to start.

Interview conducted with Helen Schloss at Lucky Stars Sanctuary by Gaele Sobott, 11 October 2020.

Links:

Interview 1 in the series: Kerrie Carroll

Interview 3 in the series: Liz Sherborne

Interview 4 in the series: Scotty Foster

Separation جدایی by Gaele Sobott

Colour photograph of a woman standing in a black coat in a forest. Her face is completely covered by her long black hair.

Photo by OVAN on Pexels.com

It seems my mother bore me for grief that grows of separation (from Hafez 352)

 

When I was a little girl in Iran I loved spinning around until my brain became fuzzy, I’d lose control and sometimes I’d fall. The roses in our garden swirled red, pink and white as I turned, and I’d smell their sweetness.

My husband has gone. There is a space where he used to be. That space loops brittle-boned into my body, across my apartment, out the window into the heavens. I water my plants on the window sill and I feed my canary, who sings yellow in his confinement. Little bird condemned to this boredom until you die. A huge bat hangs camouflaged black in the fig tree next door, across the broken concrete of the driveway. I walk fearful, careful like Mooch, my cat, soft on my toes. The moon, swollen with light, shudders as the bat takes off and I squeal. If I ran my fingers over those wings, they’d feel thin, stretched rubber or maybe silk. Shwoosh, shwoosh, stupid woman, it flies an elegant ellipse of protest high above our rows and rows of apartments to return and hang again black in the fig tree next door. My daughter weaves a life of her own in America with her husband. My grandchildren are far from me.

The evenings are cooling ever so slightly on my sadness as summer gives way to autumn. Lakemba days are shortening and people spend more time inside. Conversations in Arabic, Bengali, Mandarin drift with smoke from a wood fire, and smells of curry leaves and cumin frying. Death and rebirth, good and evil, the goldfish swims in its bowl ready for Norooz.

In Iran, I sat on my father’s lap enclosed like a Russian doll in our house, in the room with carpets, surrounded by the architecture of my father’s body, the warmth and murmured rumblings of his chest. His arms wrapped around me so I was almost in darkness. My father and his friends laughed and talked. The volume of their voices crescendoed and lulled in concentric circles. I peeked out to see my mother swinging a brass censer filled with coals. She seemed entranced by the swinging chain. The coals glowed in their cage. I broke from my father’s arms and ran to her. Pulling on the folds of her long robe, I wanted to feel the motion, the weight of the censer. I wanted to do as my mother did and make the coals breathe red. My brother followed me and my mother allowed us to swing the censer very gently before she took it to the brazier in the middle of the room. My father prepared two of his favourite vafoor. One pipe had a gold rim and paintings of blue birds with long tails on the bulb. It belonged to my grandfather who was growing smaller and smaller, sitting in the quieter shadows of the house, storm clouds under his eyes, and dark thin lips.

My uncle had returned from the edge of the desert where the air is crisp. He returned from Kerman with pistachios and the golden-brown tariaak they called senatori. The men joked about the senators smoking the highest quality opium. Now the ayatollahs have taken over from the senators. My father broke off a small piece of opium and put it in the pipe. My uncle held a burning coal in the tongs.

Grief has made its untidy nest in my apartment, in this body of mine. I try to sleep but the night is restless, the darkness is full of angst. I try to rest sitting on my couch reading but sentences scramble, scratching the paper like scuttling cockroaches. The words scream a cacophony of meaning at me and I feel their rage because I am porous. I have no boundaries.

In the morning, I leave my flat at 7am and walk to the train station. I walk tall, long feet and long fingers, wearing a dark suit. My hair long and black swings in time to my steps. Back and forth I walk every day, past discarded TVs and old mattresses. I walk past piles of clothes and curtains, and couches, broken tables and packaging that recently held a new refrigerator or television. Every day the train sways, stops and starts. People get on and people get off. Some play games on their phones. Some stare glassy-eyed into corners of their lives I cannot see. Belmore backyards flash by, we rattle through the inner west, Redfern platforms, sniffer dogs assiduous, salivating for a bust. I get off at Town Hall, moving at the same pace as everyone else, trotting up the escalator, across George Street, a fast-moving mass of people who seem to know their way, know what they want in life. Lines of square windows and grey concrete stretch to the sky but I rarely lift my head to look. I don’t stop in the city. In the city, I’m a lawyer. My work holds me tight like a corset. Keeps me going.

The lift zooms up to level thirty-two. I greet Helen, the receptionist. “How you doing today?”

She says, “My cat’s sick,”

“Sorry to hear that.” I commiserate.

“Yeah, she’s not eating. Just lies there. If she’s still like that after work, I’ll take her to the vet.”

The phone rings, she puts on head phones and her receptionist voice to answer. She winks at me and I continue to my office. Sexual harassment cases splayed across my desk, on chairs, clusters of papers, book upon book with fawn covers, gold titles on red binding. I click on my inbox. Emails like hordes of insects. I click, answer, click, answer. Read some specialist medical reports. So much reading. Reading consumes my day. Rowena’s complaint with the AHRC, the respondents denied the allegations. All attempts to bring the parties together have failed. Not the best-case scenario for Rowena. The alleged perpetrator relies on entitlement, on his positioning in the hierarchy of power. The offensive sexual jokes, suggestive and lurid remarks, sly rubbing of his cock against her body, always in tight spaces, in the kitchen, at the photocopier, fingers pinching her bottom, prodding. All that disappears with his denial and confident smirk. Rowena’s supporting evidence is weak. She’s depressed, experiencing reactive anxiety. She resigns from the job. Her marriage breaks apart. I’m not sure how she’s going to cope with the pain, the anger, shame, the humiliation of the public process. I’m a lawyer, a professional, but sometimes emotion and passion leak through my lawyer skin onto the desk, across the papers, like dark, golden sap escaping from the inside of a tree. When that happens, I am not useful to my client. When that happens, I want to cry.

On the train back home, the hurt under my breasts and the desire to cry are desperate, they rage against my false calm. The train doors whoosh shut, I climb the stairs, walk, unlock the front door, the cat rubs against my legs. Tip dry food into its bowl. Feed myself. White cheese, walnuts, dates, Persian cucumber, tomatoes, olives, nuts. I sip black tea from a glass and let lumps of sugar dissolve slowly in my mouth, longing for my mother’s sweets.

My mother put rose petals in with the tea leaves. She carried the teapot and glasses clinking on a tray. Her thick hair pinned up in a French roll. On one side of the manghal sat plates of honey crisps with almonds and the pistachios my Uncle brought us as a gift. Dates and figs, and small biscuits kept my father’s blood pressure from dropping too low. I sat on my father’s lap. My tooth ached. He inhaled, and the pipe whistled. He held his breath, his cheeks bulged, he blew smoke across the top of my head. Haalaa bekesh too. I inhaled and the woody perfume was purple or maybe turquoise, the most sensuous bitterness. I was transported away from pain.

Cat footprints mark the dust on my bookshelves like fallen blossoms, Mar Name leans neglected against a Farsi translation of Nietzsche. Deleuze and Guattari, Anti-Oedipus balances on Grammatology. In the Realm of Hungry Ghosts lies on the floor alongside classical music CDs I no longer play. I sit on the couch. My fingers habitually exploring the patch that covers a small hole burned by my cigarette into the fabric. Above me hang crooked on the wall, cheap copies from the seventies turning brown. I ran from Iran over twenty years ago, first to Pakistan, then here. I am forever a kharjee spirit, an outsider, an adventurer, maybe a heretic … at day and at night, branded by love, like Hafez, with nightingales of dawn, I cry songs, woes of separation.

Mooch stretches his tabby body across my thigh, heavy, snoring like the man of the house he is. He brings me lizards and mice and small birds. He lays them wet at my feet, sometimes moving, sometimes still.

I am still, here with my cat, and the canary asleep in its cage, and the fish.

The city on the edge of the desert, the ancient city called Kerman, where the air is crisp and very cold at night, is surrounded by fields of poppies but was once surrounded by fields of barley. I would lay on my stomach on our carpet from Kerman, rolling from one end to the other over the pastel shades, the blues and creams, back and forth until my brain was fuzzy. I imagined I was lying in fields of yellow barley ready for harvest, looking up at the sky so very blue. My father sat with his friends drinking tea, eating cakes and sweets. They laughed and they cried. They talked as if to stop talking would show weakness. They talked over the top of each other. Their conversation infinite, uninhibited…

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Published 8th November 2019 in Prometheus Dreaming

 

The Struggle Continues: An interview with Juby Mayet and Cecilie Palmer

Juby Mayet and Cecilie Palmer standing in front of Constitution Hill Women's Prison

Zubeida ‘Juby’ Mayet (1937 – 2019) was a journalist who dedicated her life to fighting for a free press in South Africa, gender justice and an end to the Apartheid regime. She began writing for the Golden City Post in 1957 and worked for Drum magazine. In 1977 she joined The Voice, in Lenasia, Johannesburg, where she was appointed Deputy Chief Sub-Editor, a first for black women journalists. She was a founding member of the Union of Black Journalists (UBJ), serving as its assistant secretary-treasurer, a member of the Writer’s Association of South Africa, and contributed a great deal to the Media Workers’ Association of South Africa (MWASA). Juby also wrote for UBJ Bulletin Asizothula and The Worker. She was detained in 1979 and upon her release, served with a five-year banning order under the Internal Security Act. She and her family suffered continued police harassment and surveillance

Cecilie Palmer (1944 – 2019) was a stateswoman, active in the struggle against the South African Apartheid regime and in fighting for the emancipation of women. She served in many organisations including, the United Democratic Front, the Federation of Transvaal Women, the Legal Resource Centre and Sizoya Sibuye, a platform for raise public awareness of women’s experiences of torture and jail during the struggle and counselling ex-prisoners. Before her arrest in 1976, she was active in the National Union of South African Students on the University of the Witwatersrand campus. Cecilie was also one of the founders of  the Women’s Institute for Leadership, Development and Democracy (WILDD). She and her family experienced continued police harassment and surveillance after her release from prison.

Gaele Sobott: We have just visited the Constitution Hill Women’s Prison, where you were both detained in the 70s. You’ve described the torture of women in the prison and the mental scars that have plagued you and the other women who were detained from the time of their release onward. Cecilie, you had two children and you were pregnant when you were detained and your mother, Vesta Smith, was also detained in the same prison. Juby you relied on friends to look after your children while you were detained. You were both involved in your different ways in the struggle against Apartheid and to bring about a more just society in South Africa.

In the years leading up to 1994, I am wondering how you balanced or negotiated the need for a hierarchical leadership to overthrow the old Apartheid regime and establish a new regime with the need to broaden and deepen the education of the general population?

Cecilie Palmer: I remember the time, years ago, I think it was 1982 or 1983, when the President’s Council presented its proposals for the reform of government structures, and we were having debates about whether to go into that Council under the new constitution or not to go in. I was sitting with Professor Mohammed and Firoz Cachalia and some others in the UDF office. We were debating and we were dead against going into the Council. Firoz and them were trying to push us to change. That was the kind of consultation that went on. We debated in the branches and the decisions were taken from there up. It’s true, education, that kind of education stopped, that kind of mix of people, it stopped when the exiles arrived back here and they said, ‘This is how it’s going to be done!’

GS: When was that?

Juby Mayet: They started coming back late eighties, early nineties. Sorry I have almost lost my voice. It’s a bit difficult for me to speak. I’ll whisper.

CP: Ja, they built a different structure and they said, ‘This is how you will fight.’ So then you had this structure where the country was really being ruled by six people sitting in Luthuli House.

GS: How did they gain the power to do that?

CP: I don’t know. What ever they did, it was very cleverly done. Remember, people used to trust each other. We were all comrades in the struggle. Some of us were mixed, right.

GS: What do you mean by mixed?

CP: In the sense that I didn’t really belong to the African National Congress (ANC). I didn’t belong to the Black Consciousness Movement (BCM).

JM: Yes.

CP: I didn’t belong to anybody. I went where it was necessary to fight a battle. That was how I operated. Then they came with the UDF and at that time, I remember we were asked very specifically,  because we had a very good women’s movement at that time, the Federation of Transvaal Women. Each province had their own women and we saw ourselves as women working towards common goals. Then we were told no, we had to choose whether we Charterists or whether we were BC. I remember one ANC woman asked me that question and I stood back and said, ‘None. I like to work where I’m needed most.’ But when the ANC was unbanned, people positioned themselves where they knew or thought the power was going to be …

JM: Where they thought their bread was going to be buttered.

CP: For instance, in Eldorado Park, which is a township just on the other side of Lens.

JM: Ja, we passed it. I pointed it out to you.

GS: Yes.

CP: We worked very hard there. We had established a really strong activist community where we had an advice centre, a women’s group, we had women against the abuse of women, we had a pre-school programme. The pre-school programme was designed by one of the women in Eldorado Park who was a pre-school specialist and that programme was designed on a non-sexist, non-racist basis. It was assessed by a professor from Rhodes University who said the programme should expand right through Africa. We replicated that programme from Eldorado Park throughout the Transvaal.

GS: By we, you mean the Eldorado Park women’s group?

CP: Yes. We had a strong movement going. We also had a civic association. Our belief and my belief was that civic associations belong to the people of the community that starts those associations, irrespective of what their political affiliations are.

JM: Yes, absolutely.

CP: Then we were asked by the ANC, because they had regrouped, to spearhead the formation of the South African National Civic Association (SANCO) and that was affiliated directly to the ANC. We said, ‘No, we’re not going to do that.’ Our pre-school programme had established pre-schools in the Transvaal and those pre-schools each had parent bodies. We taught the women in those parent bodies politics, not party politics but  community activism, so they knew about political, social and economic injustice and they were figuring out ways to build alternatives in their communities. This all grew from the strong community activism in Eldorado Park, so we brought those Eldorado women and the women from the pre-school parent groups into the Federation of Transvaal Women. We didn’t realise the ANC and those leaders who decided to identify with them, were positioning themselves for future power. The ANC started choosing people for their executive committees in Eldorado Park. They were lobbying.

JM: Manipulating.

CP: Ja, so, none of the activists, the youth groups, the women’s group, none of those activists were chosen for the executive committees. Anyone who wasn’t ANC was kicked out of those groups. We were very innocent then. Not skilled in that kind of politicking.

GS: Do you think the ANC saw those people, those activists on the ground who did not want to join them, as a threat and if so why?

CP: I really don’t know why they saw them as a threat but they did.  I think they were scared of people who had experience in the struggle but were refusing to join the ANC, probably because they were a stumbling block to those who were opportunists, those people who joined the ANC to climb. Those activists were wise and they expected the organisations to be run on same lines as they had been run on before. I think that’s probably what it was. I don’t know. One needs to think very deeply about this time and what happened.

JM: It was the ANC state capture. They rode roughshod over all these people and groups, like they were the only ones who fought to liberate us. The Pan African Congress (PAC), Azanian People’s Organisation (AZAPO), all the rest, were just thrown to the wayside. I’ve never been a card carrying member of any political party. I was labelled a sickly humanist. I worked for the human rights committee which had ANC members and Liberal Party members, then after I covered the  South African Student Organisation (SASO) trial in Pretoria, Sathasivan Cooper, Sivalingam Moodley, Audrey Mokoape, I became kind of involved with, not involved but enamoured of the Black Consciousness Movement and of course when I met people like Sobukwe, he was such a lovely man, and  Joe Tlholoe who was so young when he was sent to jail for so-called PAC activities, so I never really had a particular inclination towards any political party, I just felt I had to do a typical sickly humanist’s job.

GS: As an individual do you resent being dominated in a job or within a community?

JM: Not really. If I am dominated by anybody who thinks they are better than me, yes. I think I am as good as the next person.

CP: In other words, you refuse to be bullied.

GS: There is bullying and there is sometimes the need for hierarchical leadership. Do you think it is possible for South Africa to change existing social and economic conditions without hierarchical leadership?

JM: It has got to come from the younger generation.

CP: Exactly.

JM: I don’t know if they are better educated. They go to varsity and vandalise the school structures, the very place of learning. I don’t understand that mentality.

CP: I think our education system doesn’t teach people to think. It teaches them to regurgitate stuff without thinking.

JM: I went on protest marches but I never threw a stone through anybody’s window or set fire to any buildings. We marched with our banners and we sang our freedom songs without vandalising or damaging people’s cars or property. I cannot understand that mentality, especially when they go and burn down schools.

CP: Twenty eight schools burnt just a few months ago.

GS: Why? What caused that anger?

CP: Municipal demarcation. Dividing the wards up. The local government structures are divided in to wards. It affects voting. That’s why they keep changing it. They changed the boundaries and the community didn’t want it. Like Vuwani, where the community withdrew their children from school as a form of protest. Then they burnt the schools. The schools become the targets.

JM: That is why I say it is because of a lack of education. Those parents obviously did understand that this is not the right way to protest and make change. We need those schools. We are depriving our children of education.

CP: If you look at the age group of those people, it’s the age group that went to school after 1994. They are keeping their children out of school. They are the ones who are throwing stones. The ones who were born in the mid-eighties. That’s my view. Yes, we had Bantu education, Coloured education, Indian education but I swear that was one-hundred-and-ten-times better than the education we have today.

GS: During that period of change, how do you think it could have been done differently in terms of education?

JM: It would help if we had a president who was actually literate. Our education system is terrible. They keep saying how young people must be educated to become future leaders but it has become empty rhetoric, just words, no substance.

CP: It was during his time, that education started deteriorating. With every step, the education system seems to deteriorate further with every change they make. The very last change was the curriculum assessment policy called CAPS, a system that came in 2013. Plus the mentality of the new teachers is not good. We need better teacher training.

Juby Mayet and Cecilie Palmer standing in front of cells in Constitution Hill women's prison

GS: What happened to AZAPO, PAC leaders?

CP: They were just pushed out and ignored.

JM: I meet up with those guys and we talk. There was a group of students from SOWETO and they were quite surprised by the way I spoke. I make it quite clear that the ANC sucks! They irritate the hell out of me. I don’t have anything to do with them. I tell them that. I don’t vote for the ANC. Sometimes I say why don’t you guys form a coalition. Can you imagine if AZAPO and the BC people came together then the ANC would be seriously challenged, voted out in elections.

CP: They pushed out a lot of leaders, extremely well educated people, some died, like Percy Qoboza,   but none of them are anywhere in government structures. Brilliant people were pushed aside.

GS: What do you think can be done to stop the party that is about to take power in a situation like that from isolating or silencing intellectuals?

CP: They didn’t just sideline intellectuals they also preached that the older people who stayed in the country, that we were stupid and didn’t know what we were doing. Some children are extremely angry because their parents have been treated so badly.  We’ve got this inter-generational dialogue and it’s all about talking with the younger people and not at them. Some of them are extremely angry at Nelson Mandela.

GS: Why?

CP: Because he sold out. I sit there and I think, yes, it is true what you say but I cannot say that. So, I go the other way and say, ‘Look, he had to do what he did otherwise violence would have consumed the country.’  That’s true. There was Eugene Terre Blanche and Inkatha and all that but if you go further back they had been negotiating with Mandela a very long time before his release without the other prisoners being involved. They actually moved him from Robben Island and took him to Pollsmoor and Pollsmoor wasn’t private enough so they took him to Victor Verster where he was living in a house. So that is the truth of the matter and that is where a lot of the anger comes from. That is why they are saying, “We are struggling today because our parents are not living any differently than before apartheid, look at my mother living in a little pondotjie somewhere and so on. All those things are boiling. We can’t pay bills. Even when people study where are they going to get jobs.

JM: We should suggest to them that the next time they want to go on a burning spree, they should start with Luthuli House.

GS: How were the big corporations positioned during the transition from Apartheid?

JM: Big business just kept going like a steam roller.

CP: The same white bosses and even though black Joe might be the CEO, he still doesn’t really control the business. They are definitely not going to change our society for the better. I told you the story of Eldorado Park, now also in Eldorado Park we were working with UNISA against violence and that kind of thing and then they came and told us that they had been funded by the police. Imagine, funded by the police during the time of Apartheid! We said, ‘Oh oh, no thank you. Within a week, I was summoned to Luthuli House, Ralph phoned me and said, come in to see us because we want to talk to you about the UNISA program. I said, ‘No, I will not come to Luthuli House. You come to the township!’ I mean that was where the group started. He could talk to the board there were we all operated. Then they also asked us to spearhead the formation of the ANC women’s league in Eldorado Park. We said no to that too. Like I said, our belief about the women’s group was that we were all working together, no matter what party women supported. We were combining our strengths to make change happen. But from then on we were totally isolated by the ANC. We founded the Women’s Institute for Leadership, Development and Democracy (WILDD) in 1994 and we were being funded by the Swedes so what  the ANC did about the second or third year after they came into power, they ruled on bilateral funding so it then had to be government to government funding. So any foreign funding had to go through the government. That is how they destroyed a lot of the NGOs. So they were quite clever. They managed to destroy independent community organisations and thinkers. Through the WILDD, we used to help women’s groups in townships. Let’s say a group was working against gender violence, we would write a proposal that might include establishing shelters for women, things like that and that was one of the ways we increased the consciousness, the awareness and the education of women and men. We had a women’s cooperative that was a successful community enterprise. So, we would write the proposals and the women would get money. Then we would teach them to draw up progress reports and insist that they prepared and submitted regular reports to us. We needed those reports to get more funding and train more women. Very, very soon, the women began to say that the government was giving them funding because of this new government to government funding I spoke about. So the ANC was the one giving them the funding not foreign sources and the women did not need to report to us anymore. They could not be expected to bite the hand that feeds them. We as community leaders were isolated that way too. The original structures we had all built were destroyed. The government gave the groups money once, they gave twice, then they deserted the women and other civic groups.

So now we work very quietly.

GS: How do you think that kind of scenario can be prevented before it gets to that point?

CP: I don’t know. It is a very hard question to answer. But I think also what happens in people’s minds is that they saw the ANC as their liberators and they were told that they were their liberators.

JM: If the propaganda, the lie, is told often enough, people believe it.

CP: It’s like starting again right from the beginning which means starting in the house, starting in the street, in the factory, in the mines. It’s important to work within the community.

JM: I think we need a true revolution. It won’t be difficult to build up to a proper revolution because people have not settled into this so-called solution. They do not accept this life of entitlement that ANC officials and black CEOs and the like are living. The top guys are treating the country’s assets as if everything is there for the taking. That becomes the attitude. If they are doing, what is wrong with me doing it too.

CP: And the jargon is there all the time, you know, I can tell you now, let’s say I was going to a Women’s Day celebration, and the speaker gets on the stage. Before she opens her mouth, I know exactly what she is going to say. It will be the same thing that is repeated all the time, the same jargon, the propaganda repeated over and over again. Empty rhetoric. No real analysis. No encouragement of independent thinking. It’s also more difficult because before with Apartheid, the enemy was clearer. If you criticise the ANC, they say that you want to bring the white oppressor back.

JM: That’s another thing. We had Apartheid but there wasn’t the same yackety yack that there is now about racism. It’s used now for small things, almost like a diversion from the bigger picture, the economic problems, the economic system.

CP: The economic oppression is still very much there. We have a lot of black people in charge now of administration and the running of government but they treat other black people badly.

JM: You see it in the shops and the cafes and the post office. People are not there to serve. They are there to fill their pockets and stuff you Jack. I remember going to Ackermans with my late mother. She was struggling because my daddy left us and we were ten children. She somehow made friends with an Afrikaner lady working there. That woman used to assist my mother by putting extra items into the bag when she was buying school shirts or trousers for the boys. Sometimes my mother used to send me to Ackermans to buy items. I can’t remember that woman’s name now but I can see her face, a stylish woman and she would treat me in such a friendly way. She’d ask me how my mother was. Whatever I was buying, underwear or socks for the boys, she would always manage to sneak extra into the bag.

CP: Strangely, Juby, some of the Afrikaner people were very human, very genuine. An Afrikaner either liked you or hated you. It was clear cut. Where with the English you never knew. And Afrikaner children even up to today will respect an older person. They will say Tannie to me. That is how they are brought up. But if they don’t like you, they don’t like you and they make no bones about it. You knew exactly what your place was with them.

But going back to your question about what could be done differently, I don’t know but many people change. I cannot understand how they can change like that because it must be very uncomfortable.

JM: The day I landed in Number Four (Constitution Hill Prison), Debs wasn’t there at that time. Thenjiwe and Joyce and other women were. A white warden was taking me through to my cell, my new living quarters, and she was stunned when those other women prisoners broke into cheers and yelling Amandla and hey Juby what took you so long? The warden took me to my cell and she asked, ‘How do you know those women?’ I knew some of them personally, most of them knew me because I was a journalist but she couldn’t figure it out, ‘Die Coolie met dai Kaffir.’ When we were in there we had political discussions, we celebrated June 16. So then Thenji and all of them were released and I was left there with Gladys Manzi from Kwazulu and then they brought Debs from Maritzburg. She was in a bad way.

CP: Oh God.

JM: She’d been tortured. Her hair was falling out. Eventually I was released. We were all released. Some of us kept in touch. Some of us wrote to each other. Some moved on with their lives. The next time I saw one of the woman I had got close to in prison was  at some journalism awards event at one of the conference rooms at the South African Broadcasting Commission but you know, she didn’t acknowledge me. We were so close in Number Four but by then she had become ambassador or something like that. I looked directly at her and she looked directly at me. No smile. Nothing. I thought, God, what have I done? She just refused to acknowledge me. I was going  to go up to her and ask her how she was but then I thought okay I won’t. You give me a cold shoulder like that, I will ignore you. But I couldn’t believe it and I was hurt. From the person I knew in Number Four to this. She’s now up there and I am just the same old Juby.

CP: So why should she associate with you?

JM: Exactly. So, I thought, well stuff you, buddy boy!

CP: Yes, you can walk away and feel good about it. I must say, I feel free. I don’t owe anyone anything. I live on my one thousand five hundred Rand pension and I’m comfortable with it. I don’t owe anybody. I feel free but those people we are talking about have no vision. That is the sad part. They go into these positions. In 1994, nobody knew how to govern and we accept that. They employed consultants and what have you. They chased the Boer out who were in those positions. They didn’t want to learn from them. I think they should have first learnt from those people. Taken advantage of their knowledge and experience and then made them move over. They could have said, ‘Okay, we will make you consultant in this department for five years.’ They decided to chase those people out and employ consultants but up to today, they haven’t learned. About four years ago I spoke to one of the ANC women and told her what I saw happening in our communities. They don’t go to their constituents. They don’t know what’s really going on. I told her that communities are fragmenting more and more along lines of race, religion, political party and all that. We need to get these people back together. She agreed and suggested we involve other people in government and she did that. She got them in and I presented a proposal which we discussed. I emphasised that this drive to get people back together has to start by the ANC admitting their mistakes. The next thing, they were talking about fragmentation of communities and that the SACC was going to do this and that. They didn’t involve me nonetheless, I was happy it seemed to be going ahead. But it fell apart because they didn’t have the same vision. If you don’t have the vision for going forward, it is just not going to work. They stole people’s projects. A group would write a proposal to them with what they wanted. Then they would call those people in and ask for more detail. The group would give them all their ideas. Four weeks later they’d see someone from government announcing those very ideas on TV as a government initiative.

Juby, you know the saga about registering children on-line for school?

JM: Yes.

CP:  The education department has announced the idea of registering children on-line from grade one to grade eight. It’s an idea that they have stolen. Somebody presented this proposal to them around 2008. They dismissed her saying it was nonsense. Thank heaven she is taking it up with them. She’s not letting them get away with it. NGOs don’t stand a chance with the government stealing ideas like that. That lack of vision is terrible. They took over our women’s groups and now the gender violence is getting worse not better. Another peculiar thing that is happening most of our experts are whites and people who do not live in the townships. They are on TV telling us what we need.  So we are asking, why is it always about us but we are not leading. We know what is happening in the township. We know what is happening in our communities because we still live here. We don’t live in a big house in the white suburbs with high fences and security guards. But no, those experts have all the answers.

JM: The statisticians.

CP: We must sound like bitter people.

GS: You sound like people with many years of experience.

CP: When I do a tour or give talks, people sometimes ask me, ‘But don’t you hate the people who have done these things?’ No I don’t.

JM: Hatred is a waste of energy.

CP: Hatred to me is a wasted emotion, a waste of energy. I don’t hate but I also haven’t forgotten and I’m not going to forget because it did happen. Actually, I’m  not sure at this moment that I don’t hate the people who are sitting in Luthuli House. I’m not sure I don’t hate them for what they are doing to this country.

JM: My remedy is laugh it off and say stuff you lot!

CP: Like there is Kenny Motsamai who they have only just released from jail. Nearly twenty eight years in jail. Yet, they let Eugene de Kock out who tortured and murdered so many people who fought against Apartheid. There are still other PAC cadre sitting in jail.

JM: Now we have black on black Apartheid. That’s what it has come down to. Economic.

CP: They spent over a billion rand on the ANC campaign for the local government elections. Where did they get that money from?

JM: Exactly and why not use it on something more constructive? Building houses, schools, medical facilities. Prioritising the education of teachers. They did away with teacher training.

CP: They closed nursing colleges. They are trained at university with no practical experience. They come into the wards and will not take advice from the older nurses who did the proper training including the practical internships and the like. They are starting to privatise the services.

JM: Like the prisons are semi-privatised now.

CP: And the bureaucracy is getting bigger and bigger. It’s messed up. There’s no getting away from it.

JM: We need to teach that the ANC were not the only liberators of the country. Campaign to change voting patterns.

CP: I think we really need to get back to thorough and committed community activism, community responsibility and confidence. I work with the women from the inner city. They are eager to jump when the ANC Women’s League says jump, the rent a crowd kind of thing. Their responses and their problems are different to our problems in the townships. You know another thing we don’t have is an alternative media. We were lucky because we used to have the Vrye Weekblad, an Afrikaans newspaper which was really helpful, one of the best newspapers.

JM: Ja, Max du Preez.

CP:  It was run by Max du Preez. We need that kind of newspaper back. The Weekly Mail was also there. Those newspapers tried but they were never free to do what they wanted. The Post used to have ugly stories that didn’t educate anybody.

JM: Like the Sun today.

CP: Like the Daily Sun. Now that’s the only newspaper that people can afford. The Daily Sun will tell you that the rat ate the cat. Like the TV. Keep the masses uneducated and you can do whatever you want.

JM: That is why I read books. Our young people need to read more.

CP: Reading is very important. Education for our young people has to improve. Over half of our children cannot read fluently. We should be working on basic literacy and numeracy. We are condemning a huge majority of young people to unemployment and  poverty. You know, we are a depressed country at the moment. You don’t see people smiling and laughing. We used to laugh and talk and scream and sing even during the time of Apartheid. We’ve stopped. I definitely don’t think we would be  better off under Apartheid. We still need to rid ourselves of the legacy of Apartheid. We really need to sit and talk and analyse what has not worked in the struggle. The ANC has to admit its mistakes. Maybe then we will begin to smile again.

Gaele Cecilie JubyInterview conducted with Juby Mayet and Cecilie Palmer in Lenasia, 2016 – May you rest in peace and power my friends.

Links:

Black Wednesday, the day the Apartheid government banned 18 Black Consciousness Movement organisations and three newspapers (featuring Juby Mayet)

Interview with Cecilie Palmer  in the Constitution Hill Women’s Jail

Black and white photograph of a mother holding a new born baby on her chest. The baby's mouth is wide open, crying.

The Cry Room by Gaele Sobott

Published by Verity La

What does it mean to be born outside of marriage to a mother who wonders if the bleats of a goat are your first cries?

Birth

I just slipped out she said. Like a slip of the tongue, slipshod, a slip stitch forever unknitted. I was born. Slippery, sibilant, small in the scheme of everyday lives. Nothing stopped. There were no celebrations. I was born and everyone got on with their work in the power station, the briquette factory, the mine, a gaping, brown open-cut.

She hung the nappies and sheets on the line, coal dust settling on the whiter than whites, on the window sills and mantle pieces, on the froth of the men’s beer, in our lungs. I was two-months old. Thin and pale, she shivered, her breasts bulging red and hot above her shoulders, a painful mountain range of igneous rock. Mastitis the doctor said. Milk fever, once a reason for admitting women to the insane asylum.

He laughed with a fat, purple face and said, ‘Keep breastfeeding! Let the baby suck’.

Not having a bar of it, my mother put me straight on the bottle.

She laid me down to sleep, seething ready to explode because my father’s English friend from the Woodcraft Folk was Morris-dancing in the bathroom day and night, until he got a desk job at Maryvale Paper Mills. Then he moved out.

Irene, our neighbour, would throw me around like a football and babysit when my parents went to Hamish Gardner’s house for Communist Party meetings. Dad was a proud member of the Trades and Labour Council, a deputy rep for the Transport Workers Union. He drove the bright-yellow Euclids carting overburden from the coal deposit.

The women went to Party meetings but my mother would rather have been at the picture theatre with its curved façade and big clock embedded into beige bricks. In summer, they turned on the air conditioning. In winter, she could take off her shoes, rest her feet on hot-water warmers and watch Vincent Price murder people in The House of Wax, 3D technicolour on a panoramic screen.

She took me with her once when I was a baby and sat at the back of the auditorium in the soundproofed, glass-fronted, cry room to watch East of Eden. I slept and she cried. My mother would sit in the cry room. Often without me.

In the theatre, she always refused to stand for the national anthem.

At home, she took a failed dish of bread and butter pudding from the oven, cried, splattered it against the kitchen wall.

What does it mean to be born in a town purposely planned and built, then purposely demolished for the coal that lays beneath it?

My birthplace is an ever-expanding, dark and greedy hole in the ground. With heat and oxygen, the coal spontaneously combusts. Lignite dust bursts into flame at the drop of a match, a spark, a welding torch, a yellow flash igniting in mid-air. Volatile, toxic. Giant, cylindrical cooling towers, chimneys, steel girders, high wire fences, power lines.

My birthplace is Brayakaulung land, Gunaikurnai, cleared, windswept, foothills.

What does it mean to be born to land where the ancestors are denied, where they are brutalised? Do they know my footsteps, my birth spirit?

My blood ancestors, Polish, Italian, Scottish, do they know my footsteps, my birth spirit?

Birth

I walk the short corridors of a small hospital, Bamalete Lutheran. I’m the heaviest I’ve ever been. Seventy-four kilos. Twenty-four years old like my mother when she had me.

First baby. My father drove to Melbourne to collect his friend from England.

First baby. My daughter’s father is out with friends.

The walls are green gloss, the floor concrete, painted dark red, polished, worn where I walk.

I walk because the nurses tell me I should. Read the birth records open on the counter in front of me. Stillbirth. Don’t think about it. Float.

The nurses give me an enema, warm and wet, not painful.

Cow bells ring hollow and deep. The land is dry, gold, studded with small trees and shrubs. I’m on my back on the bed. The midwife checks dilation.

‘Don’t hyperventilate. Breathe normally’, she says.

I read about the breathing in a book. Neon light.

The doctor is at the end of the bed. A tall German woman telling me to push. Round pain, rhythmic, I float. From deep within the back of my head I float. My hip bones separate like a spatchcock cut with kitchen scissors, pressed flat on the white sheet, I rip, a goat bleats at the window.

Release.

My baby cries.

Ten fingers. Ten toes. She is big.

A big baby.

Relief.

We wait as my uterus presses down. A balloon shrivelling in on itself, contracting against the placenta, the temporary organ I have harboured, accepted and must now expel. Every process orchestrated by this new child in the room.

The midwife wants to sew the tear that extends from my vagina to my anus.

The placenta is ragged maroon not flat-cake perfect circle. We wait for more contractions. My skin smells damp, of freshly-cut grass, metallic.

The needle in and in and in and in.

Is it curved this needle?

Is it huge, with a big eye?

Black thread pulls through my tenderness. Pulls me back together, hurting. No pain killers.

The nurse tells me to get up and walk to the room.

I lie on my bed. My baby next to me in a Perspex cot. Sleep.

She cries. I take her. Sleep.

A nurse holds her to my breast. She sucks. Sleep.

I wake. It feels like I’m giving birth again. Waves of pain.

I tell the nurse.

She smiles, ‘The uterus contracting back to its pre-birth size. It’s nothing to worry about’.

I can’t float. The nurse brings tablets. They dull the pain. Sleep.

The light bulb hangs from the ceiling, stark and still. I sit up to look at my baby, eyes closed, her chest rising and falling rapidly, small lungs, heart, kidneys learning how to work in this world, outside me.

A spider, light brown and black, with very long front legs speeds across the wall above her cot.

My feet feel the cold of the concrete floor. Trembling, I take her wrapped in pastel yellow, blue and pink softness, and hug her close to my chest.

Indecision and anxiety prickle my skin. The spider waits for my next move. I bend over, clutching my baby with one arm, grab my shoe and throw it. The spider falls. I’m not sure if it’s dead. Part of a spindly leg sticks to the wall.

At home with my baby. I am frightened to hold her in water, to rub her skin with soap. My breast swells, lumpy, the ducts blocked.

The doctor gives me antibiotics for mastitis. I keep feeding.

She cries. Every night she cries.

I pull my hair, fighting the temptation to throw her across the room.

So tired.

We drive dark streets and she sleeps. Drive and cry. I am very thin. Mosetsi.

What does it mean to be born outside of marriage to a mother who wonders if the bleats of a goat are your first cries? What does it mean to be born to land that your mother came to as an adult? That your father’s mother came to as an adult? Bamalete land, Bangwaketsi land where your father and his father and all the fathers going back in time are deeply rooted in the sand, deeper than the roots of the shepherd’s tree?

Who knows the vibrations of your feet on the earth?

Who knows your birth spirit?

Who do you become?

Read more of The Cry Room at Verity La 

© 2018 Verity La. All Rights Reserved.

Dignity is essential. It means we are viewed by the other as a human being : an interview with Alice Cherki

A recent black and white photograph of Alice Cherki, sitting at a table, smiling.

Alice Cherki

ALICE CHERKI is a psychiatrist, psychoanalyst and author. Born in Algiers, 1936. She knew Frantz Fanon well, working by his side in Algeria and Tunisia as a psychiatrist, and sharing his political commitment during the war of independence in Algeria.

Alice Cherki has lived in France since 1965. She is co-author of the books, Retour à Lacan (Fayard, 1981) and Les Juifs d’Algérie (Editions du Scribe, 1987), and author of La frontière invisible (Editions des Crépuscules, 2009) Frantz Fanon, portrait (Seuil, 2000) translated into English by Nadia Benabid and published as Frantz Fanon: A Portrait (Cornell University Press, 2006) and Mémoire anachronique (Editions De L’aube, 2016).

Gaele Sobott: Can you talk a little about the history of your family, your place of birth and your childhood?

Alice Cherki: I was born in a family of Jewish Algerians who were in Algeria since the Romans or before the Romans. My parents were born in the small towns of Medea and Ksar Bukhari but they met in Algiers. I was born and I lived in Algiers. I am Algerian, voilà!

Some of my family are Jewish Berbers.

GS: Were there Jewish people in Algeria before the Arabs?

AC: Yes, the majority were there well before. Some came later in 1492 from Spain through Morocco, others from Italy, and then Alsatian Jews, but at that point it was already colonial Algeria.  Many of those left again and went elsewhere. But most of the Jews of Algeria had been there for a very, very, very long. Some of them were Berbers who converted to Judaism. I belong to that history.

GS: Did you speak Arabic?

AC: Very little. I’m not very good at languages. I come from the same environment as Derrida. at school, we learnt Latin and Greek.

GS: Did you know Derrida?

AC: I knew Derrida very well. He was eight or nine years older than me and that represents a big difference but yes I knew Derrida well.

Like Hélène Cixous and Derrida, my childhood was marked by the Vichy anti-Jewish legislation which excluded Jews born in Algeria, denied us French nationality, the right to go to school, the right for Jews to work in government administration. This was hugely traumatic for me as a child.

One Christmas, I was 4 or 5 years old, my teacher said, “Tell your mother that after the break you must not come to school anymore.”

When I asked her the reason, the only answer I got was, “It’s because you’re Jewish.”

I didn’t know what that meant.  So, I gathered my courage and asked, “What’s Jewish?”

She replied, “It’s you with your big eyes, big mouth and big ears.”

Each of us, as Derrida also relates, was excluded from school, our parents could no longer work.

GS: How has this experience affected your adult life?

AC: It opened my eyes to the injustices of the world in which we live; a world marked by colonial ideology.  In Algiers in the 1950s, there was no intersection between Europeans, the Jews and Arabs –  the so-called natives. I didn’t experience it at home but we were caught up in all that. I talk about it a little in my book, Mémoire anachronique.  Everyone lived in their own sphere. Some of us would meet each other outside these spheres.

During my early years at primary school there was no mixing at all. In Grade 6, there were some girls; Rachida, Malika.  For the whole of my secondary schooling I only knew of one Algerian woman student even though my school was not the most snobbish high school in Algiers.

GS: It was the same principle as Apartheid?

AC: The same principle except that it was more camouflaged. Algerians were contained in their own neighbourhoods. Even the bourgeois had their areas. The Algerians passed like shadows in the European neighbourhoods

GS: What area of Algiers did you live in?

AC: I first lived on the border of a working-class suburb, near the boys’ school, known then as Lycée Bugeaud, now it’s called Lycée Abdel Kader. Later, at the age of 17, we moved to Central Boulevard in Hydra. Our house was on a piece of land owned by my uncle –  my father’s brother, my father’s sister, and my father. After some years, they managed to build a three-storey house there for the three families.

GS: What did your father do for a living?

AC: My father traded in cereal. He carried out transactions with farmers for the export and import of chickpeas and lentils.

GS: How did your interest in psychiatry come about?

AC: Firstly, it was a struggle for me as a woman to study. After I passed my baccalaureate, even though I was from the middle-class, it was not usual for women to continue their education. Women were expected to marry and so on. I had an older brother and a younger brother and was the only girl. Neither of my parents continued their studies. My father, a brilliant student, was pulled out of school at age 16 by his father. He was the eldest of ten children There were two or three girls before him so he had to work. I believe my mother chose to leave school to get married. When she met my father, she dropped out.

My parents were both very intelligent and relatively progressive. My father spoke Arabic, but they did not have a higher education.

I already had a certain outlook on society and I was more inclined towards literature. I wasn’t a good student and had never received any awards for excellence. I was impertinent and people always told me I would make an excellent actress. With no one to advise me, in those days, if I had decided I wanted to be an actress, it would have been worse than deciding to be a prostitute. Having said that, I did later have the luck to meet many people who became involved in theatre.

So, I found myself first in hypokhâgne and then khâgne. You know what they are?

GS: No.

AC: Preparatory literary classes for the grandes écoles. The equivalent also exists in the scientific field. I was interested in studying philosophy but decided that would mean cutting myself off from the real world. I made up my mind that I wanted to be useful so I chose to study medicine. But very soon I realized medicine didn’t meet my needs. It was all about identifying symptoms and responding with treatments. I remember a teacher saying, “But Mademoiselle, you ask too many questions.”

We never say, “Why” in medicine. Instead we talk about, “How to fix it.”

So, I was part of two cultures; one of interest for human beings and their psyche, and the other a group culture which stemmed from my medical studies.

GS: Were there other women you knew of who were studying medicine then?

AC: There were a few, but they were a definite minority.

There was a saying that summarized the situation quite well. It relates to sitting the intern examination:

If you are white, European and male, you have an 80% chance of sitting the exam. If you are female and European, you have a 60% chance. If you are Jewish and male, you have a 50% chance. If you are female and Jewish, you have a 25% chance. If you are Muslim and male, you have a 10% chance. As for being Muslim and a woman, you are not even mentioned because you just don’t get the opportunity.

Some managed to study medicine or become trainees but none got to sit the intern examination, voilà!

GS: When did you meet Fanon for the first time?

AC: I was part of a youth movement called AJASS (Association of Algerian Youth for Social Action) and Fanon was invited to give a lecture by a friend of mine, Pierre Chaulet, who died recently. It was a lecture on fear and anxiety in 1955. I must have been 19 or 20 at the time and had to leave my parents’ home where I’d been living. Most of the interns at the hospital were French-Algerian and because of my opinions I faced all kinds of problems. My car tyres were punctured, my white doctor’s coat soiled, my files stolen. So, when Fanon found out I wanted to do psychiatry, he told Pierre Chaulet I should come and intern under him at Blida psychiatric hospital.

GS: So you lived at the hospital in Blida?

AC: Yes, as an intern. That’s where I met my husband, Charles Géronimi. He shared my ideas, but having Corsican parents, teachers but Corsicans, they had trouble accepting a little Jew in their family, especially my mother-in-law.

GS: What were your first impressions of Fanon?

AC: My first impressions, at 20, I found everything he had to say very interesting and didn’t think of him as black. He analysed the subjectivity of racism which was very different from the discourse of the time. On the one hand, we had Existentialism and on the other, Marxist materialism which didn’t include questions of subjectivity. It was the first time I’d met someone who was only 10 years older than me but had immense experience, and a developed understanding of these two worlds, of the two ‘ideologies’.  He was neither on one side nor the other which met my expectations, answered my questions.

GS: He had practical ideas?

AC: Yes, he was a hands-on kind of man.

GS: That’s to say, the development of his thought was founded not only on the theoretical but also on his lived-experience?

AC: On his experience, yes. And that also pleased me. It was from his lived-experience that he elaborated his ideas. But he also had very advanced psychiatric training.

GS: What were some of the work experiences during your time with Fanon in Blida that influenced your practice of psychiatry?

AC: Everything he brought to psychiatry, especially his critique of the School of Algiers’ theory of primitivism. He also introduced social therapy, institutional psychotherapy.

GS: How do you define institutional psychotherapy?

AC: Institutional psychotherapy, as developed by Tosquelles, took off in France with the support of Oury and Bonnafé. It encourages the residents of psychiatric institutions to share things with their caregivers. Through humanising the functions of these institutions, it allows understanding not only of patient symptoms but also the roots of these symptoms. There are still two or three people in France who are struggling to create places that foster institutional psychotherapy, but it is becoming more and more difficult.

GS: Why is it becoming more difficult?

AC: Because of the prevailing ideology. Now we have DCM 3, DCM 4, DCM 5. It is a performative ideology that absolutely bypasses all subjective aspects of alienation.

GS: Did you have any significant experiences in the hospital setting as a female doctor caring for patients in that historical and social context?

AC: What do you mean by significant experiences?

GS: For example, when you worked at Joinville-Blida Hospital, were there certain events that affected you?

AC: Yes, of course.

GS: What were they?

AC: So many things. For example, I saw women hospitalised after childbirth for postpartum, transitory delirium. Some doctors didn’t understand and sometimes even people in the women’s families said, “It’s the djnoun who came to inhabit her.”

It affected me deeply because  I wanted to ascertain their experience of the delivery because it influences their relationship to the newborn baby.  It’s a complicated relationship.

GS: Did you have your own children at that time?

AC: No, I had no children at the time. I now have a son who is 40 years old. He studied political science and then he got involved in theatre.

GS: So, he is fortunate?

AC: Well there you have it.

Black and white photograph of Alice Cherki as a young women. She has short, dark hair, is wearing a white, V-neck dress and a necklace, and she is smiling.

GS: As a female doctor, what were your professional relationships like with your colleagues at the hospital?

AC: Amongst us interns at the psychiatric hospital of Blida, I was considered an equal.

I married an intern from the hospital. No, I can’t say I had any problems. On the other hand, before that when I was at the Mustapha Hospital in Algiers, I was very young, I did my hair in a bun and put on big glasses to make myself look older so I’d be left in peace.

GS: Was your husband originally from Blida?

AC: No, he was also from Algiers but he was an intern with Fanon in Blida. They wrote a paper together on Algerian women and the cultural specificity of TATs (Thematic Apperception Tests).

GS: In your book, Fanon, Portrait, you mention a meeting between Fanon and Jeanson. (1)

AC: Yes.

GS: In that meeting Fanon expressed his wish to go beyond certain ideas so that readers can experience aspects of life that they could never know firsthand.  You talk about Fanon exploring the sensory dimension of language. Do you think that this approach to writing could enable us to communicate experiences around difference, to understand our differences from an egalitarian point of view – not superior or even inferior?

AC: Yes, I think this type of writing is essential. In my experience, sensory writing starts from perceptions, sensations to try to improve communication with the other, I think it is very, very necessary.

GS: Do you know any writers today who write like that?

AC: I’m not qualified to say. I don’t know today’s writers that well. But Kateb Yacine wrote like that.

GS: Do you see difference as a dialectical space that can trigger creativity and imagination?

AC: Yes, that’s what I call the relationship to the other, the recognition of the outside, the stranger. It is important. I wrote another book called La frontière invisible, in which I insist on the relationship to the other. This allows you to accept the outsider in yourself.

GS: In your book, La frontière invisible, you link psychoanalysis and politics. I understand colonial violence, violence of displacement, violence against the subject in the social context, the context of specific historical and political circumstances, for example, those of Algeria and France. But when I try to analyse this violence from a psychoanalytic point of view, I find it difficult to understand.

AC: It is complicated. But you have sought out strangers?

GS: Always, yes.

AC: Perhaps it’s not by chance.

GS: Perhaps not.

Did you know Fanon outside his work, in his family life? What kind of man was he as husband and father?

AC: Yes, of course I had the opportunity to know Fanon outside his work. I knew his wife well and I know his son very well. As a dedicated husband and father. At the same time, he was a very busy man. But he was very dedicated to his family. When his father left for Africa, Olivier didn’t see him that often only from time to time when Fanon came back from working there.  Olivier was only five when his father died.

Fanon loved life. He liked to go out to dinner, go dancing, things like that.

GS: What type of dancing did he like?

AC: All the dances of that time, le slow, the rhumba . . .

GS: Did you like to dance?

AC: It has been a long time since I really danced but yes at the time I loved it.

GS: At friends’ places?

AC: Yes.

GS: What type of music did Fanon like?

AC: He especially loved Caribbean music.

GS: And you?

AC: Back then my tastes were very eclectic. I liked the Arab-Andalusian, Jewish-Andalusian music right through to Bach, Beethoven, Mozart and then Jean Ferrat, Barbara, Montand. More and more now I love Musique Concrète.

GS: Tell me more. 

AC: When I was a psychoanalyst, I was working very hard. In the evening, when I had finished working and my head was full of words, words, words, I’d play the likes of Kurtág and Blériot. The music is largely based on the sonority of the human body. It defies the normality of melody. It’s best to listen to it alone. There are not many people who love and desire that genre of music. It scares them.

GS: What kind of a sense of humour did Fanon have? What made him laugh?

AC: He had a great sense of humour, Fanon. It was humour that made him laugh.

GS: People who are very involved in revolutionary struggle often dedicate huge amounts of time and energy to the cause, and I suppose that doesn’t allow them to be very good parents.

AC: That’s true, yes. Especially at the time because the people involved in the struggle were very young.

GS: Have you met children whose parents were not only very involved but who were tortured, wounded or killed as part of the struggle?

AC: Yes, children who became orphans.

GS: Regarding the children of revolutionaries, what observations have you made?

AC: It was very variable. For example, Fatma Oussedic, her father was a great militant and she has good memories of her relationship with him. In addition, many families did not only consist of the father and mother, there were, aunts, uncles, cousins etc. They weren’t nuclear families. If we’re talking about orphans this helps a little. But when you see your parents killed before your eyes, that’s not the same thing. As for the children of the surviving revolutionaries following independence, the notion that their fathers are heroes has weighed heavily on many of them.

GS: Would you mind giving me a brief definition of your concept of alienation and the ways it may be experienced in countries marked by colonisation.

AC: That’s a big question. Both the coloniser and countries who achieved their independence, like Algeria, deny in various ways the colonial wars that have taken place. Algeria swept a large part of the past away by claiming the national story begins at the time of Independence. Generations have been taught that they have one history, one language, one origin. This kind of discourse has done a lot of damage. There are many young people who now don’t know who they are.

GS: How does that manifest psychologically?

AC: It varies considerably and is different in Algeria and in France. Here in France these young people are excluded from participating in the inner circle, In Algeria they are divided. There is group of social conformists who represent the youth, and another group of which no one ever speaks but which gnaws away at the heart and soul of the country.  Young people are suffering a great deal, even those who are socially successful. Many young people ask, “What was Algeria like before 1962?” Many are Berbers. The heterogeneity of their roots has been hidden from them. It is as if these roots don’t exist but they are longing for what I call multiple identification … not to be cast in a single mould.

In France there are many young people who describe their lives very well and write novels. Some are very interesting, written in the language of the suburbs. For example, Sabri Louatah, Les Sauvages.

GS: What is your definition of dignity, especially the dignity of colonised people, people considered mentally ill or disabled?

AC: Dignity is essential. Dignity means we are viewed by the other as a human being.

GS: In revolutionary situations, when a group of people can no longer withstand massive pressure and extreme violence, they react violently to create a change in the power structure. This changeover is often quick, lasts for a moment, the objective is specific: to get rid of the immediate cause of the violence that oppresses them. Beyond this moment of revolutionary violence, what measures do you think people can use to get rid of the everyday violence that continues?

AC: Firstly, to speak.

GS: To whom?

AC: Speak, tell, write. . . I think there are many forms of expression, of creation. Because we must get by. We must get out of the stupor. The essential thing is to get out of it, including through collective struggle.

GS: What for you is the most urgent task required to change human relations in the future? What needs to be done to update and develop new definitions of power?

AC: We need to do work in many areas if we are going to change human relations and bring about new definitions of power. Each person should focus on their own domain, the place where they live. It’s true, like many people, I feel I am very active and committed. At the same time, I denounce all modes of liberalism and things like that.

GS: How do you define liberalism?

AC: It is being governed by financial capitalism which transforms the subject into an object.

GS: Is it enough to denounce? Sometimes I get the impression that it is useless.

AC: I know it well. Organisations are important. There are organisations, people who are militant. I am fortunate to have a son, and nephews who are politically engaged in their fields. Me, everyone knows my positions, my writings. My son works in theatre. They go to schools, to high schools. I am not against the revolution.

GS: Do you think that as individuals, we are afraid of revolutionary violence, afraid of revolutionary confrontation?

AC: It depends. There are many people who are afraid of violence. In my case, I’m not afraid. Many French people want to stay in their little cocoons. In Europe, the French are very much like that, withdrawn on their plots of land, and yet they made a revolution.

But I believe violence is . . . for example, what happened in 2005 in the housing estates, with Sarkozy insulting everyone. People called them riots but I called them revolts. Those young people were not afraid.

GS: It is temporary, a moment?

AC: Revolution is always like that. It’s a moment. But moments that produce difference. Every revolutionary moment must be seen as the introduction of change.

GS: Even if it takes a long time to get to that point.

AC: Yes, like psychoanalysis.

GS: Why did you choose to become a psychoanalyst?

AC: Because I found it was the best way to understand the psyche and help people. It’s exciting, I love it, yes, I like it very much.

GS: You must undergo psychoanalysis for several years to be a psychoanalyst?

AC: Yes, you do. It’s experience. You see, even you talk to an 80-year-old woman who is a psychoanalyst and it’s fine.

GS: Yes, it’s been good.

AC: I have lots of stories to tell. I am attentive to other human beings.

GS: Ah yes, but not all psychoanalysts are like you.

AC: That’s true.

GS: Did you have any conversations with Fanon about the ‘Jewish question’ or the events that led to the establishment of the State of Israel?

AC: Of course, Algerian Jews, like myself and Jacques Azoulay, worked with Fanon in Blida. Fanon had very close Jewish friends in Tunis. The subject of the establishment of the State of Israel was far from our concerns. Fanon was profoundly atheist. I, too, am an atheist. We were part of the struggle for Algerian independence, there was never any conversation about the existence of God for example. Those questions and discussions were not on our radar.

GS: But religious discourse was there nonetheless with Messali . . .

AC: Oh, yes. Those discussions took place within the independence movement. It was very heterogeneous. There were plenty of different poles of thought, different ideas. For example, Fanon, returning from sub-Saharan Africa, jokingly said to his colleagues, to the revolutionary friends of the mujahidin, that they should follow the example of Islamic Africans, their wives can walk topless. He said that jokingly. I mean the issue of Islam as a fundamental direction was probably underestimated, but religion was not ubiquitous in our workplace. I think, even Messali, he was for independence from France, he was married to a French woman, he wasn’t a religious Iman.

GS: When and why did you leave Algeria? Do you consider yourself a woman in exile?

AC: I did not really leave Algeria. I settled in Paris but with frequent trips to Algeria and back. I’m not in national exile and I think exile of the psyche is the hallmark of any successful human life.

Notes:

1. Alice Cherki refers to a meeting  between Fanon and Jeanson in her book, Fanon, portrait (Seuil, 2000), however the English translation, Fanon: A Portrait, (Cornell University Press, 2006) refers to a letter.

Alice Cherki was interviewed by Gaele Sobott in Paris, 26 September 2015 and by email between 18 and 20 November 2016.

Translated from French by Gaele Sobott

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“Dignity is essential. Dignity means we are viewed by the other as a human being”: an interview with Alice Cherki by Gaele Sobott is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.

“I Think of Dance as My Most Honest and Purest Form of Expression . . .” An interview with Christelle Dreyer

Christelle Dreyer1

Credit: Marike Van Wyk

Christelle Dreyer is a freelance graphic designer and dancer who lives in Brackenfell, Cape Town.  She took up competitive ballroom and Latin dancing in 2004, then moved onto contemporary dance in 2010, performing in Dance Joint produced by Jazzart Dance Theatre and choreographed by Jackie Manyaapelo,  Infecting the City, choreographed by Tebogo Munyai, and Unmute Project, choreographed by Andile Vellum. She has worked on projects with various dance companies, including Jazzart Dance Theatre, Remix and Unmute. She recently performed in No Fun ction alL anguage, at South Africa’s National Arts Festival 2016 in Grahamstown.

Gaele Sobott: How did your passion for ballroom and Latin dancing initially develop?

Christelle Dreyer: As a child I loved listening to all kinds of music and watching people dance. I can`t really recall exact dates, but Jazzart Dance Theatre came to my school and I was lucky enough to be chosen as one of the kids to be part of a performance. It opened me up to realising that I actually could move and not just be on the side admiring people as they danced. After that I started Ballroom and Latin dancing.

GS: What then led you to contemporary dance?

CD: I started taking open dance classes as a way to keep fit and do something different. I enjoyed it so much I never stopped.

GS: How did you become involved in No Fun ction al Language?

CD: I received a phone call from Danieyella Rodin who works at The Chaeli Campaign, the organisation that produced No Fun ction al Language. She asked me if I’d like to audition for the show and then emailed me all the relevant information. I contacted Jayne Batzofin, the director, who was conducting the auditioning process over a two week period. So I auditioned and got a part in the show.

GS: Who are the other performers in the show?

CD: Andile Vellem Daniel Mpilo Richards, and Iman Isaacs are the other dancers. Dave Knowles is the musician.

GS: Tell me about your experience of working on the show.

CD: No Fun ction alL anguage has been an exceptional experience and an amazing opportunity. From the start of the creation process to the final production and the moments in between it’s been an incredible process of growth and discovery.

Jayne Batzofin and the cast, everyone involved, have been so open-hearted and open-minded. Some of them, before meeting me, hadn’t had any interaction with a disabled person but the way they approached the idea of disability is no less than amazing. I would like to think that we have become a little No Fun ction alL anguage family. I feel blessed to be part of the team. Together we created a work that has stimulated discussion around what happens if we don’t have the right words or any words to share our thoughts, discussion about our desperate search for meaning and about inclusivity for all members of our society. Each chapter of No Fun ction alL anguage encouraged different thought processes and emotional dialog within me. It was great being in a position to explore these things through performance. The response from audiences has been more than overwhelming.

GS: How did you contribute to the choreography of the piece?

CD:  When Jayne choreographs she uses a theme then allows us to improvise our body movements in relation to the theme. So we generated new movements and material. These were then incorporated into duets or into the larger choreography.  In chapter five of No Fun ction alL anguage, for example, that entire solo was created by me, and Jayne refined and detailed some moments.

GS: Please describe what Chapter Five is about.

CD: Chapter Five was about deception. How you experience deception, what it means to us. I looked at the emotions we feel when we are deceived and when we deceive and worked on translating that into movement. So Daniel explored the act of deceiving someone. His character was saying, “I love you” but not meaning it. Andile and Iman looked at how you can deceive yourself, and I worked on how sometimes you want to believe the deception. You know you are being deceived but you want to go ahead, for example, you believe that person loves you. So the choreography I developed was communicating that process of trying to hold on to what you know is not true but what somehow is pleasurable. Well it would be pleasurable if it was true. You try to hold onto that pleasurable non-reality for as long as you can. So my choreography was very quiet.

GS: How did you translate quiet into movement?

CD: Slow and controlled, under the radar.

GS: I think it was Silence, the chapter where you were on your back and moved your leg up very, very slowly.  That was a powerful moment.

CD: Yes that took extreme concentration, and the right breathing.

GS: Do you have control over your safety during the creative process?

CD: Complete control. If my body doesn’t want to do something, I don’t. But I try new moves. If that doesn’t suit me, I say so. I know what my body is capable of. Anyone who works with a disabled dancer knows that there are certain traditional ways of dancing that may be impossible. It’s a fine line between a director knowing when to push and when not to push you. At the same time you don’t want a director to be patronising and not get you to push boundaries.

From left to right, two male dancers, one standing facing audience, the second lifting his arms and one leg high over the third dancer who is seated in a wheelchair. She leans away from him and holds her hands on her head. The last dancer, a woman, stands facing the away from the other dancers. They are all dressed in casual pants and tee shirts in various shades of grey.

 

GS: How do the themes of language and communication addressed in No Fun ction al Language relate to you personally?

CD: For me communication takes on many different forms. I think of dance as my most honest and purest form of expression and communication. In those moments of dance, the movement and the spaces between movement, I find what I really want to say to the world. I also communicate as a graphic designer. My work tends to be minimalist, which I feel expresses my easy-going personality.

I think the way I communicate with others is largely determined by the circumstances I’m presented with. For example, the way I communicate with Andile Vellem, who is Deaf, is different to how I communicate with the rest of the cast. My sign language is very bad, but somehow it’s often easier to convey information to him than to someone who can hear, other times we have big gaps in communication. I really need to work on my SASL (South African Sign Language). As far as spoken language goes I am fluent in English and Afrikaans. Not really sure about fluent as my vocabulary is not that large, in my mind at least. I find it difficult to learn new languages. But also I realise the value of discovering new forms of communication and maybe just maybe, I will be putting pen to paper more often.

GS: Afrikaans and English. How do these languages figure in your life? Do you consider either of these languages as your first language or mother tongue?

CD: Both languages are equally as strong as each other in my life. My parents raised me speaking English and I went to an English-speaking school but my family, my parents, aunts and uncles, also speak Afrikaans, and my community.

 GS: Afrikaans has historical significance in the context of the ant-Apartheid struggles and the 1976 student uprisings against the Afrikaans Medium Decree. Do you think the language still represents an oppressive force for some people? Tell me more about what the language means to you.

CD: I was a bit too young to fully understand what it was like during Apartheid. I don’t really have the experience. My parents are the ones who know about what happened then. But from what I observe now Afrikaans is becoming a more general language in Cape Town. There are a lot of Coloured people who speak Afrikaans but it’s a bit different to the way White people speak the language, not pure like in the text books.  Coloured people have their own slang, and it’s more musical. Also the humour in the way Coloureds speak the language is different. I enjoy that humour.

GS: What are the elements of your identity that have remained steadfast over the years, what has changed?

CD: Well my identity is not something I really think about in great depth. Apart from the more obvious things like the fact that I am a Coloured disabled artist. I think I have always been open to experiencing different things. Perseverance and persistence is something I’ve always had and I have a feeling that will not change anytime soon.

I never understood myself as unique. That was partly to do with me being a twin. I am a twin but actually my sister and I are completely different.  My immersion in creative processes demanded that I explore my sense of self. So that definitely helped me realise and embrace my uniqueness.

GS: I was recently at an event where the writer and journalist, Sylvia Vollenhoven was talking about her book, The Keeper of the Kumm. She said, you can be Zulu or Xhosa and it defines to some extent your history but Coloured is a more general term. She feels that people who identify as Coloured are largely excluded from the narratives of nationhood that South Africa is now constructing. What does this part of your identity mean to you?

CD: There are lots of divisions and classes in the Coloured community. The way you live as a Coloured person, where you live, the way you identify, the way you’re brought up. Generally yes, a Black person has a very strong sense of identity. The backstory of being Black or the backstory of being White is usually solid where they know their granny’s granny’s granny.  Many Coloured people haven’t answered the questions, Who am I? What is my history? Where do I belong? Like what exactly is a Coloured person? Yeah, it’s complex. I don’t think Coloureds really know how to define themselves. They don’t have resources to draw on. Like me, I don’t know the history of my grandparents or beyond them.

GS: Why do you think that is? The reasons why you don’t know?

CD: Maybe because the past has been painful and people haven’t wanted to talk about it. But I’m lucky at least I knew all my grandparents. I only have my grandfather left. He has dementia now so I can’t really ask him about our family history. My father’s parents died many years ago. My mother’s mother, Ma Yvonne Lopes, played a big role in encouraging me to be confident and proud of who I am. She was an amazing grandmother. My mother too, she instilled certain values in me and I don’t give her enough credit for all my successes. I am content with who I am and where I am in my life. My friends and family keep me grounded.

GS: Elaborate a little on your identity as a disabled artist?

CD: I was diagnosed with OI (Osteogenesis Imperfecta) when I was a baby. My sister also has OI, I mention this because I always get asked since we’re twins. Because of my OI I spent many of my childhood years with broken bones or in hospital. My mother has lost count of the number of operations I’ve had, at least twenty.  The amount of times I’ve broken my bones seems endless. My tolerance to pain has become so high that most of the time I don’t realise I have a broken bone and in some cases more than one.  I was born and grew up in Cape Town with my parents. I’ve always been surrounded by family and friends so apart from OI issues I’ve had a very normal childhood.  OI is one of the many layers that shapes who I am. I Matriculated in 2004 and started studying Graphic Design at Cape Peninsula University of Technology in 2006. I graduated with a Baccalaureus Technologie in 2011. During my years as a university student I never stopped working on my dance goals and dreams.

GS: Can you describe any barriers you have encountered as an artist with OI?

CD: The strangest thing to me is that artists are generally more open to individuality and people expressing their uniqueness. But somehow when people see disabled artists they have this preset idea that disabled people cannot produce the same high quality as them. I am not saying it is all arts practitioners and audiences but that bias is there. Yet in many cases the standard of work produced is of equal quality or even better.

I have experiences where I would go for graphic designer interview and I’d be told they could not hire me because I was not what they expected but I have a very good CV and portfolio. I don’t put the fact that I am disabled in my CV as that should not be the measure as to whether I get the job or not. Of course they know they can`t say to my face it is because I am disabled that they will not hire me, so they come up with polite and creative ways to tell me. It really is not fair.

It’s very satisfying when I get to prove people wrong and exceed their expectations of me as an artist. Like after performances of No Fun ction al Language when audiences are left not only in awe but with different perspectives of disability.

GS:  How did you find disability access at Grahamstown National Arts Festival 2016? What changes would you like to see?

CD: I feel that disability access was not taken into consideration at the Festival. This is really disappointing as there where disabled artists on the festival program. There is so much said in South Africa about human rights and treating people as equals, yet the basic needs of people using wheelchairs, deaf people, blind people are not being considered. I’m blessed to be able to walk for short periods of time, but what about disabled people who can`t walk at all and need their wheelchairs to get around? Access is not just needed for artists but also people attending the festival, audience members. It’s a national festival, disabled artists and audiences should be welcomed, not excluded.

I think disabled people are standing up for themselves more than in the past and that they are being integrated as part of their communities so much better. There is still however a long way to go.

Grahamstown National Arts Festival 2016 – No Fun ction alL anguage Trailer

This interview was conducted 21st July 2016

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“I Think of Dance as My Most Honest and Purest Form of Expression . . .” An interview with Christelle Dreyer by Gaele Sobott is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.

In Memory of Lauretta Ngcobo 1931-2015

Front cover of book. Close up photo of woman's eye, nose and mouth in orange tones. Title - And They Didn't Die Autor - Lauretta Ngcobo

 

Lauretta Gladys Nozizwe Duyu Ngcobo (née Gwina)  was born in the southern-most part of KwaZulu Natal in 1931. She was the first girl in a family of four. Her mother, Rosa Fisekile Cele, had a difficult time with the birth. Lauretta wrote,

On the night of the second day, my grandfather, who knew the white doctor personally, had managed to persuade him to venture into the black reserve, by night, to save the life of his elder daughter and her unborn child. And so he did.1

Lauretta was born into a family of storytellers, growing up in a rural setting where she valued her exposure to oral literary traditions. Commenting on how poetry informed all occasions she said,

It was performed to honour kings, to welcome newly born babies, and to rock them to their sleep. It is sung at weddings, at funerals and at war. It even heralds peace.2

She recalled her mother relenting in family arguments and reciting poetry at the doorway of the ‘great house’, ‘the maternal family line first, followed by the paternal line’ until the grandmother nodded her head and the argument was over.3

Lauretta’s mother would tell her African folk stories. Her great-grandmother narrated episodes of Zulu history. She composed poetry about her painful life as the least-loved wife of her husband’s four wives. She also created poetry for each child in the family including Lauretta who used to cry as a baby. ‘Apparently I had a very sharp voice . . . My poetry imitates the honey bird which is very insistent.’ 4

When Lauretta was seven years old her father, Simon Shukwana Gwina, died. Both he and Lauretta’s mother were teachers. Lauretta’s mother became the sole breadwinner in the family. Despite the difficulties, she was determined that all her children would be educated regardless of their gender.

The public openly condemned us, girls, who ‘demanded’ the same privileges as boys. In a family where mother had never made us aware of the preferences, the remarks were not only hurtful, but created a throbbing consciousness of one’s burdensome value.5

Lauretta went to primary school in Webbstown and Nokweja. In 1944 she was at a boarding school run by American missionaries in Dumisa and then in 1946 she went to Inanda Seminary. At home, she had gained a knowledge and interest in English literature and history from her mother.

My mother got me interested in her favourite writer, Montgomery, Anne of Green Gables. Her stories became my favourites too. From her I learned about Henry the Eighth. I was very fond of Thomas Hardy and his stories of rural England and I liked Charles Dickens.6

She enjoyed school but began to sense a ‘silent disapproval of the barefoot life-style and art that was part of my whole way of life’. The ‘borrowed culture of city girls’ was the dominant ethos and she found herself caught in a ‘tug of warring cultures’. She described how she felt a ‘disfigurement of outlook, a mutilation within’, a conflict that ‘persisted even against the most arduous efforts to strike a balance’.7

In 1950 Lauretta attended the University of Fort Hare and obtained a BA in Psychology, and Zulu Language and Literature. She also studied for a postgraduate University Education Diploma. Fort Hare had a ‘ratio of thirty-five women students to five hundred men in those days. In some classes the preference given to male students was disarming.’ 8

Her first job as a teacher was in Pietermaritzburg in 1954. One year later, she took up a position as a scientific research assistant for the CSIR. In 1957 she married Abednego Ngcobo and in 1960 went back to teaching in Durban. Lauretta always enjoyed writing. She wrote a number of articles and books which she discarded or burned mainly due to her assumption that nobody would be interested in reading anything she had to say, ‘not the men’ and not the ‘white people’.  She stated,

I don’t think I know why I write, I just know I must. I scribble a lot that I know will never be read by anyone, for since I was a little girl by conditioning, I never expected anyone to read anything that I wrote, outside my classroom assignments. I feel the need to communicate with myself. It is a duty to myself. Yet, by its very nature, writing is an outgoing channel of communication, no matter how private.9

She saw the Bantu Education Act of 1953 as the greatest limitation on Black writing in South Africa. 

Cut off from the mainstream of world literature which could otherwise act as a model and an inspiration. I have shared these limitations with all Black South Africans whether male or female.’10

Lauretta’s husband was imprisoned in 1960 for his political activities in the PAC and the Sharpeville uprising. In 1963 she was forced to leave South Africa.

I learned that there was a plan to have me arrested. It was the month of May. I had to escape and leave my two children with my mother. I decided to leave at once: the next day, at five in the morning, the police burst into my house to get me. I made it by the skin of my teeth.11

She spent the first six years of her exile in Swaziland and Zambia where she worked as a teacher. Her children were later able to join her in Swaziland. The family moved to England in 1969 and Lauretta began teaching in London at Tufnell Park Primary School. She then taught at Lark Hall Infant School where she became Deputy and then acting Head. She also began to write, spending ‘hours pinning my episodes together at the seams. I cannot think of a more time-consuming way to write . . . I had no time limit to my expression and no deadlines to meet.’ 12

In 1987, her novel, Cross of Gold, was published and time became very important her. She was invited to talk and write essays on a wide range of subjects,

I had to read a lot more widely. This factual diet does little for my creativity – especially considering how limited time is between my teaching job, my ‘factual’ reading and speechifying and creativity. What I need as a writer, more than anything, is time.13

Cross of Gold is told from the perspective of a young, male activist, Mandla. The women characters are silent and isolated. The only active, strong woman, Sindisiwe, dies in the first chapter of the book. She is shot by the South African border police while trying to flee apartheid South Africa into Botswana. Reflecting on the many questions that came from women readers, Lauretta realised that although she was actively occupied with gender issues in her life, ‘it hadn’t occurred to me that the book was not about me, was not about Sindisiwe, it was about a man!’14 She felt that this was a product of her socialisation and began to think of her construction as a rural, black South African woman growing up with the migrant labour system and the absence of men. ‘I was brought up by women. They were strong, independent and silent . . . it was inescapable that I should turn out very much like them: fertile and rich from within but silent or barren from without.’15

Lauretta edited a collection of essays, stories and poems, Let It Be Told: Black Women Writers in Britain, published in 1987.  The book aims to ’embody a largeness and a continuity’ extending beyond conventional race and gender stereotypes.16 She included a detailed introduction, an essay on her life and writing and an extract from Cross of Gold. In 1990, she published her second novel, And They Didn’t Die. Lauretta said,

I hadn’t written about women successfully, but at the same time I knew all about women. As I had shared so much of their pain, it could be that that was one of the reasons why I could write a different story in And They Didn’t Die.17

She presents active women characters and portrays the solidarity and strength that binds rural Black South African women. It is through the life of Jezile, a young rural woman, that we are made aware of women’s experiences under apartheid and the migrant labour system. Traditional Zulu power structures, especially that of the mother-in-law, and patriarchy are also problematised in what is a tragic yet tender tale of deep love, human strength and resilience. Her children’s story, Fiki Learns to Like Other People, published in 1993, is based in Southern Africa and aimed primarily at children learning English as a second language.

Lauretta taught Black Women’s Literature on a part-time basis in the Department of Extra-Mural Studies at the University of London. She lectured in Britain, the United States, Italy, Holland, Sweden, South Africa, Botswana and in Zimbabwe where she spoke on the problems of women in publishing at the International Book Fair. She published various essays under the name of Nomzamo. Her article, ‘Four Women Writers in Africa’, was published in South African Outlook in 1984. ‘Black African Women Writers’ was published in Cambridge Journal of Education in the same year. She wrote,

In our modern world, when women assert their right to self-determination and self-definition, it has become urgent for the African woman to write, to reverse the long-established opinions and beliefs that are prevalent today. It has become imperative for our schools to approach African women with enlightened curiosity. It is in the classrooms of our changing world that people must learn about the African women from the authentic voices of the African women themselves.18

In 1985 Kunapipi published ‘The African Woman Writer’, a speech given by Lauretta at the African Writers’ Conference in London in 1984, and an essay entitled ‘My Life and Writing’. ‘The Plight of Exiles’ appeared in African Concord and in 1990 ‘Black, Female, British and Free’ was published in For a Change. For many years Lauretta was president of ATCAL, the Association for the Teaching of Caribbean, African and Associated Asian Literatures.  She said, ‘We sought to persuade the Department of Education and Science through the inspectorate, to introduce into the various syllabi some text books from these rich literature sources.’19 She was also a founding member of the African women’s organisation, Akina Mama Wa Afrika which produced the journal, African Woman.

Lauretta felt strongly that ‘African writing should draw more from the African traditions of oral culture. I have not done much myself in this way but I feel it ought to be the way my writing goes’.20  She would like to write fictional works based on the lives of some of Southern Africa’s women leaders and spiritualists. After thirty years in exile, she returned to South Africa. She worked in education, and served on the KwaZulu-Natal provincial legislature until 2008.  It was in this year that she was awarded the Order of Ikhamanga by the South African government in recognition of her literary achievements. She edited an anthology of exiled South African women writers, Prodigal Daughters published in 2012. Lauretta Ngcobo died in Johannesburg on the 3rd November 2015. She is one of South Africa’s literary pioneers. A writer who fought tirelessly to give voice to her people, to Africans, to people of the African diaspora, to Black women. She specifically represented the experiences, resistance and power of Black, South African women. 

Hamba Kahle Mme Lauretta Ngcobo

Notes

1 ‘My Life and My Writing’. Kunapipi, Special Double Issue Colonial and Post-Colonial Women’s Writing, 7, 2 &3, 1985, p.83 Lauretta Ngcobo has published two articles entitled ‘My Life and My Writing’. One published in Kunapipi and republished in A Double Colonization: Colonial and Post-Colonial Women’s Writing, eds. K. Petersen and A. Rutherford. Oxford: Dangaroo Press. 1986 and another published in Let It Be Told, ed. Lauretta Ngcobo, London: Virago. 1988. The two articles are different.
2 ibid p.84
3 ibid
4 Interview with Lauretta Ngcobo’ by Anissa Talahite, Journal of Gender Studies, 1,3 1992, p.317
5 ‘My Life and My Writing’, Kunapipi, p.85
6 Letter from Lauretta Ngcobo to Gaele Sobott, June, 1993
7 ‘My Life and Writing’, Kunapipi, p.85
8 ibid
9 ‘My Life and Writing’. Let It Be Told. ed. Lauretta Ngcobo. London:Virago, 1988, p.134
10 ibidp.135
11 Interview with Lauretta Ngcobo by ltala Vivan, August, 1980, Between The Lines II. eds. Eva Hunter and Craig Mackenzie, Grahamstown: NELM, 1993, p.99
12 ‘My Life and Writing’, Let It Be Told, p.139
13 ibid
14 ‘Interview with Lauretta Ngcobo’ by Anissa Talahite, p.317
15 ibid. p.317
16 lntroduction to Let It Be Told, p.l
17 ‘Interview with Lauretta Ngcobo’ by Anissa Talahite, p.318
18 ‘Black African Women Writers’, Cambridge Journal of Education, 14, 3, 1984, p.17
19 Letter, June 1993
20 ibid

Bibliography

Books

Cross of Gold, London: Longman, 1981

Let it Be Told: Black Women Writers in Britain, ed. Lauretta Ngcobo, London: Pluto, 1987

And They Didn’t Die, London:Virago, 1990; Johannesburg: Skotaville, 1991; New York:

George Braziller Publishers, 1991

Fiki Learns to Like Other People, London: Macmillan, 1993

Prodigal Daughters, University of KwaZulu-Natal Press,  2012

Essays/Articles

‘Four Women Writers in Africa’, South African Outlook, May, 1984, p.16

‘Black African Women Writers’, Cambridge Journal of Education, 14,3 1984, p.17

‘The Plight of Exiles’, African Concord, May, 1987, p.32

‘The African Woman Writer’ and ‘My Life and Writing’, Kunapipi, Special Double Issue

Colonial and Post-Colonial Women’s Writing, 7, 2 & 3 1985 pp.83-86; A Double Colonization: Colonial and Post-Colonial Women’s Writing, eds. Petersen & Rutherford, Oxford: Dangaroo, 1986

‘Impressions and Thoughts on the Options of South African Women’, Kunapipi, Double Issue New Art and Literature From South Africa, 13, 1&2 1991, pp.165-169

Introduction to Like A House On Fire: Contemporary Women’s Writing, Art and Photography, Johannesburg: COSAW, 1994

 

This is an edited version of an entry written in 1994 for Wozanazo : A Bio-bibliographical Survey of Twentieth-Century Black South African Women Writers (University of Hull)

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In Memory of Lauretta Ngcobo by Gaele Sobott is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.