Happy Easter: on endings and beginnings (with sangomas and Elizabeth Bishop mixed in)

It’s Easter and I’m having lunch with a sangoma. Sangomas are traditional healers in South Africa. He tells me the story of his calling: visions and dreams starting very young. For along time he wasn’t sure how to handle them. He’d have visitations by the ancestors when he was a boy: headaches and fits. Until he began to accept them, slowly, slowly and then things calmed down. Finally he apprenticed under a sangoma, until he officially became one.

 

I’m not a big one for the Easter holiday. It’s a four day holiday here in South Africa and I’ve been working right through it, avoiding church invitations, catching up on work meetings with other non-adherents. But strangely, this year, something turned in me. You see, I’ve changed recently, started letting go of things. I’m reminded of the Elizabeth Bishop poem, “One Art,” a poem she wrote at the loss of her long time partner.

 

            The art of losing isn’t hard to master
            Some things seem so filled with the intent to be lost
            That their loss is no disaster

 

I’ve always been afraid of losing: I’ve always been afraid of endings and beginnings. I have often preferred the uncertain middle, hedging my bets, hanging onto places and people. But something has changed in me recently, I’ve begun to let go: cut people out of my life, leave memories to be just that (rather than another alternative reality floating in my head), saying good bye to parts of me, old habits. Elizabeth Bishop again:

 

            Then practice losing farther, losing faster:
            places, and names, and where it was you meant
            to travel. None of these will bring disaster.

 

And the odd thing is, the thing I never knew is that in letting go I open up to new realities: new people, new loves, new dimensions of my life. I’m reminded again that the past doesn’t exist (I have a hard time with this one) neither does the future. What if everything I did was only the optional baggage of a life already lived that could be set down at any time?

 

            —Even losing you (the joking voice, a gesture
            I love) I shan’t have lied. It’s evident
            the art of losing’s not too hard to master
            though it may look like (Write it!) like disaster.

 

So the strangest thing of all is that I am moved by this Easter holiday. It makes sense to me for the first time: this mass adoration of a figure and a set of stories (Jesus). Today it makes sense as a way of connecting to process of letting go (dying) and renewal (which can happen only after death). I’ve always been afraid of endings and beginnings, and in some ways, maybe I’ve been afraid of myself (as my sangoma friend was also.)

 

Here’s to death and renewal, endings and beginnings, emergence.

Happy Easter

4 April, 2015

Listening to:

Reading:

Quote of the week:

Oumou Sangare: Worotan Mariama Ba: Une Si Longue Lettre

“I only say hello, and turn away, before his lady knows, how much I want to see him.  She removes him like a ring, she only brings him out to show her friends.”
— Joni Mitchell, Conversation

 

Blood on the Page . . .

A reading last night of my new play: “SEX or Ode to the Hypocrisy of the Rainbow Nation.”  A quiet esteemed group of actors, directors, theatre makers all gathered at my house to read, eat, and discuss.

Lots of people that came loved it – they hadn’t seen a process like this, where a writer opens up the work so early to dialogue.  People were brilliant in their insight: they know me and let me have it.

I walk away bruised and battered (as usual) although heartened by the sense of community.  The biggest critique being that I am now a technically excellent writer – “very clever” people said, but they miss me in my writing – Where am I? What am I risking? Where is my heart?

“Where’s the blood on the page” a friend says to me the morning after.  And I’m kind of shocked – in many ways I feel like I live so openly and honesty, although from this reading I realize, maybe I am open to others, but maybe I risk less now of showing myself. Hurt, burned, perhaps I’ve retreated.  Another friend says “yes, it’s like the shutters go up, you do that very quickly.”  I didn’t realize.

I’m challenged  to open back up – to put myself out there again in my work.  Damn, this writer life is something else.  I never knew it would challenge my personal issues so directly.  Blood on the page . . . .

14 March, 2015

Listening to:

Reading:

Quote of the week:

Michelle Shocked: Short Sharp Shocked Ayi Kwei Armah: The Beautyful Ones Are Not Yet Born

“Healing begins where the wound was made.”
–Alice Walker 

7 March, 2015

Listening to:

Reading:

Quote of the week:

Ali Farka Toure Toumani Diabate: Ali & Toumani Frantz Fanon: Black Skin, White Masks

“You go down to the pick up station craving warmth and beauty. You settle for less than fascination, a few drinks later you’re not so choosy.”  
–Joni Mitchell, Down to You

Back from the FESPACO Film Festival

Just back from a week at FESPACO – the largest film festival on the continent held in Burkina Faso every two years.  I went with two friends, Saheed and Judith, and we snaked our way up through Ethiopia, stopping in Niger, then arriving Ouagadougou.

 

I didn’t expect what I found there. A film about a Senegalese family torn between Italy, the US, and back home – halfway through the film I can’t breath, gasping at a sense of my own dislocation. Another film, the story of a young boy who in the fervor the Marxist revolution in Burkina Faso dresses up as a super hero and believes he’s invincible – until he learns the bullets don’t discriminate and I connect back with my own boyhood dreams and realize how many lay in shreds. Another film, a young man on the run for murder, cycling through his past lives – apprentice to a rainmaker, money collector for a fat woman freak show, leader of a revolutionary youth group, and as I walk out of the theatre I’m crying as I remember all the lives I’ve lived and how they make no sense – magic show cult member, rancher/farmer, civil rights activist, mining executive, writer lost in the deep crevices of race  – and yet all of these lives are me and I need a way to cycle back through, just like the man in the film.

 

I went to FESPACO once before, and I go to the movies often, but this experience was different. Maybe it was being with friends: hours in the queues, talking through the films, discovering together. Or maybe it’s the place I’m at in life: desperate for stories to make sense of my reality. In any case I know I found my heart, in perhaps the most unlikely place, the deserts of Burkina Faso.

Peace and love, Alex

 

Favorite FESPACO Films 2015

Here are five of my favorite films from FESPACO 2015 – the biennial African Film Festival that takes place in Burkina Faso each year.  Just came back from a week of viewing, and my heart is full.

1.  Run – by Philippe LaCote (Ivory Coast)

An Ivorian man kills the prime minister and journeys backwards through his lives that brought him there.

Love for its surrealism, humor, and bravery.

 

2.  C’est Eux Les Chiens (They are the Dogs)–  by Hisham Lasri (Morocco)

A man released from prison after 20 years finds himself disoriented in the middle of the Arab Springs ,while all he really wants is to find his wife and child.

Love for its extraordinary camerawork and brilliantly told story

 

3.  Timbuktu – by Abderrahmane Sissako (Mauritania)

Jihadists arrive in Northern Mali and cause a rupture the cannot heal.

Love for its the moments of beauty, cruelty, and humor that only Sissako can capture.

 

4.  Des Etoiles (Under the Starry Sky) – by Dyana Gaye (Senegal)

Intersecting stories of African displacement in Senegal, Italy, and the USA.

Love for its beauty and immense suffering captured all at once.

 

5.  Twaaga – by Cedric Ido (Burkina Faso)

At the dawn of Burkina Faso’s Marxist revolution, a young boy believes he has captured the power of a super hero.

Love for its sense of wonder and complexity . . . .