The month of June is known globally as World Pride Month, a month that celebrates and brings awareness to the LGBTQIAP+ community. In South Africa, Pride Month takes place in October, but throughout the month of June, much light is cast onto our colourful community through mainstream media and it doesn’t stop there. This June marks the first South African Intervarsity Pride Month Collaboration!
This will be the biggest and most exciting intersection of queer organisations with QueerUs, RainbowUCT, Activate WITS, Up&Out and Specturm all coming together throughout World Pride Month. This will in no way commercialise the LGBTQIAP+ community or use the community to benefit separate parties. We all know Rainbow capitalism during the month of June is an ongoing issue. However, this is purely a collaboration for the community, by the community to help raise awareness for, and celebrate our Pride.
If there is one thing that this global pandemic has truly taken away from us, it is a sense of community. Consider this: for many members of the LGBTQIAP+ community, who are excluded and made to feel unwelcome and accepted in their home environments, a virtual sense of union is the little that will go a long way. Add onto that the people will feel seen, acknowledged, and loved in a world that usually pushes them to the side? All I see here is a recipe for success in bringing smiles to people’s faces.
Look out for the first event which is already underway and will continue throughout the month of June which is the Queer Art Showcase where queer art will be showcased weekly! Engage in this showcase by following the prompts on the social media links which will be linked. You can also just watch and support as part of the community or as an ally. Simply log onto Instagram and search for queer.us or spectrum.tygerberg (both Stellies), rainbowuct (UCT), activate_wits (Wits) and tuks_upandout (UP).
Last month, January 2019, I attended the two day “Gender, (Inter) Generation, and Negotiating Power in Families Workshop” at the University of Cape Town (UCT). At the end of day one of the workshop, Professor John Comaroff, the distinguished professor of African and African American Studies and Anthropology at Harvard University (of Jean and John Comaroff fame) delivered the closing remarks. I was struck and inspired by Prof. John Comaroff when he closed the workshop as he spoke about hope. He said that it sounds like a cliché, and maybe it is, but in these social and economic tumultuous times we must keep hope alive as we struggle towards lasting solutions to the ills of our country, indeed the world.
As I was reading about the decriminalisation and the banning of discrimination based on sexual orientation, I kept on thinking about John Comaroff’s words about hope, and how Angola’s move instils a sense hope with regards to LGBT politics on the African continent. Angola’s progressive stance comes months after Tanzania was reported to have searched for and rounded up LGBT people in the country. There were reports that people were being brutalized and tortured and thrown into jail. Many LGBT people, and LGBT activists in Tanzania were reported as going into hiding fearing for the lives.
Angola is a beacon of hope in a world that is adamant about the brutalisation of LGBT people. While it might seem insignificant looking at the widespread persecution of LGBT people around the world, it is significant. It is a move in the right direction towards justice and human rights. Angola provides a progressive roadmap for the other 33 or so African nations that still criminalise same-sex intimacies. In Mauritania, Sudan, Northern Nigeria, and Southern Somalia those found guilty of same-sex intimacies potentially face the death penalty. Hope, then, is important in the troubled times we live in, times of increased fascism (United States anyone) and authoritarianism (did someone say Brazil), where human rights are undermined in the most disturbingly glaring ways.
Of course, one has to be cautiously optimistic because we know that decriminalisation and the banning of discrimination based on sexual orientation is only addressing part of the problem. Decriminalisation changes laws, but not hearts: there is much work to be done to transform families and communities where LGBT people actually live and experience everyday harassment, discrimination and sometimes violence.
While recognizing the limited effect that a change in the law will have on the lived reality of LGBT people, we can’t underestimate how changing of laws creates avenues for citizens to have recourse when they are victimized. The change of laws in post-apartheid South Africa has had profound effect on the sense of belonging of LGBT citizens in South Africa. The recognition afforded to LGBT people by the Constitution of South Africa became a catalyst, first for changes in the law, and then (and more gradually) changes in attitudes. This culminated, as it were, in the adoption of legislation recognising same-sex marriage. So, the changing of laws is a fundamental step in the process of ensuring the human rights and the human dignity of LGBT citizens. It is such an important step, that Pierre De Vos, convincingly argued that the Constitution “contributed to the constitution of lesbian and gay identity” in democratic South Africa in the aptly titled paper, “The Constitution Made Us Queer.”
It is impossible to speak about the decriminalisation of same-sex intimacies in Angola, or any other African state for that matter, without talking about the impact of colonisation and the laws created by imperialists government on the lives of LGBT Africans. Angola, a former Portuguese colony, adopted anti-sodomy and other homophobic legislation from the Portuguese settlers. And like Mozambique, another African state formerly colonised by the Portuguese, Angola is now slowly transitioning to be a place where LGBT people and their ways of loving are recognised by the law as legitimate forms of intimacy.
It is striking that it is formerly British colonies (Tanzania, Nigeria, and Uganda are three who have made headlines in recent years), that have been historically particularly cruel towards LGBT people. This probably tells us much about the legacies of puritanical values of Victorian Britain with restrictive laws created by settler colonists, and how they have been adopted by native Africans against other native Africans with detrimental consequences. In this context, the progressive movement that Angola has embarked on provides an opportunity for a different narrative for LGBT Africans, a narrative that Africans themselves can be at the centre of constructing.
LGBT rights are often advanced by the tireless work of LGBT advocacy groups and non-profit organisations lobbying and pushing for change. Groups like Iris Angola Association (Associação Íris Angola), that is now legally operating in Angola, are visible and empowering LGBT people. The kind of work done by Iris Angola Association can only strengthen as the populations they are working with are no longer constructed as “breaking the law.” One of the biggest impacts that decriminalisation does is to afford LGBT organisations space to do the kind of work that is necessary to empower LGBT youth and LGBT communities. This is important in ensuring a better livelihood for LGBT people, and to cultivate a culture built on the respect of human rights.
Engaging with the developments in Angola, I am energised. I am filled with hope of a better continent, indeed world, for LGBT people. I am given strength to continue the fight for social justice for LGBT people. I am encouraged to continue engaging those in power who have not seen the light yet, that LGBT rights are human rights. I am filled with hope that slowly our societies will see that until ALL LGBT people are free everywhere, there can never be real LGBT freedom anywhere.
I am near the end of my research project on Same-Sex Marriage that I will be able to share with the world once it has gone through all the formal processes at the university. Over the past twenty years, Same-Sex Marriage has been legalised in many countries around the world. The year, 2016, marked the tenth year since same-sex marriage was legalised in South Africa. In the court case Minister of Home Affairs v Fourie, the Constitutional Court (2005) granted same-sex couples the right to marry and instructed parliament to implement a law that would allow same-sex couples to marry. The Constitutional Court gave the state a year to implement the new law, and in November 2006 same-sex marriage was legalised. South Africa is the only country on the African continent that legally recognizes same-sex relationships. It was the fifth country to recognise same-sex marriage behind The Netherlands, Belgium, Canada, and Spain. It was the first country in the southern hemisphere and the first republic to legalise same-sex marriage. Today South Africa is one of more than twenty nations in the world in a growing list that recognizes same-sex marriage, the majority of which are in the Global North.
In recent years, Australia was added to the growing list of countries that have legalised same-sex marriage. To celebrate the legalisation of same-sex marriage in Australia, the people at Carvaka Adult Toys created a video to chart the wonderfully positive progress of same-sex marriage law changes around the world. The Australian victory for Marriage Equality is a wonderful moment to reflect on the many nations that have taken the necessary steps towards a more just and more loving world. Enjoy the video from the people at Carvaka Adult Toys.
Inxeba (the wound) is a groundbreaking movie. It is a combination of artistry, emotional depth, and a serious engagement with a difficult subject, often taboo subject, that makes Inxeba probably the best South African movie in 2017. Nakhane Touré who plays Xolani, Bongani Mantsai who plays Vij, and Niza Jay who plays Kwanda are amazing in their individual portrays of the characters, but are explosive as a trio. In this movie you are confronted by the violence inherent in the construction of Xhosa manhood through circumcision. You are confronted with the pain of Xhosa men who are unable to claim and live out their sexualities. After watching this movie I am even more convinced that the subject formation of Xhosa men is a violent process. Also, the process of man making is lonely.
Inxeba is a movie about the experiences of queer Xhosa men when they go to initiation school. It is a movie about the intersection of sexuality, manhood, tradition, and desire. The movie exposes the ways in which manhood, particularly Xhosa manhood, in this case, is rigidly policed by other men. You are confronted with the consequences of a homophobic culture and society where men are unable to claim and live out their sexual desires for each other.
I went to go watch the movie with my queer friends. While we were watching the movie, we laughed out loud at certain moments in the movie, we gasped, we looked at each other knowingly, we made faces to each other. We were seeing ourselves in the movie. When we spoke after the movie, we all agreed that watching the movie was like seeing our younger selves on the screen. Stories that centralise the experiences of black queers matters because there is very little of our reflections in South African stories. These stories also matter because they enable us to publicly engage in conversations about culture, manhood, and sexuality. These stories create platforms that enable us to have a conversation about what it means to be a man in post-apartheid South Africa. What is the role of culture in 21 century South Africa? Stories like these enable us to ask questions about the process of “constructing a man.”
For me, this movie has resurfaced questions I have often debated with my and myself and my friends, like, how do you make a man? What makes a man a man? Who can be a man? Who says who can be a man? As a queer person, I have had to engage these questions all my life because my manhood was always under scrutiny. And many men have noted my “failure” at performing manhood. In one of the scenes in the movie, the initiates are circumcised and the person who does the circumcision asks the recently cut boys to shout “I am a man.” There is something powerful about this pronouncement. Uttering these words just after you have been circumcised cement Xhosa culture belief that you are only a man once the foreskin is gone. It is also bizarre that the foreskin is what separates “boys” from “men.” But of course, I am being simple, for I know that it is not foreskin per se that is at the heart of this practice but the pain you endure as you recover from circumcision.
At one point in the movie, the father of the queer initiate addresses the caregiver, giving him instructions to be “firm” with the queer kid. The father complains that his son is “too soft” and then he goes on to blame the mother for the boy’s softness. It is ironic how the supposed “failure” of the son to be “manly” is blamed on the mother, not the father. Which of course, begs the question, had the son succeeded at being “manly”, whatever the fuck that is, who would get the kudos? I’ll go on a limb here and say that the father would praise himself for having raised a “man.”
The father distances himself from his son, which is very revealing of the relationships many queer boys, particularly effeminate queer boys, have with their fathers. In this then manhood is associated with not being “soft”, not being a “mama’s boy”, and if you are soft, you need to be toughened up. In Xhosa culture, a man is made through pain. The ability to withstand immense pain is intricately tied to Xhosa masculinity. This is not unique to Xhosa culture, of course, it is part of patriarchy in many parts of the world. When I think of manhood construction through pain, when I think of this movie, I am reminded of bell hooks when she wrote:
“The first act of violence that patriarchy demands of males is not violence toward women. Instead patriarchy demands of all males that they engage in acts of psychic self-mutilation, that they kill off the emotional parts of themselves. If an individual is not successful in emotionally crippling himself, he can count on patriarchal men to enact rituals of power that will assault his self-esteem.” – bell hooks
The accuracy of bell hooks in describing the violence of patriarchy on men is chilling. bell hooks speak to the detrimental effects of patriarchy on men. She speaks to the value of feminism for men. She speaks to the need for men to fight patriarchy because it damages men. This quote speaks to the destructive ways in which the characters portrayed in Inxeba conduct themselves, towards themselves and then to each other.
I was incredibly moved by the scene where the men are asked to verbalise and claim manhood after they are circumcised. The “I am a man” scene is interesting to me on many accounts. The queer initiate Kwanda, played by Niza Jay is the last initiate to be circumcised. He is then also asked to announce the statement “I am a man.” In his effeminate voice, Kwanda repeats the phrase. It is the first time we hear Kwanda speak, and the voice is a “giveaway” that he is queer. Even my friends and I looked at each other in the theatre when Kwanda spoke. After Kwanda says the phrase “I am a man”, the man who performed the circumcision asks him to repeat the phrase, and Kwanda does. Kwanda is the only initiate who is asked to repeat the statement as if he was not heard before but most likely because he was not believable the first time around.
The “I am a man” scene reminded me of myself in many ways. When I went to initiation school, none of the boys who were initiates with me knew who I was. I was thrust into a “man’s world”, a world I had never really been part of in the ways the other boys were. In many ways, I am still not part of that world. I was acutely aware of violent homophobia when you are queer in the company of other men. Men often perform homophobic violence in the presence of other men, in conversation with other men. When I arrived on the mountain I knew that my survival depended on being a wallflower. The problem, of course, is that my personality does not lend itself to be a wallflower. I had decided that I will say as little as possible, keep to myself, and avoid any contact or conversation that would “out” me. It was only on the second day that I realised my plan not to be “out” had failed when another initiate mocked me by mimicking the way I had said the “I am a man” phrase after circumcision. My effeminate voice had betrayed me. Now my girly intonation was being used to mock me. The violence and shame I felt in that moment still makes me well up. And it’s been over a decade now.
The relationship between Xolani and Vij is complicated. They are both in the closet, and they annually meet during “circumcision season” on the mountains. Vij has a wife and children. Xolani lives a lonely life. Xolani’s loneliness is haunting. What Nakhane Touré does with this character is nothing short of brilliant. Xolani really only goes to the mountain to be with Vij. Considering the homophobic context they live in, and their own policing of their desires, it’s an impossible situation. The homophobia is not only coming from their society and culture, it is also internalised by the men. The two men share intimate moments with each other, but there’s also violence in their intimate moments. It’s as if their desires for each other has to be mitigated by violence.
There are two moments in the movie where we see the complex intimate yet violent interaction between Xolani and Vij play out. When Xolani tries to kiss Vij, he pushes him away, also when he tries to give him oral sex he pushes him away. In both moments Xolani is violently rejected. These are heartbreaking moments. They are moments that make obvious the intricate relationship between shame and desire, and the sometimes consequent violence. Xolani loves Vij, and I think Vij also loves Xolani, in his own way. But it is a love that cannot speak itself. It is a love that cannot be lived or expressed. It is a love that must quietly exist for a couple of weeks in a year, and even then, it must be hush about its existence. Xolani desires more than what Vij can give, and Vij is not willing to give more than he already has, which is not much to begin with. In this way, Inxeba borrows much from the queer archive of stories of love and double lives, of impossible arrangements where one is sustained for a year by a patchy intimacy of six weeks, and most of all the self-annihilation in the denial of one’s desires.
The irony about the circumcission tradition in Xhosa culture is that it is homoerotic. There are two examples I want to highlight of a homoerotic nature in the movie. Firstly, it is when the initiates are starting to heal, and they decide to show each other their penises. They play a version of “show me yours, I will show you mine” and it is hilarious. The queer initiate is excluded from this conversation. It is not uncommon for men in groups to play show-and-tell, and it is excused as “boys being boys.” The sexual tension that might accompany these show-and-tell moments is often underplayed or nullified. Secondly, when the boys are about to head home, when they are fully healed, the older men comment on the beauty of the circumcised penis. The talk of the penis as a beautiful organ in the movie is strikingly similar to the way my queer friends talk about penises when we are having “kitchen” talk.
Inxeba succeeds because of the richness of the characters of Xolani, Vij and Kwanda. It succeeds because it paints these characters as people with fluid and complex desires navigating rigid systems of identity and culture. These characters are real, they are people I know, I have seen them. This movie succeeds because it sidesteps the traps of portraying black characters on television and movies, particularly queer characters, as one dimensional. It challenges head on the overly simplistic notion that homosexuality is “unAfrican.” Homosexual desires exist wherever there are people. Our homosexual desires are formed in ways we sometimes cannot explain, but there they are. This movie opens up space where we can have a conversation about our desires, space where our desires matter. As a nation, we should all applaud John Trengrove and the team for an amazing job at story telling. Inxeba is an immense contribution to the queer archive in South Africa.
“Rendered here is an array of interpretations of what it means to be fully human, queer and African – three categories of identity often misconstrued as mutually exclusive. The stories collected in this volume give a kaleidoscopic peek into the many ways in which Africans inhabit ‘queerness’, giving fine grained texture to the lives and experiences of those whose humanity is routinely denied.”
– Barbara Boswell, in the Introduction of Queer Africa 2
The vignette above is taken from the introductory chapter of the recently published Queer Africa 2 book. The book is a compilation of queer centred stories predominantly from different parts of the African continent. Boswell’s introduction highlights that queer people in South Africa and in other parts of the African continent are often denied full humanity. The book, Queer Africa, claims space for queer Africans, boldly asserting queerness where it is habitually denied.
Books like Queer Africa are necessary because they celebrate queer life, but they are also necessary because queer lives are still oppressed in many parts of South Africa. Just a week or so ago rural queers were under attack from the Congress of Traditional Leaders of South Africa (Contralesa). The Eastern Cape Chairman of Contralesa, Chief Mwelo Nonkonyana, while attending the funeral of the Xhosa senior royal member Chief Mthetho Ngubesizwe Sigcawu, said that there will be no land allocation for same-sex couples in rural communities. Reported in the Daily Dispatch, Chief Nonkonyana said, “In our rural areas we will never demarcate residential land for any man who is married to another man, not because we punish them, but because sites are according to our practices and are demarcated for a married man who has a wife.” Furthermore, Chief Nonkonyana shared that “According to God’s law, man should marry a woman. Same-sex union is not only anti-God but also un-African.”
Of course, we have come to expect statements like these from Contralesa leaders. Who can forget their display of contempt for same-sex couples during the debates about same-sex marriage in 2006? Also unforgettable is their audacious proposal that the anti-discrimination clause against sexual orientation be removed from the Constitution. Contralesa has a consistent anti-same-sex relationship record. So when these reports about no allocation of land for married same-sex couples in rural communities, it did not come as much of a surprise. But although it is not surprising, it is still unjust.
The notion that same-sex love is “un-African” is a deeply held belief that doesn’t seem to diminish even with overwhelming historical evidence proving the existence of homosexuality on the continent.
My own research on the lives of married same-sex couples is evidence of the continued existence of same-sex couples. There are countless publications about the lives of African queer people, but the leaders of Contralesa want to negate African queer existence.
Chief Nonkonyana uses the notion of “God’s law” as a basis for discriminating against married same-sex couples in the allocation of land in rural areas. The last I checked in South Africa the Constitution is the law and the Rights of LGBTI citizens are protected under the Constitution.
The statements made by Chief Nonkonyana unveil the “contradictions” that emanate from our progressive constitution, where the Rights of LGBTI people are presented as clashing with customary law.
There is a “clash” only because there is a bias and limited reading of “African” culture. It is my view that Chief Nonkonyana has a limited view of “African” when he says same-sex love is “un-African.” It is a construction of same-sex love as outside Africa while we are living evidence that we are inside Africa and African-ness.
With all of that said, I am also wondering if there is an inherent contradiction between “ethnic” and/or “tribal” identity and citizenship. Can one be fully invested in being a good citizen of a country like South Africa, but still be heavily invested in “ethnic” and/or “tribal” identity? Wasn’t the problem with the pre-1994 political dispensation exactly this, a dogmatic investment in white tribalism?
Chief Nonkonyana presents Xhosa culture as something that has never changed as if it’s been static over centuries. While we know that Xhosa culture, like most cultures, is dynamic and ever changing, and how it is interpreted depends on the politics of the day.
Also, what belongs under “Xhosa culture” is practised differently in many parts of the Eastern Cape and parts of the Western Cape and in Xhosa communities that live in Johannesburg. Chief Nonkonyana assumes that we live the same, we love the same, and that the values held by him and Contralesa are the only Xhosa “African” values there are.
Chief Nonkonyana says that by not allocating same-sex couples land he is not “punishing them” but “land is for a married man who has a wife.” If a same-sex couple is denied land in their rural community, of course, they will experience this as punishment. No land allocation has deep consequences for the quality of life for same-sex couples in rural communities, it affects their belonging needs, and it affects the inheritance of their children or other loved ones. The homophobia inherent in the statements by Chief Nonkonyana has material consequences for same-sex couples.
The threat that there will be no allocation of land for same-sex couples is an abuse of power by Contralesa Chiefs. The statements by Chief Nonkonyana unveil a bigger problem of Chief’s running amok in what was previously Bantustans. Chiefs who have appointed themselves sole trustees of communal land oppress people living in rural communities as demonstrated in the documentary This Land.
In This Land we learn that King Goodwill Zwelithini is the sole trustee of land that belongs to the people in Makhaseneni and sold mining rights on the land to Jindal Africa mining company. Soon after the mining began, the land and the water became contaminated and crops started dying. These are people who depend on their land. This has become an all too familiar story in South Africa’s rural communities.
Thiyane Duda, from the Land and Accountability Research Centre in the Department of Public Law at the University of Cape Town, has also written about the problems experienced by local communities in rural areas where chiefs act like they are sole heirs to communal land. The ANC government is complicit, as they do nothing about the dispossession of people in rural areas.
The struggles experienced by same-sex couples in rural communities and the struggles of rural people under corrupt chiefs is linked to the lack of government leadership in the country. The current South African government has failed rural communities over and over again. The statements made by Chief Nonkonyana are in line with the hostility that the South African government treats the poor. What is important for me here is that we recognise that the problem here is not same-sex couples or poor people from rural communities, the problem is corrupt chiefs who are able to oppress people in rural communities because they have support from a corrupt ANC government.
So how do we move on from here? Well, we must fight for the rights of those living in rural communities, and one way of fighting is through participating in the construction of laws that govern rural communities. As South Africans we have a bad record at participating in our own democracy, this needs to change if we are to hold leaders accountable. The Minister for Rural Development and Land Reform has published the Communal Land Tenure Bill and the Explanatory Memorandum for public comment. As members of the public, we are invited to comment on this bill. The bill is open for public comment until 7 September 2017. We must take this opportunity to push for the protection of communal land rights, and also the rights of other marginalised people with respect to land in rural South Africa. The bill can be viewed for comment on the government website http://www.gov.za/documents/communal-land-tenure-bill-draft-7-jul-2017-0000
“No Justice. No Pride.” describe themselves as “collective of organizers and activists” from DC, Washington comprising of “black, brown, queer, trans, gender nonconforming, bisexual, indigenous, two-spirit, formerly incarcerated, disabled, white allies and together” they “recognize that there can be no pride for some without liberation for all.”
Now, Pride disruptions are not new, they have occurred at almost every Pride cycle, the only difference now is that they are getting more publicity. It is perhaps the political climate we find ourselves in, – signified by the election of President Trump in 2016, and the continued murder of black men in the United States by white policeman with no accountability, no justice – that these disruptions are being taken seriously to the point of making the news.
Now as a South African queer person, who is involved in Pride politics in South Africa, the disruptions come as no surprise. In the past I have written about politics of Pride in Cape Town, and in a forth coming special issue of the academic journal Agenda on intersectionality, I have written about the disruption of Johannesburg Pride in 2012. I am interested in the politics of disruption because as a South African I am well versed in the politics of disruption, and my interest in the recent disruptions of Pride Parades is an interest in what disruptions are able to achieve. In light of these disruptions, it is worth thinking seriously about the politics of disruption.
In the past three years South African universities have experienced much disruption. What started with a group of black students calling for the removal of the statue of John Cecil Rhodes in the middle of campus at the University of Cape Town grew to be a national student movement comprising of student disruptions at different universities all over the country. The #RhodesMustFall movement was the catalyst for other #Fall movements, including the recent #FeesMustFall where students have been demanding free education.
What I want to highlight here is the on-going disruptions of university life. The University of Cape Town closed early in 2016 because it couldn’t function because of the #FeesMustFall disruptions. The #RhodesMustFall and then #FeesMustFall movements have spurned another movement, #DecoloniseEducation. The student movements have used the methods of disruption to be heard. The methods have been incremental in cases, where there was a march, and then the occupation of buildings, the occupation of classrooms – making it impossible to learn and teach, the closing of entry ways to university grounds, some of the tactics have lead to the destruction of university property. This has lead me, and many South Africans, to think hard about the politics of disruption. Disruption can be described as: to break apart, to cause a rupture, to throw into disorder, to prevent something – a process or a system.
What the student disruptions have done is halt the “everydayness of university life”, to say it is not business as usual. One of the biggest complaints about “change” inside South African universities is how the bureaucratic process – which often includes committee set-up upon committee set-up – is at best sluggish at addressing “change.” The disruptions at the universities have necessitated a new direction, because that’s what disruptions do; when they succeed they make you stop and think of a new way forward.
Of course disruptions are nothing “new” in the South African contexts, anti-apartheid methods involved all kinds of disruptions to fight the apartheid state. So disruptions have been part of South African politics, and with the “new” student movements the politics of disruption continues, and now also Pride parades are grappling with disruptions in 2017. I am interested in what disruptions do? How we think about them and most importantly what are the possibilities created by disruptions?
Bringing the conversation back to the Pride parade disruptions; there seems to be a similar threat running through many of the Pride Parade disruptions. Whether the disruptions took place in DC Washington, or Sea Point, Cape Town, or Toronto, Canada, or Rosebank, Johannesburg, the activists involved in the disruptions are all dissatisfied with the current politics, or lack therefore, of Pride. The activists that have spear headed disruption campaigns demand that Pride be more than just a party on floats. Now, although the demands on Pride parade organisers are slightly different in each particular case of disruption, there are many commonalities. The demands that are being made seem to be centred around:
That Pride does not engage social issues affecting other people within the LGBTI umbrella, people that are not middle-class and white and male and cis. Pride does not centre issues such as racism, gender inequality, Transgender Rights, Immigration Rights, and economic inequality. In the Cape Town context specifically, Cape Town Pride has been critiqued for being exclusive, negating black and coloured LGBTI communities that reside in the Greater Cape Town area.
Particularly in the context of the Israeli and Palestine conflict, Pride, in the Jewish state has been criticised for being a vehicle of Pinkwashing the Human Rights violation in the West Bank. For more on this, Sarah Schulman provides some food for thought.
What is interesting to me with these Pride disruptions is the reactions to these disruptions. Now, I want to speak specifically to the South African context, because it is a context I am living in and therefore interested in, but also because it is a context I am well versed in because of my proximity. The reactions from people within the LGBTI movement to the disruption of Pride parades have been divergent. The disruptions of Johannesburg Pride and Cape Town Pride have caused what one might call Pride Wars, where essentially there are two camps, those who support ideas about a more inclusive and political Pride and those who see nothing wrong with the current structure of Pride.
In the South African context, these two groups are shaped by race, geographical location, economic status, gender, ability, gender identity, and gender performance. In Cape Town Pride, the people who want Cape Town Pride unchanged, who want to keep the organising of the Pride exclusive, they are cis-gendered white men living middle class lives and reside in suburbs of the city. Black and coloured LGBTI people, and some white, mostly female activists are demanding a new direction for Pride, one that is political, one that is inclusive of the different races, genders, and accommodates people who are the working-poor.
Recently, I had a conversation on Facebook about the politics of Pride, and why Cape Town Pride is problematic, and how there is no transparency in how the Cape Town Pride is operated. When prompted on what are the issues are, I responded:
“There is an outright refusal to engage opinions about Pride that differ to the people who are seating on the Pride Board. There is a continued neglect of different ideas of what Cape Town Pride should and/or could be. My friends and I (and other people) have attended some of those Pride meetings in past years to volunteer. The Pride meetings we attended were not about generating ideas about Pride, but how we can help the already existing structures of Pride. We don’t want to just be marshals; we want to be involved in the conceptualising of Pride, where it takes place, theme choosing, the geography of the march, etc. so that we make sure it accommodates more than just white people from Sea Point.
In 2015 a group of activists came up with “Alternative Inclusive Pride” and they asked for inclusivity and openness when it comes to Pride.
There are many unanswered questions about Pride. There is NO transparency.
• Who seats on the Board? Who CAN seat on the board?
• When does the Board vote?
• Who can vote?
• Why are Cape Town Pride meetings not publicly announced so all who are interested can attend? Not just “come and volunteer” meetings when all decisions have already been taken about Pride.
Some of the critiques against Cape Town Pride is that decisions about Pride are taken behind closed doors, and there is no accounting for the said decisions. One of the long-standing issues is the location of Pride. Must Pride always be in Sea Point/Greenpoint? The answer to this question is not so important, but the discussion that leads to that answer is what is important. It cannot be taken for granted that Pride must be in Greenpoint. As if all of Cape Town’s LGBTI people live in the immediate areas.
We can’t pretend that apartheid legacy is not with us. We can’t pretend that there are no structural issues that impede working-poor LGBTI people to attend costly Pride events. We can’t address these issues if we are not at the important meetings.”
Interestingly, my response above was in a thread on my social media account about a recent study that found that racism is endemic amongst gay men. What was interesting was the headline of the article that read, “shocking study finds racism endemic amongst gay men.” My response to the headline was ‘shocking for whom’? I doubt if the Black Lives Matter activists who disrupted Toronto pride would be shocked, I doubt if the One In Nine campaign women who orchestrated the disruption of Johannesburg Pride would be shocked, and I know for a fact that my friends and I and other LGBTI people of colour were not shocked by the results of the study because we all have experienced the racism first hand at gay establishments.
These spaces are marketed as “gay bar”, but really should be marketed as “white gay bar.” The “shocked” headline reads a bit disingenuous because LGBTI people of colour have been decrying the racism within the LGBTI spaces for a long time. There are so many blog posts and op-eds about the racism experienced by people of colour on dating websites and dating apps. Some of these written pieces can be found here, and here, and here.
The fact that this study is “shocking” points to a political problem within LGBTI spaces, a problem of not taking seriously the issues raised by non-white, non-cis, non-male LGBTI people. So the study that reveals the racism, and the subsequent “shock” the study prompts from mostly white LGBTI people, enables one to understand why there are Pride parade disruptions. The ignoring of the demands of certain demographics within the LGBTI movement has become so chronic that it necessitates the disruption of Pride to bring these issues to the fore. The question becomes, of course, how do we move forward after the disruptions.
Well, I imagine there are multiple ways of moving forward, chief amongst those is to have open discussions about the Values of Pride, and be committed to creating a Pride that represents LGBTI people and their concerns as whole as much as possible. Before all of that can take place, Pride organisers need to have a politics, a politics that understands the context in which Pride is taking place.
To be able to understand the context, that is the city – the province – the country, that Pride is taking place means genuinely involving local organisations, local activists, and local lay people in the organising of Pride. When a Pride organising committee consists of only cis-gendered white men, and one black person – for posturing – that committee is off to a really bad start. Having one person of colour in a Pride organising committee does not inclusivity make.
Part of the solution of Pride politics lies in the understanding of intersectionality, and adopting a frame of Pride organising that is not blind to intersectional politics. I have made this argument elsewhere discussing the disruption of Johannesburg Pride, and I will re-enforce the argument here. What Pride needs is an acute understanding of intersectionality. This seems self-explanatory but as we have seen with the continued disruptions of Pride and the continued hostility from Pride organisers, understanding of intersectional politics is lacking.
I use intersectionality in the same vein as Kimberle Crenshaw conceived it; in that it helps us understand that our lives are affected by our social position and our identities. The relative smoothness or the difficulty with which we move in society is because of our identities and social position. We each have multiple social identities, and these social identities intersect with each other to give us unique experiences in the world.
For example, a black gay man and a white gay man although both are men and probably can share stories about experiencing homophobia, they experience the world in different ways because of race. The difference in racial experience intersects with their maleness, and their gayness with divergent results. The racial experiences of these two men translate to having radically different ideas/experiences/feelings about their sexuality and their manhood. This is made more complex if you consider other issues like socio-economic background of the two men, their educational background, their gender performance and expression, and the list goes on. In South Africa this is complicated further by the history of apartheid where economic inequality is distributed along racial lines, and is also gendered.
Why is this important for Pride? Well, it is important for Pride because the Pride disruptions have been centred around the silences on issues affecting different demographics under the LGBTI umbrella. It is important because as Kath Weston once wrote “gender is about race is about class is about sexuality is about age is about nationality is about an entire range of social relations” and the implication is that we can’t bypass these issues in LGBTI Pride if we are serious about inclusivity which are part of the Values of Pride.
Pride organisers don’t seem to care about racism affecting LGBTI people of colour; I mean there’s even a study proving that gay men are racist. Pride organisers don’t seem to care about the working-poor LGBTI people; high non-negotiable entrance fees to Pride events that poor LGBTI people can’t afford demonstrate this. It is when pride organisers understand that South Africa is a post-colonial state with post-colonial issues that we can move forward.
It important that Pride organisers keep in mind that apartheid legacies such as apartheid geography still exist, and so when the decisions are being made about where the Pride parade should be, those decisions should take into account that other LGBTI people do not live in the city centre – and they don’t live in the city centre because of history.
Taking all of this into account, how apartheid legacy shapes South Africa, how gender injustice shapes our society, and how economic inequality is at the core of why Cape Town Pride is mostly white, we begin to see why Pride is experiencing disruptions. It is only when the importance of inclusivity within Pride, the recognition and engagement with “other” people’s struggles along with their sexual identities, will we see and experience a more united Pride.
Somizi Mhlongo is probably South Africa’s most popular gay celebrity, this past weekend he walked out of Grace Bible Church because of homophobic preaching. The pastor at the church was preaching that homosexuality is not found in nature, that dogs and lions do not practise homosexual behaviour. After walking out of the church, Somizi posted videos on his Instagram account talking about his ordeal at the Grace Bible Church. I was surprised that Somizi Mhlongo actually went to church. I am always under the impression that interesting people, worldly people, fabulous people, artists, academics, and generally people who don’t give a f*#% don’t go to church.
Of course, like most homophobes, the Ghanaian Bishop Dag Herward-Mils thought he was being clever, referencing nature as proof of the unnaturalness of homosexuality. The bishop is blithely oblivious to the hundreds of examples of homosexuality in the “natural” world. You can read more about these examples, here, here, and here.
According to Wikipedia “no species has been found in which homosexual behaviour has not been shown to exist, with the exception of species that never have sex at all. Moreover, a part of the animal kingdom is hermaphroditic, truly bisexual.” There are hundreds of studies that have debunked this widely held belief that homosexuality is not found in animals, indeed it is thriving in animals.
Also, the idea that “not even animals are homosexual” used by Dag Herward-Mils is based on the assumption that humans are above animals. The notion that we don’t do what animals do because we are better than animals is rubbish. We are a kind of animal. We are part of nature, no matter how far we try and distance ourselves from it. In fact, some environmentalists will argue that it is the problem, that we have distanced ourselves from nature so much and this has lead partly to environmental problems. Humans are not an entity existing outside of nature – we are part of it. The view that sexuality exists on a spectrum has been around since the publication of Alfred Kinsey’s study on “The Sexual Behaviour of the Human Male” in 1948. So the varied ways we experience and express our sexuality is part of the human experience. I doubt if Dag Herward-Mils has ever heard of Alfred Kinsey, or any other study about human sexuality for that matter.
I wonder if we show bishop Dag Herward-Mils that homosexual behaviour does exist in animals, will the bishop approve of homosexuality then?
This is not the first time the church in South Africa is implicated in homophobic rhetoric. The church has a history of homophobic speech throughout post-apartheid South Africa. There was the resistance of the inclusion of the protection of sexual orientation against discrimination in the South African constitution. Once the protection of sexual orientation was included in the constitution, there have been a number of talks about having it removed. The church was resistant to same-sex marriage. Church leaders and members of churches have been known to gather at Gay Pride marches in protest of Gay Pride. There was the court case of the lesbian woman that was dismissed by the Methodist Church because she revealed to her congregation that she was marrying her girlfriend. The homophobia in the church has never been shy, and so this incident with Somizi Mhlongo is an incident in a long line of homophobic incidents.
In the past I have written about how I view the church and the construction of Jesus as violence on black people. My views on black people and the church are clear: black people have no business in believing in god and the concept of Jesus. The concept of Jesus is enslavement. It is a concept designed to tame people, to make people unquestioning, to make people passive in their approach to life’s issues because something out there will solve their problems. It is a tool to quell, a tool to create a submissive population of believers instead of agitators. Therefore my view on black queers and the church is the same: black queers have no business in attending church and believing in the imported story of Jesus.
The most important question for me in this whole Grace Bible Church saga is: what are black queers doing at church? What is Somizi doing attending Grace Bible Church? Grace Bible Church has a “statement of faith” on their website that reads:
“With regards to sexual behaviour, we believe in heterosexual relationships between a natural man and a natural woman within the confines of lawful matrimony. Adherence to this stated principle of sexual behaviour is an inherent requirement of membership of Grace Bible Church.”
In other words, this is a place that has made it clear that it does not want Somizi. In one of the Instagram videos posted by Somizi, he laments that the church must state clearly that it does not want, or like LGBTI people. The “statement of faith” is a clear indication that the church does not endorse LGBTI people. It is clear to me in this statement that Somizi was never welcomed at this church. What is puzzling to me is not that the church is homophobic, that is expected, what I am struggling with is why did it take him so long to realize the church hates him. Why does he think THIS church won’t be homophobic when homophobia and other forms of discrimination are the bedrock of the church?
Let me be clear here, even if the church didn’t have this statement, I would still ask the same question: what are black queers doing at church?
I really wasn’t interested in engaging the Grace Bible Church “debate” but the violence of the church on black queers necessitates that I write this.
I have attended the funerals of black queers in South Africa. I have had conversations with my black queer friends about the omission of not only the sexual orientation of diseased black queers, but the omission of life partners, all to save face for the church.
I have seen black bishops like Dag Herward-Mils who preach homophobic hate on the Sunday sermon, but don’t make the connection of the hate they preach to the brutal often fatal violence experienced by black queers, particularly gender non-conforming black queers. The black queers who have survived physical and sexual assaults have told stories of how the perpetrators use the language of “not even dogs do this” or “this is the way God intended it.” With this in mind, I find the statements made by the Grace Bible Church spokesperson Ezekiel Mathole when interviewed by Eusebius McKaiser deplorable. To speak about the homophobic position of the church as if it doesn’t have consequences for people is irresponsible. This is not only irresponsible for Grace Bible Church, but it is irresponsible for all churches in South Africa.
The church in South Africa gets away with murder with being able to preach homophobic hate, and then turn around and call it their “biblical view”, their scripture, while black bodies are mutilated by people using the same rhetoric as the church. The homophobic taunts and jeers that black queers experience on a daily basis are partly born in the church rhetoric. The people who violate us are granted permission and then immunity by the church because people have “the right to believe” their homophobia and to preach their hate speech according to Mr. Ezekeil Mathole.
In South Africa there is a fear of the church. There is often a quiet diplomacy on the wrong doings of the church. The church has too much power in this country. The constitutional ruling on the case of the lesbian Methodist preacher who was let go from her post after she announced intention to marriage is indicative of the power of the church. Even the Constitutional Court shies away from calling the church into order. I am not going to be silenced by the church. What bishop Dag Herward-Mils said at Grace Bible Church is hate speech. That type of speech has no place in a constitutional democracy, in a country that’s recovering from a history of discrimination.
As I have shared before, I find it puzzling that black people are united in the idea of fighting against white imperialism, but do not see the church and the construction of Jesus as part and parcel of white colonial ideology. Jesus, just like Jan Van Riebeeck came on a ship. Jesus might as well have been on the Dromedaris. The concept of Jesus is as foreign as the Jacaranda tree in South Africa. As far as I am concerned, you are not serious about anti-colonial politics if the construction of Jesus remains intact. In fact, I don’t think anti-colonial politics can work with the ideology of believing in a white God and white Jesus that black people are supposed to pray to and submit themselves. The psychological calamity is of epic proportions. You don’t have to go far for evidence of the church madness; black people are eating grass, and drinking petrol for salvation. There is video evidence of this madness, here and here. The one that really gets me is the buckets of money; I mean literally buckets of money black people give to the church.
The church is a place of hate production. The venom that has also been unleashed by churchgoers on social media platforms in the aftermath of the Grace Bible Church incident is indicative of the hate. The homophobic statements uttered by Dag Herward-Mils are the kind of statements the church thrives on. The statements are not shocking, they are something we expect from the church, which is why the church is not a place for black queers, and not a place for blacks in general. Black people need to abandon the church. Black people need to abandon the fictitious idea of Jesus.
As for Somizi Mhlongo, he has an interesting life and doesn’t need Grace Bible Church. He is probably South Africa’s best choreographer and certainly the most famous gay South Africa celebrity, and I think he should follow in Kathy Griffin’s famous footsteps and tell bishop Dag Herward-Mils “Jesus can suck it.”
I was introduced to Majola’s album, Boet/Sissy by a friend who tagged me on Facebook. I immediately went online to have a quick listen, and then bought the album instantly. The subject matter of the album is of particular interest to me. The album focuses on the experiences of a black gay man, trying to make sense of the world. The album is the life journey of a black gay man predominantly sung in Xhosa. I love this album and I am with Majola in the politics of this album. This album is the epitome of being young, gifted, queer, and black. In this piece I embrace and celebrate Majola’s work talking to all the ways that this album resonates and inspires me. Boet/Sissy is a poignant reminder of the artistic talent in South Africa, but also of the myriad of stories we are yet to tell about what it means to live with the intersections of race, gender, and sexuality, in post-apartheid South Africa.
The first thing that grabs your attention about this album is the title. When I read about the album I was first amused and then really moved by the title Boet/Sissy. You see as an effeminate gay man, I know all too well the weight of the term Boet/Sissy. I’m also acutely aware of the venom that usually accompanies this phrase. Growing up in Xhosa culture (I believe this is the case in other black communities in South Africa) Boet/Sissy was, and to some still is, a derogatory term that is used to bash gay men, especially effeminate gay men. The phrase is directed at effeminate gay men for being men who “act” like women. So Boet (or in Xhosa Bhuti) represents the male side, and then Sissy of course represents the effeminacy. It is a term that is often used interchangeably with “talase” which is a word people call gay me. It is a term that suggests one has both male and female genitalia. So then Boet/Sissy and talase are used as derogatorily synonyms for each other. People who use these words as putdowns often don’t care about the “real” meaning of the words, but are only interested in using the words to shame and to hurt whoever is perceived to be of a different sexual orientation. With the risk of sounding too postmodern, Majola is reclaiming this phrase; he is taking back the power. For me, Majola uses the Boet/Sissy in a productive way, similarly to the ways in which we have reclaimed the word queer. The use of Boet/Sissy is also similar to the way academics and artists have found productive use of shame, shame associated with same-sex sexuality. Majola’s use of Boet/Sissy is a queer thing to do, therefore immensely political. The fact that the album is mostly sung in Xhosa, which means it is directed to a black audience, speaks profoundly of the politics Majola is engaged in. When I saw the name of this album, I immediately thought about the piece I wrote about the complexities of sexual identity and the Xhosa language. In the piece I try to come to terms with having no specific Xhosa words in everyday language to talk about the diversity of sexual and gender identity. This piece sparked a number of conversations over the radio, and it seems the conversation of sexual identity and language continues in a different form with Majola’s album.
In the beginning of the album, in the first interlude Majola is standing in front of a judge before he is sentenced to jail. So his first utterances in the whole album is “I stand in this court a man, fully aware that manhood is a narrowly defined subject within society.” This opening lines targets the narrow definitions of manhood, particularly black manhood that often positions black gay men as outside of manhood. And then Majola goes on to define what he thinks is a man. Although I like what he says, and I think that he is politically astute to issues of masculinity, I find the five interludes in the album interruptive.
After the first interlude Majola then proceeds to the first song, track number two. The track is named Khanyisa, and it starts with the birth of a boy named Khanyisa in 1985 (which incidentally is the year I was born). In the song he does this haunting repetition of “kwazalwa indodana” – a boy is born. As Khanyisa grows up, experiences life, trying to discover himself, he gets lost wondering through life. Khanyisa eventually meets a woman called Nobanzi who saves Khanyisa’s life. The friendship that Khanyisa has with Nobanzi restores him, as this woman loves him. The affection with witch the lyrics are delivered warms the heart. The song is almost homage to the relationship between black women and effeminate black gay men. I have these relationships. These relationships are what got me through high school. I would be nothing, nothing without the love and support of black women. The song sets the tone for the album in a way, as he deals with issues of light and darkness, getting lost and found, and eventually loving yourself.
The third track called Bawo – father – the word is also often used in reference to God. This song is an affirmation of the gay identity. Majola talks about a boy who is cursed out, really chased out by his father for falling in love with other men. Majola begs in this, asking why the father is rejecting the gay son, where will he go? What is this boy to do? There is a theme of redemption in this album, and in this song Majola then continues with the narrative of being lost and found. The gay boy who is cursed out by the father finds his way to the big city and his life spirals out of control. This is a powerful song that speaks to the lives of many lesbians, gay, bisexual, transgender, intersex (LGBTI) young people who escape home because of abuse. The homophobia experienced by young people is sometimes so intolerable that they would rather live elsewhere with friends or on the streets. Majola begs, and pleads for acceptance in this song. The piano keys coupled with Majola’s voice especially as the track fades towards the end has an incredibly haunting sound. I feel like this song is also speaking to the difficult relationship gay men often have with their fathers. A relationship of course that is mediated by the culture of patriarchy which often renders the gay boy useless, not man enough, and therefore not a good son. Having never had a real relationship with my own father, I can relate to this song. Majola is really engaging us in a conversation about masculinity and what it means to be a father to a gay kid.
The Xhosa tradition of men going to the mountain for circumcision is a topic often treated with kid gloves. In the song Mountain View Majola rejects kid gloves and sings about falling in love and having a relationship on the mountain with another initiate. Interestingly, this is the only song on the album sung in English. Majola is bold because not only does he have a love affair on the mountain with another dude, he then sings about it. It is a kind-of middle finger to the homophobic Xhosa culture establishment. Because of what the mountain represents, it is the last place one would expect a same-sex love affair to flourish. But then again, maybe it is the ideal place seeing that it is only men walking around naked often with their penises hanging out. Although men are often all alone on the mountain, there’s often nothing erotic about that space, on the contrary, it can be dangerously homophobic. Maybe Majola is trying to prove to us that you can find love anywhere. I have to say though, getting a boner is not ideal on the mountain seeing that you are trying to heal a wound on the penis. This has got to be the first romantic song about a love affair on the mountain during initiation. The love experienced on the mountain is depicted as raiser sharp. Hot. And saucy. Majola talks about learning to love another man and understanding love. Singing about the lover on the mountain he states: “He was kind to me, patience a gift from him. I understood love, and how to make love from that initiate in the mountain.” Although both men experience great love, the love doesn’t survive beyond the mountain. This is definitely one of my favourite tracks on the album. Audacious. And just awesome.
The second interlude is track number five where Majola talks about being different and the journey to self-love. “I have always felt different to other males, stares of disdain, the name calling, distant affection from elder males and sometimes the violence inflicted on me confirmed that I was indeed different. The price I paid for being different is the excruciating loneliness I felt. Accompanied by guilt, shame and stigma, I overacted being a man and still wasn’t man enough to many … I was a secrete friend to some, and a secrete lover to many. I thought I was deserving of secrete validation, someone had to take a stand for me, and to my luck that someone turned out to be Me.” – Poetic.
Then there’s the title track where Majola captures the anxiety of growing up gay in the township. He speaks of the warnings people often give to visibly gay kids where they warn the young gay about their deviant sexuality. When I was growing up, people would say that you will grow up and become like uNokuku. Nokuku is an effeminate openly gay man that lived in New Brighton and was well know in Port Elizabeth and the surrounding areas. I believe Nokuku still lives in Port Elizabeth. Nokuku is what all young gay kids were warned against, he was used as an example of what one should never be. Nokuku had cult status as an openly gay person in Port Elizabeth, the only gay in the village kind-of status. Majola also references the other warning issued to gay boys that they must not become like the men who are on the Felicia Mabuza Suttle show. You will remember The Felicia Show had a number of episodes that were about members of the LGBTI community. The reference made by Majola of course means that he grew up in the 1990’s, when Felicia Mabuza Suttle was a big talk show host assisting South Africa through the transition to democracy. In the song Majola also makes a reference to “Adam and Eve and not Adam and Steve”. Homophobic heterosexuals often quote this line as if it’s the smartest line ever invented. The phrase ‘it’s not Adam and Steve’ is often accompanied by unintelligent smugness. This phrase needs to die and be buried. In the chorus of the song, Majola repeats “ndingu boet/sissy” –I am Boet/Sissy. He asserts and affirms himself in the song that he is he what he is, “and so what?”
Imbali is the next track. It is a track about love. It’s a lovely tune, but it doesn’t do to me what the other songs do. It is a soft song, and Majola holds himself back as he sings the song. Which I suppose is a good thing for an artist to be able to have restraint. It’s plain song for me, and it is preceded by some really marvellous tracks, so it doesn’t shine that much.
Throughout the album there are references to bible scriptures. There is an interesting way that Majola plays with church references. “Khulula ezombadada” is the line said to Moses by God that he needs to take off his sandals because he is standing on holy ground. Sondela is a slow jam. It is about two men making love; it is made that much sweeter by the Xhosa lyrics. Majola speaks of listening to the body parts of his lover, and how these body parts encourage him as they become intimate. The song is beyond courageous. Majola poetically croons about his manhood and the manhood of his lover and all this is done with a persistent haunting sound in the background. My heart skipped a beat when I heard this song for the first time, I had to go back and listen again to make sure what I heard was correct. I am not going to even pretend that hearing a black male artist talk about two men being intimate on a record in Xhosa is not a bit of a mind fuck.
In the third interlude Majola does not shy away to speak directly to the political situation of the African gay. He directs his words to those that prosecute gays all over the African continent. Majola states: “My sexuality is used as political fodder to dissuade from real political issues. Men whose crime is to love other men fill up prisons that should be filled by men who snatch bread from hungry mouths. Who rape and murder daughters and sons of this land. Love is one of the greatest virtues to be possessed by any human being. To be prosecuted for the courage to love is the highest crime committed against life itself.”
After the third interlude there are three tracks that are similar in mood, Ndindedwa, Luthando, and Andizoncama. It is in these tracks that you hear the influence of church or choral music. Although the influence of church music, particularly black Methodist, is felt throughout the album, there’s something about these three tracks for me that really captures that essence. In the title track Majola does make a reference to the Methodist church where he carries the cross in the church procession, but is afraid when he leaves the church that there is a boy that will taunt him on the way home without anyone there to stand up for him. The influence of church music in the album is undeniable. Of course Majola follows in the footsteps of many black artists whose artistry has been “honed” in the church.
Interlude number four is all about loving men. Majola states: “I love men, I love the feeling of being held by another man. In another man’s arms I find comfort, safety, healing, escape, release, pleasure, and unspeakable joy.” These words reminded me of the beautiful piece written by Fumbatha May called a love letter to the black man in the Mail and Guardian. Fumbatha May writes a loving and inspired piece. After speaking these words in the interlude, Majola proceeds to one of the two up-tempo songs on the album. The name of the song is Zithande – Love yourself, which is really an anthem for gay people to practice self-love. Living in a world that is dominated by heterosexist institutions, it becomes political for LGBTI people to love themselves. Majola sings “funda ukuzithanda” – learn to love yourself. In this track I find Majola’s lyrics affirming and reassuring. The way he articulates ‘”learn to love yourself” one can’t help but think of the message of black consciousness, where black people are made to realize that loving themselves is a political act. So in the same way that black love is an act of resistance so is black queers loving themselves.
In queer circles, especially black queer circles Simon Nkoli need no introduction. In the song Simon Nkoli, Majola praises Simon for his activism in the anti-apartheid struggle, the gay liberation struggle, and also his involvement in HIV/Aids activism. Simon Nkoli was a hero and Majola gives him the honour and respect he deserves. In this song Majola gives Simon Nkoli the same reverence that Madikizela-Mandela, Robert Sobukwe, Steve Biko, and Nelson Mandela receive in Thandiswa Mazwai’sNizalwa Ngobani. Also in this song Majola continues his narrative of darkness and light as he speaks of Simon Nkoli as a light in the darkness. And for many black LGBTI people, Simon Nkoli was just that, a light. The up-tempo beat gives the song a celebratory feel, celebrating a man’s life spent trying to conscientise South African society. This album will now be part of the archive of black queer lives in South Africa, and the fact that it pays homage to legendary people like Simon Nkoli makes it even that much more poignant.
The fifth interlude is the sentencing of Majola from the judge who he stood in front of at the beginning of the record. The judge then proceeds to read his sentencing.
The closing track Majola sings about Ikhaya lam – my home. In this track he goes back to his melancholic sound that was interrupted by the two previous tracks. Interestingly, the question of home has been a topic of conversation within my friendship circle. I was born in Port Elizabeth. Many of my friends come from diverse backgrounds and different cities from all over the world, and the question of what is home is always a topic of discussion. Although I call Cape Town home, it is never without qualification. Majola asks for his home to take care of him, to protect him from the world. Home for Majola is a place where he finds safety, a place that offers protection. In this song Majola concludes with the narrative of darkness and light, talking about wanting protection from the darkness of the world. Again, it is hard to miss the biblical undertones. Bible references and all, Majola has given us an amazing piece of art. The album is a bold queer statement. The subject matter of this album is about what it means to be black and gay and live in South Africa. Majola takes us on a journey of a black gay boy, negotiating manhood, falling in love with other men, and experiencing rejection from family. Although one can claim universality in the experiences described by Majola in this album, this is an album about the life experience of a black gay boy. Majola bares himself and speaks his truth, and in the process holds a mirror for me to see myself and I am grateful for it.
On the 16th May 2015 I was part of Khumbulani Pride that took place in Khayelitsha. This was my second Khumbulani Pride, I went to the first Khumbulani Pride in 2013 which was primarily organised by Free Gender Khayelitsha. Khumbulani Pride 2015 was organised by Free Gender Khayelitsha in partnership with Triangle Project, Inclusive and Affirming Ministries, and Gender DynamiX. These are NGO organisations that are working towards advancing Lesbian, Gay, Bisexual, Transgender, and Intersex (LGBTI) Rights in the Cape Town Metropolitan area. Khumbulani Pride was publicised through social networks, LGBTI e-mail networks, and word of mouth. These modes of communication were successful because many people were at the Pride march, which started at the O.R Tambo Mew Way Hall and ended at the Buyel’embo Village in Nelson Mandela Park. Having an LGBTI Pride march that starts at O.R Tambo Hall and ends at Nelson Mandela Park is significant in linking the anti-apartheid struggle with the LGBTI struggle.
Khumbulani Pride takes place a few months after Cape Town Pride 2015. Most of the people and organisations that attended Khumbulani Pride had staged a protest at Cape Town Pride 2015 and created an Alternative Cape Town Pride schedule. The protest was calling out the exclusive nature of Cape Town Pride and the unwillingness of Cape Town Pride organisers to have more voices in the planning of Cape Town Pride. Prior to Cape Town Pride 2015 a Cape Town Pride Oversight Committee was created, that consisted on ten individuals, to look into the potential reorganising of Cape Town Pride to be more inclusive and accountable to LGBTI communities at large.
The Mandate of the Oversight Committee was as follows:
Review the constitution process, draft a constitution and prepare for adoption at AGM in 2015
Set a date for the 2015 AGM facilitate the meeting
Oversee the organising of Cape Town Pride 2015 and ensure the calendar in inclusive and balanced
The Oversight Committee Report “OC end out report final – Apr 2015” states that the current Cape Town Pride director is unwilling to cooperate in the building of more inclusive and accountable LGBTI Pride. The report states that the festival director, Mathew Van As, is evasive when asked questions about financial accountability of Cape Town Pride. The non-inclusive nature of Cape Town Pride and the unwillingness of Cape Town Pride director to engage with the concerns of the people forced activists and individuals who felt marginalised by Cape Town Pride to create an Alternative Cape Town Pride. The Alternative Pride was a protest and a call for an inclusive Pride. If you are unfamiliar with debates that took place around Cape Town Pride you can read them here, and here and here.
Of course these debates are not new nor are they unique to Cape Town Pride. Johannesburg Pride has had its fair share of controversy surrounding issues of inclusivity, which you can watch here and read about here.
Khumbulani Pride was very different from Cape Town Pride. Firstly the Pride march was much more political in nature. By political I mean that the placards that people were carrying were addressing issues of homophobia, xenophobia, and transphobia. The slogans chanted and the songs sang while marching at Khumbulani Pride speak to the homophobic violence, they speak to violence targeting gender non-conforming lesbians and gay men, they speak to the xenophobia that is experienced by people who are read as foreigners. There was recognition of different struggles and the pain of others and making links to other struggles that at first glance do not seem like LGBTI concerns. Khumbulani Pride is an emphatic assertion of queerness in Khayelitsha, and a demand to be visible.
Walking and singing and chanting through Khayelitsha was emotional and very uplifting. Asserting our queerness in the township space, a space that is often seen as opposed to sexual diversity, was affirming for many of us who grew up in townships. There was something, dare I say, revolutionary about being open and claiming our queerness in Khayelitsha and not being coy or apologetic about it. Our visibility in Khayelitsha as black LGBTI people plays a significant role in challenging the die-hard narratives that same-sex affection is white or a western phenomenon or that it’s ‘unAfrican’.
After we had marched and we arrived at Buyel’embo Village in Mandela Park there was a formal program, a rally if you will. The formal program of speakers is something that has been eliminated at Cape Town Pride. It’s the marching and then the after party celebrations, devoid of any political content. Khumbulani Pride included a program of formal speeches from the Oversight Committee that was looking into keeping Cape Town Pride accountable, the chair of the LGBTI Task Team, and then entertainment in the form of poetry and singing. There was a formal program that addressed issues affecting people in LGBTI communities like the reporting of hate crimes to the police and how the police are dealing with hate crimes. We heard about the amazing work that Free Gender, lead by Funeka Soldaat, has done in creating a relationship with the Khayelitsha Police to fight hate crimes targeting LGBTI people. There was also a moment of silence for all the LGBTI people who have been brutally murdered for their gender non-conforming ways ways of being. People in the LGBTI community were urged to get involved in organisations and in thinking about what kind of Pride they envision in the future because it is clear that in its current form Cape Town Pride is unwilling to embrace the diversity within LGBTI communities in the Cape Town Metropolitan area.
Khumbulani Pride was completely free to attend, and it was free to get into the enclosed Buyel’embo Village space after the Pride march. Money is an issue because when Cape Town Pride events cost money to attend them that excludes people who can’t afford tickets, and those predominantly excluded are black and coloured LGBTI folks. The legacy of apartheid has ensured that black and coloured citizens are still economically disadvantaged. This is a factor that Cape Town Pride refuses to engage with in a meaningful manner. I have heard Matthew Van As, the Cape Town Pride Director, callously say that people who can’t afford to attend Pride events must just not go or not drink at the events. This is someone who is leading Cape Town Pride. This type of class violence informs the programing of Cape Town Pride and creates an atmosphere where black and coloured LGBTI folks feel that there is no place for them in Cape Town Pride.
In attending Khumbulani Pride I have experienced the success of a diverse Pride organised by people who are interested in LGBTI politics and other struggles connected to LGBTI people. Khumbulani Pride provides us with a different model of what Pride can look like, where it can take place, and what it can achieve. Those of us who are interested in creating a diverse and inclusive Pride should really build on what Khumbulani Pride has started. Khumbulani Pride gives me a sense of a different Khayelitsha, a sense of a different Pride and ultimately a different South Africa.
In order for us to create vibrant LGBTI communities in the Cape Town Metropolitan area we can’t leave some LGBTI populations behind because they are not in the correct economic class or racial group. Because of apartheid and its legacies that are still entrenched in South African society, because of the way the world is unequally structured, because of the power of whiteness, we have to be vigilant and active in the engineering of equality. As the LGBTI community we need to check our own prejudices that are filtered through our class, our gender, our nationality, our race, our gender performance, and our physical abilities. We as the LGBTI communities must know that we are not exempt from the hard work of creating a more democratic, a more free, and more equal South Africa.
I first went to Azania House (formerly known as Bremner Building) at the University of Cape Town (UCT), on the Saturday after the first night of the occupation. The energy was amazing, the discussions were vibrant, and at the time I wasn’t sure if the Rhodes statue would ultimately fall or not. I was just excited to be in the presence of black students who are fighting for transformation at the university. I was excited to see students demanding to see themselves represented at this African university.
On my next visit to Bremner I witnessed a heated discussion on the issue of Gender Neutral bathrooms on the first floor because there are transgendered students in the #RhodesMustFall movement. One of the transgendered persons in the room suggested that the female and male bathrooms on the first floor should be made Gender Neutral. Others met this request with resistance for a number of reasons. The cis gender woman mentioned reasons of safety that they do not want to go into a bathroom where males can also go. One of the guys sheepishly voiced not wanting transgendered women entering the male bathroom.
The cis gender woman tried to explain that firstly she respects the transgendered person, but she really doesn’t understand transgendered issues and why the bathrooms have to be Gender Neutral. The concerns of the cis gender woman about safety issues in the bathrooms are valid in the climate of sexual violence on women in South Africa. But transgendered persons and other gender non-conforming bodies also face physical and sexual violence in this country.
The transgendered person in the conversation tried to explain that they also feel uncomfortable going into male or female bathrooms. Male bathrooms are often hostile and you are treated like someone who is there as a voyeur on male penises. The trans person also voiced that female bathrooms are also filled with cold stares and judgements and sometimes-verbal abuse.
While listening to this conversation I couldn’t help but think of how Simon Nkoli conscientised some of his comrades about homosexuality while they were arrested in the Delmas Treason Trial in the 1980’s. Simon Nkoli’s fellow comrades in the treason trial often spoke about Simon Nkoli with affection and how they learned about gay and lesbian rights from him. The transgendered person in the conversation at Azania House was conscientising fellow comrades on transgendered issues and I was moved by this interaction. It was a real and honest moment and although these students had different opinions and feelings about Gender Neutral bathrooms, it was an open discussion; it was on the table and the students were grappling.
In the end the students decided to stick paper signs designating the first floor male and female bathrooms Gender Neutral? and Gender Neutral. What I saw was the first of many discussion that I would witness about transgendered issues in Azania House and in the #RhodesMustFall movements as a whole. In the following weeks during the occupation of the Archie Mafeje room the politics of gender, sexuality, and transgendered also became central as intersectionality as a framework took shape within the movement.
The #RhodesMustFall movement has adopted Steve Biko’s Black Consciousness as the foundation for the movement. The Black Consciousness movement has in the past been critiqued for not incorporating gender struggles within the movement. The #RhodesMustFall movement made it a point to incorporate gender, sexuality, and transgendered politics as they fall part of the emancipatory project of post-apartheid South Africa.
The inclusion of gender, sexuality, and transgendered issues within a predominantly black student movement is no small victory. My sense is that continuously invoking gender, sexuality, and transgendered issues in the race conversation is what is going to deliver us. The battle for gender, sexuality, and transgendered rights has always been ghettoized and only fought by people directly affected by these issues. Our strength actually lies in our ability to see that the race issue is connected to the gender issue and the sexuality issue and the transgender issue and the class issue. In the piece How Black Women Claimed Their Place Mbali Matandela articulates the significance of having black women’s voices in the movement to amplify the specificity of the pain of black women in this country.
The psychological, emotional, and sexual violence that black women, gender non-conforming people, transgendered people are subjected to is from predominantly black men. And this needs to be addressed. The violence these groups of people are subjected to is because of the systemic patriarchal order in this country that black men are part of and need to be part of its undoing. And so it is critical then that a movement created for the dismantling of white supremacist patriarchy embodied by the Cecil John Rhodes statue must include the dismantling of black patriarchy.
Addressing the issue of black patriarchy remains an issue as some black males within the #RhodesMustFall movement remain stubborn about their conservative views about gender, sexuality, and transgendered issues. There is hope because many are willing to learn and strong black feminists and gender non-conforming LGBTI people challenge these black men.
The adoption of intersectional politics in the #RhodesMustFall movement was a genius move because intersectionality is immensely beneficial in understanding the multi-layered South African context where race, class, gender, disability, and sexual identity intersect with complex results. The very lives of black students at UCT are an example of the complexity of intersectional identities in South Africa because black students come from different class backgrounds, have different sexualities, and have different gender identities and all of these must be navigated in this often hostile white environment.
For me the #RhodesMustFall movement represents the hope for the future. A future where black students see themselves in the architecture of the universities they study in. Perhaps this is a sign of how future South Africa movements will look like, that they will recognize how struggles are connected. It is in the recognising the different ways that we as black people, as poor people, as LGBTI people, as women, as disabled people, are all chained by systems of oppression. This recognition then becomes the impetus for us to come together and dismantle the systems that oppress us.