1 Feb 2019 – World Read Aloud Day
There is huge potential in South Africa to turn our literacy crisis around so that reading becomes a powerful tool, to tackle inequality and poverty. As Nelson Mandela said, ‘Education is the most powerful weapon you can use to change the world.’ While education may be the most powerful weapon, reading aloud and storytelling are integral building blocks in learning. Continue reading “#WorldReadAloudDay: I’m this year’s ambassador!”
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.
This year, I began a journey into a feminist leadership experience with the Zanele Mbeki Fellowship. First Lady Zanele Mbeki has established the collective as a way of contributing to the continuation of feminist leadership in South Africa – an undertaking that I respect deeply. Anyone who knows me, knows that all of my academic work means that I end up thinking and working alone for long stretches unless absolutely necessary, so I accepted the invitation to apply as an opportunity for a change; a challenge to become part of a collective and to think and work along with people who have a similar outlook on the gendered personal and political life of South Africa. Our first module in July was focused on the self and gave us room to prepare for the journey ahead as sisters on a mission of collective feminist self-realisation. Our second module in October focused on feminism. We have been privileged enough to learn from Mrs Zanele Mbeki, Bunie Sexwale, Professor Patricia McFadden, Lebohang Pheko and many more valuable educators. So, far it is an enjoyable journey that has also been deeply challenging to my usual way of being in the world. I am grateful for the opportunity and excited for the many lessons that this journey promises.
Thank you to the Zanele Mbeki Fellowship for selecting me!
Order your copy of Mpumi’s Magic Beads in English, isiZulu, Sepedi, Setswana, isiXhosa, Sesotho, Xitsonga, Tshivenda or Afrikaans now! Click: here.
In case you missed it, I had the opportunity to be on this awesome talk show last week with amazing presenters Pabi Moloi, Nina Hastie, Kuli Roberts and Dr Musa Mthombeni. I had so much fun with them. You can watch it below.
History hurts women who weave word, sound and truth to brew story.
Seen as lesser scribes, they fade from light. This ain’t a new story.
The house of Hip Hop belongs to all who live and love in it.
Divine residents build it brick by blessed beat through story.
From Godessa to Lee Kasumba, this black girl magic we
inhabit shatters each glass ceiling into debut story.
What’s a boys club to a god; to us? We birth worlds and verses
and rise to revise the lies and proclaim: this is true story!
Grateful for the glory of creation, Lebohang meets page.
In the beginning was the word. The world awaits. Cue: story.
— A Herstory Ghazal by Lebohang Masango
In “A Herstory Ghazal”, I use the upcoming #HipHopHerstory concert as a prompt to express my feelings on the creative power that most women hold, both biologically and artistically. The landmark event will host a selection of talents from South Africa and the US to celebrate women’s roles and achievements within the culture. While the introductory post to this series demonstrates multiple academic perspectives of women’s involvement in Hip Hop that appeal to my interests as a scholar, I use this week to continue that tradition of documentation in writing creatively, as a poet.
The ghazal honestly needs more flowers (while we can still smell ’em), which is to say, the ghazal is Top Two and I don’t mean number two. This underrated form of Arabic poetry has held me spellbound for a few years now. I find it so sad that I went through an entire high school career’s worth of poetry lessons, without encountering it among the usual classes about sonnets and iambic meter. When I first read Hip Hop Ghazal by Patricia Smith, my absolute fave, I was immediately delighted by the rhythms and its insistence on cleverly crafted repetition. I love how it has been a slow revelation; the more I savoured it, the more I realised how different parts have to exist in very particular ways to make it whole. It is an impressively simple-looking yet demanding piece of writing.
Read over my ghazal once more and see if you can identify the rules that dictate how a ghazal is constructed. Here is a short summary:
- Ghazal must consist of 5 – 15 couplets, that can each stand alone as separate poems.
- First two lines must end in rhyme – using the same word or phrase – this is called a refrain.
- The refrain should end the second line of every couplet that follows.
- Before each refrain, there has to be a word that rhymes consistently throughout the ghazal.
- The first line of the last couplet should contain the poets’s name, or a reference to the poet.
- Each line must contain the same number of syllables.
Do you see why I say it is not easy? It’s such a challenge! At the same time, I cannot explain how good it feels to know that when I apply myself, I too can write in one of my favourite forms. Today, my special contribution to the Hip Hop her story movement, also marks my second ghazal (ever!) and I am so excited that it exists. I love how writing this set a challenge for me to write a big story about the strides that women make each day and express it succinctly. I hope that you’ll be inspired to fall in love with the ghazal and to keep women’s stories well-recognised and alive in your own work, whatever it may be.
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.
“ “, The Journal of South African and American Studies, pp. . 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!