#litwednesday

In Light of What We Write curator, Linda Kaoma sat down to have a chat with poet, Koleka Putuma as part of the project. We have a teaser of their poetic interview for you, but you'll have to join us on Saturday, 17 Feb, to see all of it.

It's happening at Youngblood Africa from 4pm.

Event details: 

Date: 17 February 2018 Time: 4 - 6pm Exhibition, 6 - 8pm Live Performances Venue: Youngblood Africa, 72 Bree Street Facebook event: https://www.facebook.com/events/289617331563624/

Nas Hoosen is a Johannesburg-based comic-writer, advertising copy-writer and freelancer. He is the co-founder of Sector magazine, and writes a series called RedAir in the magazine. Nas has also written for BBC online radio, The Guardian and Huck Magazine. He currently has an animated feature film with Triggerfish Animation Studios in development.

Read his interview with Creative Nestlings here.

Sean Izaakse is a Johannesburg-based comic artist. He has worked with Marvel on Thunderbolts, Avengers and Deadpool; Dynamite Entertainment on Pathfinder; and he is the co-creator of Action Lab’s Stray. Sean has also worked on tabletop role-playing games such as Mutants and Masterminds.

Photo: Elelwani Netshifhire              

Koleka Putuma is a South African theatre writer, director and performance poet. She was named as one of ‘the young guns who took South Africa by storm in 2015′ by Sunday Times, and was recently awarded the PEN Student Writing Prize for her poem, Water.

Koleka’s plays include UHM (2014), Mbuzeni (2015/2016) as well as Ekhaya, which is written for 2-7 year olds, and SCOOP - the first South African play to be written for 2 weeks-12 month old babies.

Koleka is the co-founder of The Papercut Collective

Photo: Jamal Otolorin

Yrsa Daley-Ward is a writer and poet of mixed Jamaican and Nigerian heritage who grew up in Chorley, north of England. She has a collection of short stories, 'On Snakes and Other Stories', which was published in October 2013. This was followed by a more successful poetry collection, 'Bone', published in June 2014.

Her poetry makes commentary on social issues, love and loss.

Now in its sixth year, ART WEEK CAPE TOWN will be taking place between Wednesday 6th February – Sunday 17th February 2019!

ART WEEK CAPE TOWN 2019 will have a strong focus on practitioners within the contemporary arts, with the aim of instigating conversations between the public and the artists themselves. Positioned to create a platform for artists, including those who are not affiliated with galleries and institutions, the upcoming edition of ART WEEK CAPE TOWN will generate a keen interest in artist-run initiatives.

Curated by Tobi Kyeremateng BABYLON Festival is a celebration of Black and Brown cultural innovators transforms the Bush Theatre with a series of takeovers under three strands:

LOUD - music gigs including electronic musician Nabihah Iqbal, alternative soul-led collective Touching Bass’ ShyOne and Wu-Lu and House of Pharaoh’s rapper Sam Wise.

SPEAKS – live podcast shows from The Receipts Podcast and The N-Erd Council, panel discussions from gal-dem and Female Muslim Creatives and an in-house live radio broadcast show from Reprezent Radio.

RESIDENTS – Theatre takeovers from collectives including Skin Deep’s Sonic Transmissions – a part interview, part music gig with award-winning drummer, composer and producer Moses Boyd –and Cocoa Butter Club – a cabaret collective celebrating performers of colour.

Presented by Bush Theatre and Battersea Arts Centre in partnership with Artistic Directors of the Future.

Watch the trailer

“Matangi/Maya/M.I.A. poignantly captures these household rhythms. Home videos depicting daily life are interspersed with graphic newsreel footage of civil war. We witness the interplay of domesticity and violence that underpins refugee life. Missing in Acton vs Missing in Action. Yet, the scenes I found the most achingly familiar were often the least bombastic. The precocious banter between M.I.A. and her siblings. The nihilistic humour. The deep reservoirs of imagination one has to accrue, like precious grains of selfhood, to make up for cramped conditions and material deprivation. They lived small but dreamt big. Amid a cacophony of voices and influences, I recognized the youthful inventiveness required to construct a rich inner life with little resources and even less hope of transcending the one you were born into.” - Momtaza Mehri

“So many of the tensions we’ve had in the feminist movement are repeats of the tensions women have had in the past, but unfortunately, we’re yet to find real solutions. Working class women (and the inequality they face specifically because they are both women and working class) have historically been rejected by the middle-class women who tend to position themselves at the front of the feminist movement. It was amazing to me to see the parallels between working-class women who left Suffrage organisations in the early 1900s because they felt like they were being ignored and the women of today who say similar.

I mostly wanted to write the piece because of how frustrated I’ve felt (as both a woman and a very loud, proud feminist), with the feminists of both the past and the present, as well as myself. Saying that I’m quietly hoping that I won’t feel as frustrated with the feminists of the future.”