Anthropologist. Author. Poet.
The Great Cake Contest is a sweet little story about a little boy who loves cake and tries to bake the best cake for the contest, but he and all his friends have the same ideas! You can read more about it and download it for free: here.Continue reading “New Book Alert: The Great Cake Contest”
It is my immense honour and privilege to accept the appointment as UNICEF South Africa’s Volunteers Advocate. This means that I’ll be working with the organisation to establish some volunteer programmes in service of the children in our communities; to come together and do what we can to make their childhoods safer, healthier and more joyful. I’m really excited to make my contribution to this amazing cause. You can read more about it here.
Order your copy of Mpumi’s Magic Beads in English, isiZulu, Sepedi, Setswana, isiXhosa, Sesotho, Xitsonga, Tshivenda or Afrikaans now! Click: here.
Quiet as it’s kept, Hip Hop has had an immeasurable impact on my personhood. I’ve always been fascinated with the powerful self-affirmations that constitute rapper’s braggadocio bars. From Notorious BIG to The Score era’s Lauryn Hill and Rah Digga, my queen Lil Kim and even Jay Z, growing up while hearing how “I’m the best/ baddest/ hottest/ freshest/ dopest/ illest” on repeat has done some amazing things for my confidence and my insistence that I can make my dream life an everyday possibility. Through Hip Hop, this masterful tradition of weaving words, I continue to build and believe in the best ideas about myself.
As a baby Anthropologist, my life involves the deepest appreciation for knowledge production, particularly the scholars who respectfully theorise Black people’s vernaculars and art into the archive. Through the fruits of their intellectual labour in writing our herstories and stories, it is our collective hope that future generations will not have to endure the racist and existential drama that claims that we “didn’t have texts or science or complex political structures or knowledge”. For women and queer people especially, we hope to counter the lies of erasure that claim that “women made little contribution to Hip Hop” or that “there are no queer people in Hip Hop”.
Over the next few weeks, I will explore what Hip Hop means to me and, of course, I will use my words. To start, I’ve compiled some critical texts in Hip Hop scholarship to highlight women as producers, consumers, scholars, political agents and critical thinkers of the culture. I hope you read and engage with this work as we all open our minds and learn more about how difference has played such an important role in making the culture what it is.
1. Hip Hop Feminism
Read this because it is a discussion of the political sensibility that emerges from a generation that grew up with Hip Hop, an art form that has been simultaneously affirming yet marginalising, especially for women and queer people. Hip Hop Feminism aims to go beyond the gains of feminism’s second wave by doing the additional work of interrogating norms and the intersecting ways that representations and images are constructed in order to empower women to participate, critique, counter, enjoy and claim full ownership of the culture.
Peoples, Whitney A. (2008) “Under construction’: Identifying foundations of hip-hop feminism and exploring bridges between Black second-wave and hip-hop feminisms.” Meridians 8:1, 19-52. Read it here.
2. The Role of South Africa in the Origin of Hip Hop.
Read this because the work and life of South Africa’s Poet Laureate, the late Professor Keorapetse Kgositsile is examined to illuminate the golden, diasporic thread that runs between Hip Hop’s founding, through The Last Poets engagement with Prof. Kgositsile’s poetry as a freedom fighter exiled to the United States. Of course, Prof. Kgositsile was not just a brilliant intellectual and writer, he is also the father of Earl Sweatshirt. I have had the pleasure of reading and listening to Dr Phalafala, who is also his biographer. I love that she has taken it upon herself to document his immense contributions to scholarship and Hip Hop music.
(2017) “Black music and pan-African solidarity in Keorapetse Kgositsile’s poetry“, The Journal of South African and American Studies, 18:4, pp. 307-326. Read it here.
3. The Aesthetics of Black Women’s Sexuality
Read this because one of the most contentious debates is whether the misogyny inherent within Hip Hop is responsible for the hyper-sexualisation of women and the extents to which women’s agency in our own sexualised representations contribute to aspects ranging from the full ownership of our bodies, commercial viability and further marginalisation.
White, Theresa Renee. (2013) “Missy “Misdemeanor” Elliott and Nicki Minaj: Fashionistin ’Black Female Sexuality in Hip-Hop Culture—Girl Power or Overpowered?.” Journal of Black Studies 44.6, pp. 607-626.
Read it here.
4. Queering Hip Hop
Read it because in the same way that supposedly straight women have an equal stake in Hip Hop, it is necessary to know that queer people have contributed to this culture too. We know that Hip Hop is dynamic and multidimensional, so it cannot only emerge from black heteromasculinity with straight women as its relational figures. Hip Hop is comprised of many fluid and intersecting sexualities. According to Rinaldo Walcott (2013),
…a case could be made plausibly that hip hop is queer, always has been, and always will be... I would argue that it is precisely in the context of a straightened out hip hop that a queer sociality and definitely a homosociality animates some of hip hop’s most excited moments as the soundtrack of contemporary urban life and beyond.
Walcott, Rinaldo. (2013) “Boyfriends with Clits and Girlfriends with Dicks: Hip Hop’s Queer Future.” Palimpsest: A Journal on Women, Gender, and the Black International, 2:2, vol. 2 pp. 168 – 173. Read it here.
5. Representations of Women in South African Hip Hop Videos
Read this because it is a comparative analysis of how women are represented in a selection of music videos by Hip Hop Pantsula, Slikour and Zuluboy – artists who have been recognised as making music that acknowledges the disparities in society and would therefore be assumed to portray women in a progressive manner.
Nyirenda, Zgagula (2014) “Analysis of gender construction in South African hip-hop music and videos”. MA Thesis. Read it here.
Please note that some of these articles may be difficult to access. Please try to log in to your institution of higher education or consider signing up to the sites to read the work.
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Technically, you won’t be “coming” to see me because you’ll be viewing me from your couch. I’ll be on 1Magic (DStv channel 103) on Friday, 15 June at 19.00. I’ll be in conversation with Sho Madjozi, Sjava and Frypan/Mpumelelo about the state of youth in our country. Tune in!
Do you see this image? Mpumi’s Magic Beads is being translated into all of our South African languages and it will become widely available from August, September and October. You’re welcome to pre-order: here.
Even this moment starts with a story and I have to tell it because I have been smiling to myself when I think about how all of this came to be. It was a hot Saturday in December. My friend Lisa had invited me to her other friend’s house in Morningside for a day party. It was fabulous. Our hosts, some lovely Ghanaian men, prepared West African food in the kitchen while we women sipped on bubbles and shared good conversation. Later that evening, Shaka, whose acquaintance I had made before, arrived and we got to talking about my children’s book. He told me that his family owned a publishing house and that he’d put me in contact with them. I was still quite set in my desire to continue to self-publish but I also believe in the importance of allowing opportunity in, so I thanked him.
Thank goodness for that. Self-publishing has been an interesting journey. Would you believe me if I told you that producing the book is the easy part? The challenge comes when other people become involved and your expectation for common decency to be common is sorely disappointed. (When the legal proceedings are done, remind me to tell you about how unethical your fave is.)
I love everything I do as a baby Anthropologist and poet and a student and I would never want my literary and imaginative work to suffer because business admin in this particular path is sucking the joy out of me. So, after a good run with Thank You Books that had me taking the steps to conquer my doubts and do what truly makes me happy, I am ready to hand my baby off to David Philip Publishers/ New Africa Books! I’m excited to see how this dream will be nurtured by capable hands who have been giving worlds to children for much longer than I have.
I appreciate all of the support you have given me throughout this time. I hope you all go over to www.newafricabooks.com to place your orders and keep this dream growing and glowing for me but, most importantly, for little readers everywhere.
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Thank you, Lisa. Thank you, Shaka. Thank you, Dusanka.
Rookie Mag’s theme for May is “Growing Pains.” Please head over there to read my latest essay on intersectional feminism, online conflicts and the lessons I’ve learned about how we hold each other through the difficulties of our politics. I am really proud of this.
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Thank you, Tavi Gevinson. Your patience and thoughtful critique while editing this really challenged me in the best ways.
Mpumi’s Magic Beads is featured today in a story about self-publishing. Read all about it!
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Thank you, Rofhiwa Maneta.
Please join me tomorrow on Saturday, 12 May for a reading of Mpumi’s Magic Beads at the Kingsmead Book Fair. We will be on at 11.00 in the Stories & Crafts Studio. All of the info is: here.
I spent this past Saturday morning at the Johannesburg Family Gathering, a monthly event organised by Ashley Whitfield at the Museum Africa that centres on children and families. (The details are on the poster and I encourage everyone to get their babies involved in cultural activities outside of school.) This time, we got together for story time with Mpumi’s Magic Beads.
One of the best parts about what I do is engaging with little readers and their parents. I am so grateful each time a child let’s me know that they have hair like Mpumi or when parents share what this story means for their families. I’ve had a mom tell me that the book is her son’s favourite nightly read and that something about the rhyming in the book and reading it aloud together has also helped with his speech issues. I’ve had a kiddies hair salon owner reach out because there’s a little girl who came in with my book and requested the style on the cover. I’ve had mom’s send me videos of their children reading. Each time this happens, my heart absolutely beams to know that this book is doing what I hoped it would do in the world. Little children love this story just as I loved so many stories when I was a child. Beyond that, little children feel at home in this story, and isn’t that just the best thing?
I’m always in awe when I see children who are super confident with asserting themselves with adults and peers, alike. I always make a mental note that I would love to be the kind of parent who nurtures that in a child. I think it’s quite a remarkable thing to see a child who owns their space and articulates themselves boldly. The portrait above was drawn by one such a special little girl. While I was “performing” the story, she was reading along loudly with me and afterwards everyone drew some self portraits and she came over to give me hers. I was so touched by her gift, I’m going to be framing it soon.
The part that will always stay with me is how her mother shared with me that ever since she got the book, she draws herself with this hairstyle. We also spoke about how she will be challenging the school’s hair policy using the book as an illustration of the kind of cultural awareness that the school should be seeking to foster in how they move forward in creating an inclusive environment for all their learners. Considering that this book is partly inspired by my own academic work in the sleight of hand employed by schools: using neutral language in hair codes of conduct yet clearly being discriminatory in implementation – I am really all for parents furthering that conversation, especially at a young age so less children have to suffer the trauma of being vilified by the school system for the way they look.
So, the portrait here, by a very special girl is a reminder of all the people who continue to give this dream wings. I have always wanted to do my part to make it just a little better for children in this world and I’m so grateful that this work, by Masego and I, is adding a little sprinkle of magic, confidence and self-love in your lives. You keep my heart full.
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Thank you to all the parents and guardians who reach out in person and online to share with me how the story continues to move in your lives, beyond the book.
