Kim Karabo Makin - Satellite Activism

April 25, 2024 00:25:03
Kim Karabo Makin - Satellite Activism
Ja Ja Ja Nee Nee Nee
Kim Karabo Makin - Satellite Activism

Apr 25 2024 | 00:25:03

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Show Notes

A 3 part sound collage & audio-visual broadcast for Ja Ja Ja Nee Nee Nee

Duration: 25 minutes

Production by Thabiso Keaikitse

This broadcast marks the end of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022.

Artist statement by Kim Karabo Makin:

An intertextual audio essay which endeavours to explore the transnational space that Medu Art Ensemble has occupied historically ‘in another South Africa’, with a focus on the route that connects Gaborone, Botswana and Amsterdam, the Netherlands (via Chicago). Satellite Activism notably traces the life and legacy of Medu Art Ensemble in contemporaneity, with a particular look at themes that connect the Culture and Resistance Festival and Symposium, 5 – 7 July 1982 in Gaborone, to the Culture in Another South Africa Conference, December 1987 in Amsterdam. Additionally, with particular reference to the Art Institute of Chicago publication The People Shall Govern! Medu Art Ensemble and the Anti-Apartheid Poster 1979-1985, the project extends off of my exploration of ‘the living archive’ – a live sounding of the archive as expressed through lived experiences and shared storytelling, where my practice considers the DJ as an archivist.

*Use headphones for optimum listening experience.

I do not, nor do I claim to own some of the selected clips, sound/video archives. These are all available online by their respective owners for free and fair use. This collage is for research and educational purposes only. Please contact for full reference list.

Part 1: out of site, out of mind

2022

duration: 6 mins

The voice of former poet laureate of South Africa (2018) and founding member of Medu Art Ensemble, Mongane Wally Serote opens with an analogy that explains how committed cultural workers collectively formed Medu’s ethos around 1978. Picture Hugh Masekela and Jonas Gwangwa playing their trumpet and trombone respectively ‘underground’ – what might it sound like as you walked underground towards the jazz hall, and eventually ‘opened the doors of culture’. What does art in the underground look and sound like? And in what ways might this have left an imprint on the site associated with Medu’s powerful red, black and off-white poster, Unity is Power. 2935, Pudulogo Crescent, Gaborone – across from the University of Botswana (established in 1982 as the first institution of higher education in Botswana), and adjacent to the Alliance Française (a cultural centre and hub for language, arts and culture locally, notably also engaging in cinema festivals and symposiums that include both European and local film). I am interested in unpacking and sounding this specific site as holding a particular cultural significance internationally, for it’s ties to Medu, despite not having been monumentalised in our local memory. In addition, out of site, out of mind is particularly concerned with exploring methods of recording the spatial and temporal dimensions of this site, with respect to my positionality in engaging this history, as well as themes surrounding exile.

Part 2: open culture

2022

duration: 13 mins

Open culture closely documents and contrasts the Culture and Resistance Festival and Symposium, 5 – 7 July 1982, in Gaborone, with the Culture in Another South Africa Conference, December 1987, in Amsterdam. In fact, my research highlighted that there was another conference that took place in Amsterdam from 13 – 18 December 1982, entitled The Cultural Voice of Resistance, South African and Dutch Artists against Apartheid. These three conferences, festivals and/or symposiums were all engaged in the Anti-Apartheid struggle with a particular focus on cultural boycott, where the 1982 occasions closely engaged members of Medu Art Ensemble. Leading figure of Medu’s visual arts and graphic design, Thami Mnyele (whom was based in Gaborone up until he was murdered in the June 14 South African Defence Force Raid on Gaborone in 1985) is remembered as having left a lasting impression on Dutch artists, politicians and people interested in cultural exchange. His visit to Amsterdam in 1982 is said to have so inspired the running and continuation of the Thami Mnyele Foundation in Amsterdam to this day. Imagining 1982 – 1987, with respect to Gaborone and Amsterdam as sites of international activism, I am particularly interested in remembering and tracing these events approximately 2 and a half years either side of the June 14 Raid. Where 1985 is described as the year that Gaborone ‘lost its innocence’, I am concerned with investigating this moment in time as a traumatic turning point in Botswana’s Art History and subsequent creative development. Furthermore, I am interested in unpacking what connects Gaborone and Amsterdam amongst other notable cities around the world (like Chicago), as satellites, historically entangled with Apartheid South Africa and the Anti-Apartheid Movement.

“Medu’s Culture and Resistance Festival and Symposium in Gaborone, Botswana, in 1982 and the Culture in Another South Africa Conference, held in Amsterdam in 1987, are but two examples of the heightened degree of organisation that cultural activism assumed.”

(Gule in Byrd & Mings, 2020: 47)

Part 3: intergenerationally

2022

duration: 6 mins

Refocusing on the potential for the moment that marks a part of the life and afterlife of Medu from 1982 – 1987, this piece considers the extent to which this fragment of the archive lives on in us today. By drawing connections between fathers Mzwakhe Mbuli – also affectionately known as ‘The People’s Poet’ and Keorapetse Kgositsile – former poet laureate of South Africa (2006), and their respective sons, Robot Boii and Earl Sweatshirt. Intergenerationally is particularly concerned with considering sampling as a tool for curating the living archive. In so doing, I extend a conversation that presents Amapiano as well as popular music and/or culture, as methods for connecting audiences and passing on knowledge across generations.

View Full Transcript

Episode Transcript

[00:00:02] Speaker A: We're planning, the three of us were planning what to do, how to ensure that culture becomes a weapon of struggle, and so on. At the same time, we're conscious that because we're fighting, we must create institutions which will make sure that our actions come before what we say. So that when we say we have acted, which means somehow we must find an underground. So we're discussing this with the Democrat asks the question, how are you going to take arts and culture underground? Are you going to say, Huma Sakella must play his trumpet underground? Are you going to say, gwangwa must play his strong bone underground? And of course, we were startled. We were very startled. It was a good question. Yes, a very good question. And we didn't have an answer to that. We said, go and think about it. And we thought about it and we realized, release culture. You know, there's got to be front and center, open space for itself, but underneath, we should then say, use those platforms. How do we prepare people to be disciplined, to be political, to learn how to organize, to create organizations? [00:01:30] Speaker B: There's a drain that from Mozambique, Angola, Zimbabwe, Malawi, Botswana. [00:02:18] Speaker C: As I attempt to reconcile a history of my hometown that was omitted from my upbringing, I question the extent to which context is informed by place versus people. In the case of Mehdu, I suppose this begs to investigate the extent to which its history was as its founders in exile. [00:03:11] Speaker D: So I would like to say, when people ask, how is exile? It is quiet here, but that is a lie or a half truth here. The bad things I once said about memory come back. Memory is a thin, red hot membrane on the brain. It vibrates all the time, makes sound, rings and chimes, and once, when overused, can shrivel like burning plastic. Do not ask me what life is for. Like memory, it is thin. It vibrates and can shrivel. And once, long ago, I believed some people who talked about life being birds flying freely, you see what memory can do. But listen. [00:04:05] Speaker A: It Africa, my Africa. From the sheer countries in the savannah del Fuer. Africa of the proud warriors in the ancestral suvannans. Africa that my grandmother sees on the banks of the far river. I've never known you, but my gaze is filled with your blood, your beautiful black blood spread over the fields. The blood of your sweats, that sweat from your eyebrow, the sweat of your labor, your eyebrow, your labor of slavery, the slavery of your children, the slobber knife when you kindled Africa, tell me, Africa, are you the back of bands? It lies down under the burden of humiliation. That trembling back full of red yes. Then a voice answered me with earnest quietness. You feel your son this strong, young, that too there beautifully around white with its flowers, the bitter tastes of medicine. All that. To Sara. [00:09:58] Speaker B: Apartheid is the creation of the west. You see, it is not a boer phenomenon. Or a purely a maverick phenomenon. Among some lost Afrikaans. [00:11:08] Speaker E: At the end of this week now we are feeling a little sad. Because for about a week. All the delegates who came here on behalf of the AMC and of Mehdu. Are people who are flung all over the world. We are refugees, exiles. We do not get an opportunity in our own country. To show our talent. And to express our love for our people and for our country. [00:11:40] Speaker A: Dear fellow artists. You came all the way from South Africa, or whatever corner in the world. To meet here and to discuss your cultural heritage. And to struggle as cultural workers. For a future democratic society. In which people are allowed to respect. [00:11:57] Speaker F: One another, to express, to see, to curate, to create, to probe, to collate, to study, to embrace, to subvert, to listen, to publish, to celebrate, to appreciate, to link, to going, to challenge, to educate, to honor, to remix, to experiment, to enrich, to counsel, to revolutionize, to communicate, to refine, to partner, to laugh, to contemplate, to provoke, to illuminate, to shrivel, to energize, to surrender, to synthesize, to question, to conceptualize, to agitate, to resuscitate, to substantiate, to navigate, to animate, to ready, make, to piss, take. To be continued. To acknowledge and applaud. Applaud. [00:13:17] Speaker A: SA. [00:13:58] Speaker G: We are very happy and also very proud that during this conference. There are alternative links between dutch artists, dutch artist organisations and the ANC have been established. It means that what happened during the last 30 years. The official cultural treaty between the Netherlands in South Africa. Has been broken down radically. And it has been broken down not because the government wanted it. It has been broken down because the artist organization themselves campaigned for it. And the solidarity movement. [00:14:34] Speaker B: That the doors of learning and culture shall be opened to all. We must be saved. And the only saving that there is is in the richness of the culture. And the means whereby this future richness of that culture can be attained. I don't think I need speak at any great length on this point. The very fact that the cultural accord has been broken, has been terminated. Indicates that through the efforts of the people of this country. This recognition has gone very far, has gone very deep. [00:15:54] Speaker A: Saul. Like. [00:18:59] Speaker H: I don't know. I think to isolate a country is also a problem. Because then you have no contact anymore. [00:19:06] Speaker A: No, you are not isolating the country. You are isolating the regime. It is simply tactical, you know. We are saying the people of South Africa should not have any kind of contact or exchange with the world. I'm saying the Bata regime does not have a right to have any contact with the world. If the world is human. [00:20:58] Speaker B: A new man is born. Do something to facilitate change in Africa. Do something to fling the dogs of folksmore and roman island prison wide open. Do something favourable for the exiles to return back home o Africa. Let all this be done before dawn, o peace loving South Africans. Let it be done before dawn. Do something to facilitate change in Africa. Do something to fling the doors of Baltimore and robben island peasant wide open. Do something favorable for the exiles to return back home o Africa. Let all this be done before dawn. All peace loving South Africans. Let it be done before dawn. Let it be dance before dawn. Let it be done before dawn. Let all this be done before dawn. All these loving South Africans. Let it be done before dawn. [00:23:15] Speaker I: But we did not. [00:23:45] Speaker A: Let down. [00:23:48] Speaker I: It's a lot you wanna but. [00:24:19] Speaker A: Consider what staggering memories frighten Anna bought the group that should agree. Perhaps I should just borrow the remembrance voice again, highlight carrot and say, you know, the real deal to have a home is not a favor. It.

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