What could the curriculum be – if it was designed by the people who dropped out of school so that they could breathe? The latest issue of Chimurenga provides alternatives to prevailing educational pedagogy. Through fiction, essays, interviews, poetry, photography and art, contributors examine and redefine rigid notions of essential knowledge.
Presented in the form of a textbook, Chimurenga 15 simultaneously mimics the structure while gutting it. All entries are regrouped under subjects such as body parts, language, grace, worship and news (from the other side), numbers, parents, police and many more. Through a classification system that is both linear and thematic, the textbook offers multiple entry points into a curriculum that focuses on the un-teachable and values un-learning as much as it’s opposite.
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Inside: Amiri Baraka waxes poetic on the theoretics of Be-Bop; Coco Fusco flips the CIA’s teaching manual for female torturers; Karen Press and Steve Coleman instruct in folk-dancing; Dambudzo Marechera proposes a “guide to the earth”; Dominique Malaquais designs the museum we won’t build; through self-portraits Phillip Tabane and Johnny Dyani offer method to the Skanga (black music family); and Winston Mankunku refuses to teach.
Other contributors include Binyavanga Wainaina, Akin Adesokan, Isoje Chou, Sean O’Toole, Pradid Krishen, E.C. Osundu, Salim Washington, Sefi Atta, Ed Pavlic, Neo Muyanga, Henri-Michel Yere, Medu Arts Ensemble, Aryan Kaganof, Khulile Nxumalo and Walter Mosley amongst others. Cover by Johnny “Mbizo” Dyani.
U Grand Malume? Sizakele Nkosi (Botsotso, 2023)
In this debut collection of 48 poems, Sizakele Nkosi reflects on her childhood and daily life and relationships in Soweto, the heartbeat of Black Jozi. Her parents, her own children and extended family provide a rich context for characters like gog’ sis Phakama who, while flaunting her renewed, middle-aged sexuality, is the chief mourner at family burials, and her BEE mzala (cousin) who evokes reactions of envy and disapproval because of her nouveau riche lifestyle.
Ever-present is the energy of the erotic life which charges the poet with the will to continue despite the restrictive hold of a strict Catholic upbringing, as well as a sense of profound disappointment with the rising social crises that afflict our society. Lastly, one should mention that Nkosi’s free-flowing style and careful use of Zulu phrases root the work in kasi life and make it a remarkable record of our times.