Thursday, July 14, 2022

Ode to Chris Van Wyk – by Zanele Mashinini


From time to time, with each installment of those sharing oxygen with me turning their backs on this world. I think about heavy losses incurred by families of nations. 


My mind, rewinds to the endearing episodic of a life that once was, and, will forever be in our mind, of both young and old, (men and women) who once travelled, trampled, traversed and treaded upon earth mother, as if they were immortal being. 


Whether these individuals were known or unknown to me. Its inconsequential. In my case, whenever news of anybody's demise reaches me.

 
A child in me weeps uncontrollable. With part of him dying and joining a departed soul on their last journey under the gaze of the sun. Such is life! 


In short, the pain of losing a loved one, is a pain which jolt mixed emotion in my system. Because, pain of dealing with grief of one dearest, in any family, is pain of loss felt by the entire family of humanity within my circles. 


Many people who pass, touch us individually in different ways. They leave finger prints of love, laughter, leadership and leading lessons with us. 
In order for humanity to look back at their beautiful testaments, contained in the scrolls of their life signature and connect instantaneously with the rich heartfelt lessons left us to saviour. 
In life, a mirror of one's lifespan hanging before us, with its inverse image capturing a face of death. Such a sad reflection paralyzes and left deep severe wound which may not heal even with the passage of time. 


For if you walk in the shadow of the living, you walk not far away in the shadow of the lifeless. As such, it measures that, death of any anybody is death too close of home. 


For instance, where there was one dearest, to your heart, and such a dear soul is snatched away, disappearing within a wink of an eye from the face of earth mother, such surrender changed the cause of history. 


As such the fresh air you once breath with them, the environment you once shared together becomes mist, and eventually your time like those you admire will eventually run empty and be exhausted. 


As such one day, in the same way you rest your fellow travelers. The bell would toll for you, me and everybody at the time the season of sombre chime "Time's Up!" 


In a manner of accepting the inevitable. One accepts reluctantly an argument advanced which proclaims: mortal remains of our loved ones, upon transcending to the world of the dead is heeded for a better place. 


To be reunited with their kin and kith, in order to be rested on the arable bosom of the Mighty Higher Being and live happily after. 


And, one is led to believe, albeit religiously a perpetually sold genesis, passed from one generation to the next which constructively set one's mind at bay, and make you look forward to your one-way ticket. 


And, vow by a conveniently convincing conceived tagline which puts it succinctly. One who was and is now no longer, would henceforth come only through dreams to pay visitations and disappear without giving much in terms of where they are. 


This we are led to believe is the one and the only available way in the afterlife. Mysteries of all mysteries, in instances, after going through an agonizing bereavement. 


We are console and assured our beloved ones are destined to reside in eternal bliss. Where there's prospect for posterity and possibility for prosperity, with no punishment, poverty, pain or pang. 
Those left behind, stand at the crossroad, their void is filled stories telling them those who left now stay in a land of the holy, and they are housed in heavenly homes coated with gold. 


At times, when grief cast its shadow on a pathway of family of humanity. A commonplace trait in a child in me, is to confronts paternal and maternal omnipotent beings to search for convincing answers. 


The mourning baby in my heart, would want to know, matter of fact what's the reason for living, if we are going to die? 


This child never ceases to ask simple yet unanswered questions, which keeps popping up, in the event of every death. 


It enquires, and wish to know why we die? As if, it knows why we are born. Save for somewhat (un)convincing theories, advanced from scientific perspective, spiritual realm including cultural and religious belief systems. 


These ambiguous yet mystical believable truth or fictions, however smartly packaged, bring with it an unbearable and burdensome illusion like death itself. 


Quite interesting, this line of thought is at the heart of one's existential. All times this réchauffé is push down one's throat allowing no space to challenge. 


Somehow, death is in need of redemption! How it operates is as unpredictable as its sting. Sometimes, I wish to buy in the tired cliche propagating that, when one's name is called ones, crown awaits you on the other side. 


However, in my case I want to begrudgingly accept what the world feeds me. And, stop questioning the dictates of the natural progression of earthly explanations. 


It is worth acknowledging and accepting a call from the ancestral world means what it really means that you are no more. Perhaps, when one answered at whatever cost the call, they would have no misgivings. 


However, each time I do surrender to the whims of some teaching without any reservations. A child in me wants to understand, why if we made from the soil must we go back to the source which is the soil and disintegrate to nothingness. 


Why is eternity not on earth, because those we live with who become our friends and family impact on our own lives and leave a lasting legacy when the curtain of their performance is pulled down and come to an end. 


Leaving us the poorer and more paralyzed for life, yearning for their wisdom, which is gone forever. In the event of death, unfortunately, whether one take to the streets, carrying placards with all sorts of demeaning slogans challenging and castigating death. 


Nothing is likely to change. Death, but like a tyrant keep inflicting pains to humanity. Electing to keep a blind eye to heart wrecking scream, and leaving a bad taste in the mouth. 


In the wake of its appearance, ignoring any plea for clemency. No matter how disparaging one writes about death. One thing for sure, death keeps on driving nails of sadness in one's heart. 
There's nothing in life which compares to the sorrow one feels on receiving the news of death. Whenever, death takes over the reign, even the pain of losing a lover seem lighter. 


Because those who leave us behind, will never even once become a part of us again. In reality, death is as acute as a tsunami which leaves destruction. 


Death target those we can ill afford to lose. In the event of death, death pierce permanent incision on ones psyche. 


Death like a callous volcanic phenomenon leave indelible marks. If I were to write to death, I would run out of surreal words to describe it. 


It is not my intention to either condemn or celebrate death, because in deaths language tomorrow if its not my turn, is going to be somebody I know, until it touches me. 


Yeah, no matter how one interrogates and ponder the real meaning for death's existence. You end up walking on a wobbling tight rope. 


One always, like the sun rising from East and setting from West, remain in limbo wherever trying to make sense of why death leaves a permanent stain on our unsoiled fabric. 
It's a foregone conclusion that from the beginning of time. Death's seasons scoop septic wounds in our system. 


Death can never be said to be like a familiar winter which brings biting cold but we always look forward to embrace. 


Death is never compared to the caressing summer's days which brings sweltering heat and soothing sun rays but leaves us looking forward to tomorrow. 


Death on the one hand, whenever it rears its head, the beautiful and bright light of sunny summer days turns into gloom days. 


Death on another hand, wherever it knocks on the door, its intoxicating waves of doom turns the biting cold days into colourless. 


Death like someone watching life in slow motion. Eat on those who play host resolutely like cancer nd leave them daze for the rest of their lives. 


Death, now and then keep on reminding me humans that respect for humanity is nonexistent. To compare death to a bully is an understatement. Maybe at this point it's worth asking. 


Who are you? What are you made off? Where do you hide? Why target humanity? When are you rested? When exactly are we to be desensitized to your yoke? How do we deal with the aftermath of your visitation? 


At times I wish to buy in, in the hypothesis that nothing is forever. But, you, known as I know that your death on the one hand you are an unfair player in this game called life. 


Like surreptitious snake with an insatiable appetite, your death come unannounced. 
Your hunger to feed on those we love rob us of the best brains. It strips us of those we smiled with, and those we shared special moments. 


Oftentimes, you waylay those whose gift made us have a reason to love life. It's your last words which dethroned Chris Van Wyk one so beautiful with words. 


If you care to read this Ode to Chris, death, my words are dripping with disbelief. Herein is a tribute to a maestro wordsmith. Man among man who made words to dance, laughter and whisper softly in our ears. 


Yes, death you have taken with you a gentle giant. It necessary to doff my hat to a fellow traveler. The late Chris Van Wyk was words, and words began to shape and define his entire world. 


He was covered with words and had the knack to brew them like potent homebrew. His words at time glistened like minerals. He builds a mine of words, and dig them to enthralled, entertain and educate. 


To shelter himself from the mundane, Chris escape to the world of words. A word which offered him solace. He lived unapologetically in an environment exploding with beautiful, blessing and bull-shitting words. 


Using the art of sawing with word, he knitted for his people an anti - apartheid full proof garments which was wrapped round bodies of men and women who rise against the hostile regime. 


As Chris' words were in the beginning, so will they be in the future. To many who were influenced by his words, he would remain royalty, a real king of the word. 
Such was the sparks of affinity between Chris and the cutting-edge words he so delicately and dedicatedly makes. 


He loves and invested dearly in words, for his entirely life. One would be forgiven for think Chris was born clasping words in his hands. 


These words he never once, contemplated to divorced, distance and desert them, to in pursuit another glorious career path. 


For as long as I knew Chris, his suitcase was brimful of his worldly words. His words opened for his readers the prison doors and gave us picture of torture of our brothers and sisters. 
He makes us travelled to the world that traces footsteps of our leaders. Thought his words he was able to immortalized Mandela for countless world children, of the world. 
His words offered sanctuary for those in need of forgetting their hardship and seek answers from his words.  


To honour his delicious words, Chris remained loyal to his words. Words also served him well, he also reciprocates by remaining a part of them, until death do them apart. 
Chris was joined to words for life. To someone like me, Chris taught me a lesson to commit to doing what one loves unconditionally. 


In my mind I imagine a scenario where Chris even as he gasps the last breadth. Holding his pen writing to his dear gods. Before dropping his instrument of trade for some in our midst to take over where he left over. 


Never have I witness such a committed person to his work. Like a Foot soldier leading from the front, Chris carried his words with his shoulders held high. 


He was always standing upright, and carried his arsenal like a well drilled patriot. Whose well-oiled rifle never malfunctioning and misfires no matter the answering, rat-rat-tang heavy fire of the enemy, stationed on the other side. 


Chris was known for firing a volley of touching words with his loaded rifle, inside the heart of the dispossessed, spurring them to live in hope in a hopeless and wretched world. 
He was also not shy to train his lethal missiles powered by poetic justice to the bastion of the untouchable oppressors. 


Each time, whenever his poisonous missiles hit the target, he use to smile sarcastically and counting his casualties. 


Chris was known for employing word like mortar bombs to implode the whole of the apartheid infrastructure from its foundation, and blow them to smitten. 


Leaving in his trail mountains of debris which humiliated the power that be, within the Pretoria security apparatus. 


Each moment Chris was tirelessly and carefully Moulding words like a sculpture does to his or her bust sculpting the model with nibble hands. 


He created a world of words for his endearing audience to worship. His writing was a glorious church where some went to pray for a lifetime. 


Paying reverence to the stream of healing flowing with sweet words until kingdom come. Chris' bold body of words, words he himself masterfully crafted, reminded us of time trapped and frozen in spaces familiar yet unfamiliar. 


The very words of Chris became a language of inquest, a vocabulary of innocence, a dictionary of intrigue, a bible of innovations, a voice of interrogation, an inspiring text and an instrument to investigation injustices. 


As if those words respected his own wishes, they also lived in him, in the process defining this wordsmith's universal interpretation of the world within, and a wretched world. 
Through his well packaged words Chris campaign for classless communities and colourless coexistence. Through his words he was able to offered counsel to those conquered and crushed by colonists. 
He was a chief commander of words which became a clarion call to his generation and those who encountered him at a later stage. 
Through his wise powerful words, he offered counsel to those censured for claiming their own country. Through his words he coordinated circumstances of those club to submission by circumstances beyond their making. 
And, through his words he comforted and championed the causes of the conscientious. His words became a canvass from which comrades in camps carefully assessed the situation in the country of their birth. 


Here we were a Chris a chapter of bliss in the dark days. His verses of hope in flushed fear in our life as we challenged the system. 


His words help use as a nation to write a script of euphoria in our triumphant moment. His deep words to provide ammunition for activists to dance and shoot at the same time. 
But Chris lived life behind sandbag of words, firing bombardment of words, against the system of segregation. When he had disappeared in the world of world, he was fearless. 


During the most callous days of apartheid, he used litany of acidic words to fire bow and arrows tearing footprints and footsteps of our oppressor. 


He also lived in dreams and desire, loving life and was prepared through his words to risk life and limb. Mostly, because of Chris' modesty I was unable to tell him in his face that he was the light of life. 


In fact, he was undoubtedly the god of words in my books. He was able build paradise through hold no barrel words. His godly like writing elicited mixed feeling on many people depending on which side you were standing. 
The late Chris' make up was cloved with words, from the top of his head to the tip of his toes. Seldom do one encounter someone whose bloodstream flows with words in the best and worst of times. 


In the world of words Chris was beautiful. Outside the world of words Chris was a man of few words, in my own assessments. 


At SACHED Trust where his office was few doors away from mine, Chris chisel words, and if he had disappeared in the world of words he appeared at ease and content. 


Those who encountered Chris will remember him as a genius with words. Although it's been years I had exchange pleasantry with Chris Van Wyk, his words reached me anywhere and everywhere I was holed up. 


His books were always in my company. For those of Chris' fans who loved to hide behind his words. Chris has left a treasure trove of word to continue where he left off. 


Lala kahle Chris Van Wyk! 

By Zanele Mashinini 

 

Wednesday, July 13, 2022

Duke Ketye (1943 - 2002)

Duke Ketye (1943 - 2002)

Duke Ketye

People category: 


First Name:
Duke
Last Name:
Ketye
Position format:
8245
Gender:
Female
Location Of Birth:
Orlando east, Soweto, South Africa
Date Of Birth:
1943-06-06T00:00:00

Artist

Duke Ketye was born was born on 6 June 1943 in Orlando east, Soweto. Ketye attended Ematsheni Primary School in Orlando East, Soweto. He completed Standard VII in King William\'s Town and matric at St Francis College in Mariannhill. In I960 and 1961 he attended Lumko Art School in Queenstown and studied under Sister Pientia Selhorst C.P.S. He then moved to Mariannhill where he continued to study with Sister Pientia and Sister Johanna Sen until 1965. While there he was a awarded a bursary for a correspondence study course through the Famous Art School in Connecticut, USA. Between 1965 and 1968 he worked at Jads Badge Factory and then at Flora Ann ceramic factory and George Goch in Jeppe, Transvaal. In 1968 Ketye began painting and sculpting full-time. 

In 1970 he moved to Durban. In 1977 Ketye renovated some unused buildings at Mariannhill and founded the Mariannhill Art Centre, a gallery and studio space. Ketye ran the Centre and beginning in 1978 held group exhibitions of work by Rorke's Drift artists and the Vukuzenzele Weaving Workshop artists and one-person exhibitions of work by artists such as Michael Zondi and Ruben Xulu. Between 1981 and 1983 Ketye lived in Port Edward with potters Steve and Angelique Kirk where he learned about pottery and ceramic sculptures. He then went to Venda where he opened a screen print factors' at Makhado. Ketye's work has been exhibited at the U2 African Arts Festival and he has also served as a judge for the exhibition.

Exhibitions: 1965: DAM (Bantu Inter Faith Art Exhibition). 1968: Mona Lisa Art Gallery, Johannesburg (solo). 1971: NSA, Durban (solo). 1972: NSA, Durban (three-person exhibition). 1973: Pretoria; New York, USA; London, UK (group exhibition sponsored by the Bantu Investment Corporation). 1975: Art Society, International Monetary Fund, Washington, DC, USA (solo). 1977: NSA, Durban (three-person with Sokhaya Nkosi and Michael Ntuli). Pietermaritzburg (Living Arts Festival ”” group). 1980: NSA, Durban (solo). 1981: Carlton Gallery Johannesburg (group). 1984: Venda Sun Hotel, Thohoyandou (VhaVenda Art Exhibition). 1986: FUBA (group). Ditike ”” The Craft House of Venda (group).

Commissions: 1974: Wood panels commissioned by Evan Mackintosh and Associates, Architects for municipal buildings and library in Walvis Bay. 1975-6: Wood panel for Natal Blood Transfusion Service, near Pinetown, Natal. Wood panel for Seminary College at Umtata. Stations of the Cross for a Roman Catholic Church at Basotho Qwa Qwa near Harrismith. 1978: Mural paintings for the Glebelands Beer Hall near Durban. 1979: Illustrations for Zulu Bible, Indaba Enhle ka Nkulunkulu (The Good News of God).

Collections: KC; UZ.

References
• Sack, S. (1988). The Neglected Tradition, Johannesburg: Johannesburg Art Gallery.

Orbituary: Hamba Kahle Duke Ketye (1943 - 2002)

Orbituary: Hamba Kahle Duke Ketye

Well known artist, sculptor and art teacher Duke Ellington Sipho Ketye died on Wednesday the 17th July when he suffered a fatal stroke.

He was born in Orlando, Soweto in June 1943 and after completing his schooling in King Williams Town attended the Lumko Art Centre in Queenstown. He later transferred to Saint Francis College in Marianhill, Natal and while studying there won a bursary to study by correspondence at The Famous Art School in Connecticut, USA.

Duke participated in numerous exhibitions throughout his career, his first solo exhibition in 1968 at The Mona Lisa Gallery, Johannesburg and from 1972 - 74 he was part of a group exhibition that was shown in Johannesburg, Pretoria, New York and London.

In 1975 he was invited for a solo exhibition by The Art Society of The International Monetary Fund in Washington DC and in 1989 he exhibited alongside the likes of Winston Saoli, Durant Sihlali and Speelman Mahlangu in a group exhibition held at The Oglethorpe University Art Gallery in Atlanta, USA. In 1995 he was chosen to be one of twenty one artists from eleven African countries, the USA and Britain to partake in a Sculpture Workshop under the auspices of the Breton Hall Centre for Applied Studies in Sculpture in Yorkshire, UK.

His last exhibition was a group exhibition at Go-Ra Gallery, Parkhurst in May this year, alongside two stalwarts in Naama Nothmann and Orlando de Almeida.

Although best known for his religious sculpture, for which he received numerous commissions, he was also commissioned in 1972 by the South West African Arts Commission to make a set of wooden panels depicting life in Namibia. These panels are today displayed in the Walvis Bay public library and city hall. In 1975 he produced wooden panels on commission from the Natal Blood Transfusion Service in Pinetown and recently, 2000, was commissioned by Monte Casino, Fourways to do a number of carved panels for the main entrance doors depicting the four seasons and the four elements. Duke was influential in helping younger artists realize their talents in his capacity as art teacher at St Francis College, Marianhill from 1976 - 78 and later in the years 1983 - 85 at Khalaba Art and Silkscreen, Venda.

He leaves behind his wife Meisie and five children who live in Orlando, Soweto.Submitted by the Go-Ra Gallery in Parkhurst, Johannesburg 

Friday, June 10, 2022

Zanele Mashinini - the greatness that would not yelp in pain but soldier on

SIPHO MABASO

sipho.mabaso@inl.co.za

ZANELE Mashinini (1962-2021) was a polymath.

He painted artworks of protest, scripted stage plays of dissent, wrote poetic verses of defiance, designed Struggle-era rally posters, led campaigns against the HIV/Aids stigma, founded entities to advance the careers of fellow visual artists, and partook in progressive political activism to end apartheid: an avowed dedication to the creative arts as a pillar of cohesive societal renewal, ergo, an artist.

Encouraged in his salad days by his working-class parents, especially his mother Ma Moloi, to pursue his artistic inclination and talent, Mashinini’s 2018 prose-poem, Women’s Month Anthem, posted on his blog – http:// zanelemashinini.blogspot.com/2018/ – in praise of the dames, reads: “Greetings Queen Mothers! How do I speak to the breasts? Suckled to a point of no return, yet giving and giving on my demand, because your beautiful figure has been anything but a workhorse, light to those in search of illumination. Happy Women’s Day every day.”

The young Mashinini, who was educated in Soweto at the AB Xuma Primary School and later at Orlando High School in his teen years, was influenced by a variety of eminent artists, among them Gerard Sekoto, Fikile Magadlela and Basil Baqwa, who, in the 1970s, was approached by Mashinini’s grandmother to coach the then young shoot in the science of the creative arts, wrote Lehlohonolo Lehana for an online publication, Full View.

In a December 4, 2019, article, “The life and struggles of artist Zanele Mashinini,” the artist told Lehana that all of his work was guided by a simple philosophy: “If others carry guns to challenge the diabolic status quo. I carry a more potent armoury: my art.”

The Mashinini family home was a short walk from the Donaldson Orlando Community Centre (DOCC), in Orlando East, Soweto, which was then teeming with artistic activities. Fortuitously, the United States Infor- mation Services library helped quench Zanele Mashinini’s quest for knowledge as he plunged his nose into the authored works.

Mashinini navigated his way through the years to receive instruction in visual arts, creative writing, graphic design, photojournalism, journalism and communication, and Aids management, after which he shared his knowledge and skill when he tutored children in visual arts and drama in Soweto.

He blossomed as a fine artist, with exhibitions in Soweto, Alexandra, Mthatha, Cape Town, and then on to the Ivory Coast, Germany, France, United Kingdom, United States and Portugal.

Yet, even as a celebrated artist and activist among his peers, a revered leader of his generation, particularly in the arts, he was much focused on the elevation of black South Africans above the Dickensian triple challenge of poverty, suppression, and privation,








ZANELE Mashinini is a visual artist and AIDS Activist, born in one of the oldest townships in Soweto (Orlando East). | Supplied

Black and White, by Zanele Mashinini

BLONDIE Makhene and Oliver Tambo, by Zanele Mashinini.

as he remained that life force of which George Eliot (Mary Ann Evans) in Silas Marner (1861) referenced as “the old echo that lingers and refuses to be drowned”.

Art was Mashinini’s weapon, as political activism through art was his commitment.

As we commemorate the Soweto June 16 student uprisings, activist art- ists such as Mashini will be remem-

bered as having played a pivotal role in our liberation struggle at a very tender age.

His artistic design skills enabled him to employ his craft, in the 1980s, in the design of anti-apartheid pro- motional material for grassroots organisations. These included labour federations, underground political organisations, youth development associations and the Release Mandela Campaign. He also scripted the lyrics to the Vuka Africa single that featured about three hundred musicians, as well as the design of a South African Post Office stamp that celebrated the 1996 Africa Cup of Nations.

His alma mater, Orlando High School inducted Mashinini into its Alumni Roll of Honour.

Zanele Mashinini’s younger brother, Nume Mashinini, in remembrance of his sibling said: “I have never seen Zanele without a pen and paper since the days when we were young boys.”

Nume said his brother was “very unconventional” in that: “He lived his life through the prism of art, a true artist.

“When Zanele was about 15 years old and I was three years younger, in the 1970s, he showed us a portrait of Nelson Mandela (South Africa’s first democratically elected president who was persona non grata with the apartheid regime at the time) that he painted.

“Where he got the picture of a

banned individual, we didn’t know. My parents got such a fright, they hid his painting materials. Zanele then used actual coal to paint his art- works, which I thought was quite innovative.”

And Mashinini had a naughty streak.

“He painted cartoons of relatives who visited our home, complete with conversation bub- bles of who said what to whom, which was really funny to read,” said Nume.

“He (Zanele) did a lot of things in art: poetry, as an actor in stage plays, fine arts, even writing,” said his long- time mentor and friend, the graphic artist and art teacher, Soweto-based Muziwakhe Nhlabatsi, who, while a graphic designer for the Ravan Press’ Staff Rider, designed, in the pre-1994 Struggle-era, the title covers of emi- nent authors such as Can Themba and Mtutuzeli Matshoba.

In spite of their “about 20 years” age difference, Nhlabatsi said he shared with Mashinini a camaraderie and professional understanding from when Mashinini was still a teen fasci- nated with all things art. “I met Zanele when he was about 14 years old.”

Nhlabatsi said when, with anti-apartheid activist and publishing editor Kevin Humphrey, they started an NGO, Graphic Equalizer, for youth to be trained in graphic design, he invited Zanele to the programme,

The Clock, by Zanele Mashinini.

which was based in Braamfontein (Johannesburg).

“We designed promotional mate- rial for the ANC and the trade unions, around 1985, mostly activists connected to the ANC, PAC and the Black Consciousness Movement.” They were compelled to shut their doors due to incessant police raids, and Kevin (Humphrey) then left the country for Britain.

Though death intervened – leiomyosarcoma cancer, last year, November, about three months after his 59th birthday on August 2, before Mashinini could complete the entire stretch of his life’s mission – he is remembered as a great, yet humble, polymath whose A.D. is worthy of the pen of history. 


Saturday, November 13, 2021

Zanele Mashinini Ndodana in memory of Malume Delane Daylight Mashinini and MaMloyi

Zanele Peter Mashinini - ZanMah


Ndodana in memory of Malume Delane Daylight Mashinini and MaMloyi

Ngikhumbula ngihlangana naye Orlando East e-Circleni duze nakwa Kopane Funeral Parlour, kulama-shops are opposite. Ngikhumbula my twin cousin brothers u-Bra Sam no Zakes bebevule (Hair salon) indawo yoku lungisa izinwele ye-fashion during the period ye popular S-Curl elokshini which was first promoted by Felicia Mabuza Suttle from the the USA. U-ZanMash wafika kune-Free promotion ehamba ne-group yama friends akhe. Waba nenhlanhla wathola ke naye S-Curl treatment yezinwele zakhe ngoba bezizinkulu futhi zizinhle. [kanti i-family nje inezinwele ezinhle]

Ukumbona kwami wangikhumbuza amazingly u-Malume wami owashona ngisemncane u-Adam Mashinini [structuraly or i-Physic yakhe i-comical and cartoonish njengawe ZanMash] e-Bloemfontein – nangempela ngathola ukuthi usiyihlobo sami ngo-Mama wami u-Nomaseko Mashinini. U-Adam uye owangi introdusa eku-understandeni ukufa because ngangicala ukubona abantu abadala bekhala and I was confused as umntwana. Later from time to time sasihlangana njalo mangise Orlando East. Ngaze ngaya nasekhaya ukuyohlangana no-Malume uDelane Daylight Mashinini no-Malumekazi uma-Mloyi. Bajabula kakhulu ukuthi sazane nokubonana.

Ekuhambeni kwesikhathi sabuye sahlangana - u-ZanMash seka interested ku-Art ne-Poetry kanye ne-Theatre nothando lo-Music kanye ne-Photography futhi besi jwayele ukuhlangana kwezom-Mzabalazo. Later wangitshela ngomfowabo u-Minus owayese-exile, ebased e-Swaziland. Owahamba ngo-1976. Saze sahamba komunye unyaka sayohlangana naye ekhaya kwa-Mahlanya eLobamba. Lapho owahlanga nobaba u-Malizandla Nhlabatsi kanye nomndeni wasekhaya. U-ZanMash kanye nomfowabo u-Nuwe be-b busy bebhala nomfowabo omdala yena u-Minus osewashona ngenxa yezoMzabalazo – ngiyathemba izopublishwa kungekudala ezoba isikhumbuzo.

Ekuhambeni kwesikhathi lapha eMzansi nami ngangi busy ngoku-pruducer ama-artworks for Raven Press eyayi publisher i-Staffrider imagazine eyayi supporter umphakathi owawuthanda ukubhala i-Protest poerty kanye nemibhalo yoMzabalazo. Ama-editor kwakungu-Jaki Seroke kanye no-Mothobi Moutloase kanye ne Director uMike Kirkwood. Nami kelapho ngahlangana no Kevin Humprey owasuggester ukuthi siqale i-Graphic Studio eyoku-producer izincwadi ezazishiqilelwa yiyo Raven Press. Sayiqalake sayibiza ngokuthi i-Graphic Equaliser lapho esa–sebenzisana no-Andy Mason a cartoonist, Reedwaan Vally owaba yi-Typesetter kanye Caroline Cullinan. Ezinye iznhlanganiso ebesisebenzisana nazo yilezi [The Release Mandela Campaign, SACC, New Nation, SACHED Trust, Learn & Teach, various Workers Unions, Student Organistions, Black Conciousnes Movements, Africanist organisations and Weekly Mail to name just a few grassroots organisations].

Ngenxa yokuqina kwezamaPhoyisa e-Apartheid bekunzima ukwenza imali engasilingana sonke, babesibheke njalo ngehlo-loKhozi. 

Ekuhambeni kwesikhathi sayishintsha iGraphic Equaler sayenza indawo yokufundisa ama-up and coming artists amancane nge Graphic design. Umfundi wethu wokuqala kwaba uMpikayipheli Figlan, kwalandela uZanele Mashinini kanye no-Jasper Galela. Ekuhambeni kwesikhathi ngabuyela e-SACHED Trust lapho engagisembenza khona kudala. Ekuqedeni ukufunda uMpikayipheli Figlan wathola umsebenzi e-SABC then laba-ababili bangilandela baya e-SACHED Trust. Lapha ke wathola indlela yoku-supporter ifamily yakhe encane ngoba ubese eshadile.

U-Zanele e-SACHED Trust waye muntu osiza kakhulu kwezo-sebenzi kanti waye thumeka kalula – ahands on. Ngangimcela ezikhathini eziningi eziningi ukuthi ayongilandela abantwana bami ababe funda e-Morning Side e-Red Hill. Indodana yami encane yayifanele iyothwasa Lusikisiki e-Eastern Cape bude budeze nase Magwa falls [not far from the Eastern sea Coast [Wild Coast Region]. Indawo yakhona ayinama Taxi therefore kuhanjwa ngezinyawo for roughly two and half hours and having to cross two rocky rivers – wehla intaba uhamba phakathi ehlathini [icellphone network ayikho]. 

Abafana namantombazane bakhona kuba yibo ama-porter abathwala izimpahla zakho bakukhaphe ukuya nokubuya. Kulaba abathanda insango yindawo abangayijabulela ngoba imila yonke indawo nasemahlathini. Namaphoyisa awazihluphi ngokuyobabopha ngoba angalahleka emahlathini. U-Zanele ukhaphe indodana yami three times ukuyakhona. Mina ngiye kanye kuphela ngoba ukuhamba ama-hours angaka kunzima. Laphaya mawuzo-Lobola izinxoxo sezi hambe kahle – nibuyela emuva banipha isaka lonke lensango. Ngikhumbula i-Commander ye-SANDF [South African National Defence Force] yayiyoLobola yazi thola isekingeni ngaleso simo ngoba bamupha isaka leNsango waxakeka ukuthi uzolenza njani mayebuyele khaya kuma Roadblocks.

Ngenxa yesimo seze Politiki kwafika [ama-negotiations] isikhathi la amakhehla ayevalelwe e-Robben Island akhululwa njengo Rolihlahla Mandela kanye no Walter Sisulu nabanye kwaba ne-CODESA emva kwalokho. Abatshala izimali ama-funding partners ba-overseas base-bayanciphisa ukusiza ngezimali kuma NGO ngoba bethi inkululeko seyifikile. Ngalokho I-Sached Trust yavalwa sehlukana lapho mina ngaya Maskew Miller Longman yena waya eDepartment of Health kwi-AIDS Unit lapho asebenza ngokuzimisela okukhulu. Ekuhambeni kwesikhathi sabuye sahlanga masengisebenza e-Gauteng Premiers Office kwi-period ka-President Thabo Mbeki kanye no-Sam Shilowa lapho esasebenzisana futhi kahle kakhulu.

U-Zanele esikhathini esiningi waye ngumuntu onokunyamalala. Uma umbuza ukuthi bowukuphi athi bengise-Mozambique or a Cape Town or bengise-Zimbabwe ngiyo Thwasela ubungoma. Anyamalale futhi athi yayi ngise Siluma View nakhona ngisaqhubeka nezinto zedlozi. Maye nginikile i-address ngiye ngiyomhlola. Wabaluncedo kakhulu kumfothu omncane owaye phuma ukuyofunda e-Kenya enezinkinga zoMzabalazo. Kwesinye isikhathi athule du ungazi ukuthi uyomfunela laphi.

Ngakwezenhlala kahle waye umuntu enezonkinga zomoya njengawo wonke umuntu ezimenza ukuthi abe umuntu ongathi uthanda ukuzula nokunyamalala. Emva kokushona kwadadewabo uKhosi wanyamalala waya Durban lapho aye sebenzisana nabathandi bezama-Museums kanye nezihambelana ne-Art ababizwa ngokuthi Phansi Museum Trust. Kulapho ke ukugula kuyekwamfica khona kwaze kwa thatha impilo yakhe sisa linde lukhulu kuye.


/> In Loving Memory Of Kevin Michael Humphrey  Kevin and I grew up together in Durban. He was actually my brother Tony's friend an...