Women writersNOKUGCINA SIGWILI WRITES:In response to what Boitumelo saidin the last issue of <strong>Staffrider</strong>, I feel Imust say something too.It's very important for women towrite what they feel. Really, we needmore writing from women. I thinkwomen understand each other betterwhen they are alone together than whenthere's a man around because then thereis always the possibility of pretending,and that's not communication. I'ma very talkative somebody so I find iteasy to make friends. That gives me theprivilege of talking to other people andgetting to know more about their feelingsso I can compare them with mine. Ifind that when I'm with another girl I'mvery free and relaxed. But when I'mwith a man, I have to be very carefulabout what I'm doing or saying and Ilearn that other women feel the same.So we should come together as womenand try to do some creative writing — Imean writing that will help or encourageother people who might become ourfellow-writers in the future.We are very important to men (maybethey know this — although I'm notsure.) The point is that we need eachother, for we depend on each other'sstrength. Men can be physically strong,but our strength as women is ourmotherhood: men are always women'schildren. And their manhood doesn'tshow if women aren't there.PERSECUTIONYou are so sure of yourselfIf you were not an evil-doerI'd marvel at your determinationEven the hardest diamondIs not harder than you areYou are the stickiest gluethat I know ofYou stick to me like a second skinActually I think you are wickedHow can you be so rudeCan't you see I wantto use my talentsYou're pulling me downI can't even moveYou are the devil's angelYou must be ashamed of yourselfYou'll pay for this, I mean itNow you are persecuting meBut your turn will comeSooner than you'd expectedI'm telling you,You'll regret having done this to meInferiority complexYou merciless stooge!How I hate you!'Men are always women's children'THE BUILDING FELL'Gcina, photo, Biddy CreweIt stood very firm.As if rooted with iron,This darkest brown building.The rains and strong winds cameBut they never shook its strength,This darkest brown building.Stones were hurled time and againEarthquakes came and went,But this darkest brown building stoodfirm.Its tiny windows provided enough light,The basement storage kept enough foodFor this darkest brown building.Even during drought periodsIt was never too dry to crumble,This darkest brown building.Its four sides stood boldlyEach side was differently beautified,This darkest brown building lookedlovely.The front was decorated with mibhacoThe right side with indlamu,One could have loved this building.Where there is gold there is happinessThe hives in this building had goldhoney,Imagine how proudly firm it stood.Even Qamata marvelled at it,And promised never to forsakeThis very precious building.Then one day, somebody dripping withwatercame, looking for somethinginside this darkest brown building.His children were Settler, Burger andHuguenot,They came with paint, to renewThis darkest brown building.The mighty building struggledagainst the white paintuntil it became black with sweatThe battle was so exhaustingthat a red something oozed somewhereAnd so the building fell.Its falling had no screamsbut moans,It did not dieThe left side was adorned with dikobo down but heaped likeThe back with meropa,a mountainThis building looked really lovely. So it did fall but did not die.44 STAFFRIDER, FEBRUARY <strong>1980</strong>
S&tlirCiciy B»ltGrHOOIlat the Diepkloof Dutch Reformed Church Hall,Zone 4, with poets, Peter Elstob, Drums, The Special Branch, babies, paintings, Blue Ocean Music, Free ArtFestac, sculpture E. M. Macphail/ JohannesburgWe arrive as they are hauling in theamplifying equipment, a small boyclutches a microphone. It looks like aflower on a tall stem and his companionsrun beside him stretchingout hands eager to help or be allowed aturn to carry it. Out of the hatch of astation wagon jump young men incowboy tight denims, here and there anethnic blouse and the youngsters crowdaround begging to be allowed to carrytheir drums. The hall squats in themiddle of rank kikuyu grass. Insidethere is standing room only. The chairsin the forward part are taken and thechildren sit on the floor in front of thestage their heads bent back as theywatch a small group of drummers. Thereare pictures on the walls. I look at thepictures. If I look at the pictures I won'tlook like a white madam waiting forsomeone to give me a chair in the front.I wonder why this young woman sticksto me. I would rather be on my own. Ican see an empty chair. If I hurryperhaps I'll get there first. But she'sclose behind and there are two chairs.Together. A young man wearing glasseshurries on to the stage and makes anannouncement. A small group at theback of the stage are beating drums withbusy fingers and a tall boy runs up thesteps to the stage. He has a big blackfoolscap book and he will read hispoems. I shall have to concentratebecause the drums are louder now. Ithink the middle drummer is the best.His hands flutter above the drum likebirds, his eyes stare out at the crowd.It's difficult to tell whether he is a boyor a girl. The black grape skin, close hairand the cloth tied on one shoulder. Ihave a table cloth like that. Anotheryoung man locks a chain around thepoet's neck and the first poem is called'Chains'. We used to have a chain likethat. For the . . . I'm glad I didn't wearmy gold chain bracelet. The children infront hiss for silence. The young manreads in a low voice, the drums chatterand when he is finished there is a crashof applause, the middle drummer tapsout a long roll and the baby next to mebounces on her father's knee. The nextpoem is in the vernacular. I can see ayoung chap I recognise. I remember hishair. It's pulled into little points all overhis head . . . like ... the sun symbol andhe doesn't look so cross here. He taps atattoo on the head of the boy who issitting between his knees and bendsdown to tell him something. Theylaugh. The acclamation is even louderthis time and I hear the beginning of asingle ululation. The poet runs off thestage and his friends gather round him.The groupss pack up and hurry off anda tall thin man comes on to play thepenny whistle. Is it a penny whistle? Imean I wonder if one is supposed to callit a penny whistle. Well then it's a flute.Long ago when we were children andlived in the country . . . not beautifulbut rather sad . . . like bagpipes in thedistance . . . Glencoe, the Campbells. . . Scottish history excited UncleNorman. When I tried to hum the tuneit always turned into 'Teddy Bears'Picnic'. I wonder why dark red velvethas always been used for stage curtains.These are pulled half way back andthere's a rent in one and I can see an eyelooking through it. It's exciting to peepat an audience through a hole in a stagecurtain. The man who plays the flutesways, his eyes closed, the drummerwaits with his hands poised. When Ismile at the baby next to me she lowersher shy face, her eyelashes are like wiresprings on her round cheek. I shallpretend I don't know she is staringat me so that she can have a really goodlook. Look at this strange skin and lighthair close to for the first time. I wonderif she isn't feeling tired, standing on herfather's knee for so long. She's wearinga striped shirt. The smallest rugby shirtin the world. I would like to squeeze hersmooth chocolate plump arm. But shemight cry and I would have to explain Ihadn't meant to frighten her. Anotherpoem being read together with the flutemusic. This one is about the police.There are big windows which open atthe top so there must be some air but Isuppose with so many people ... Iknow how to stop hiccoughs but notyawns. There are two fair haired youngmen walking amongst the people standingat the back and sides of the hall.Perhaps they feel sleepy too. The dressof this woman in front of me suits herbut I would be nervous of those coloursand in such a large pattern. Now there'sgoing to be a play. Oh shame, the nextone to read his poems has been toldthere isn't time. How disappointing forhim. Well perhaps he'll get a chancelater on. A group of young fellows ofabout his age laugh at him. Perhaps it'sbecause he looks as though he hasjumped too far into his pants whichmakes him seem shorter than he is andhis shiny brown brogues so enormous.One of the actors is trying to thread aneedle. He uses big gestures. Squints.Now he is sewing. He is sewing not likea woman but like a man trying to sewlike a woman. He is so funny. Oh, oh.Everyone is laughing. Including thebaby. A crocodile of school children isled towards the front. They sit down onthe floor and crane their necks backwardto stare at the actor who is threadingthe needle but they haven't realisedhow funny he is yet. Then the twoactors put chains around each other'snecks and the drums start softly. Nowthere is a tense moment in the play andeveryone hisses for quiet as the oneactor calls to the other to emasculate hischain. I think he said emasculate. Andhe does so with a heavy stone. I'm glad Ididn't wear my gold chain bracelet. Ifonly I could stand up and walk about,but the hall is packed and more groupskeep arriving with their drums. Twicenow my head has snapped up andwoken me. If I could have forty winksI'd be all right. It's not only the lack ofair. It's because so much is happening.All that energy. I'm exhausted. Perhapsthe next poetry reading I attend someonewill have written a poem abouta rich white patronising bitch. Alliterationand rhyme. Transpose rich andwhite. Better on the ear? I don't know.The announcer asks the artists whosepictures hang on the walls to comeforward as soon as the play is over sothat he can present them to the audience.Somebody comes to tell methe others are ready to leave. It takesme some time to thread my waythrough the crowd at the back and as Isay cheerio Mr M. says 'We have ourfriends the S.B. with us' and he laughs.As I go I see a new group on the stage.They are all chained together and aresinging a poem about persecution. I'mglad I didn't . . .STAFFRIDER, FEBRUARY <strong>1980</strong>45