Black Poets - Because of him

Black Poets - Education

Black Poets - Terror Life

Black Poets - Education (with the voice of Ahmed Kathrada)

Live performance by @sun_xa_experiment_5 in Berlin, November 23rd, 2024, at Haus der Kulturen der Welt (HKW). The narrative unfolded over a two-night concert at HKW’s Miriam Makeba Auditorium, both a summoning and a reckoning.

00:00:00 – Insert [Clan praises] calling to our African ancestors to see us as we usher into the second day of cleansing!! [Emakhosini, Bogogo oMkhulu Siyavuma] we acknowledge [Clan praises by Karolo More] 00:57sec

001 – Sosebenza : The ceremony day, we are experiencing cleaning, we are stating our intention, who we are and why we are here, sun xa experiment is a medicinal blend of 

Cleansing energy with the energy directed into the importance of the job at hand. We work through words, meaning and direct messages, words are power, words that coinage new meaning of hope on a new day. The unism of the voices is a thunder that calms when it draws, it is the summorning, it is a call, to center ourselves into the right balance of energy. The rhythmic movements and sequencing that inkolo (Religion) ya kwa Shembe has for their African christian roots in their movement and command and calm at the same time.

Image by Nunu Ngema

Sun Xa Experiment 'Sosebenza'

Impande Core Live at Stevenson Gallery Basement Johannesburg

Another Keleketla! Library orasonic memory project, Thath’i Cover Okestra, Vol. 5: '17 July to 12 September 1977. Lebo Mathosa is born. Steve Biko is assassinated'.

Sab'shaya.

Composed by:
Ambuya Stella Chiweshe, Ayanda Zalekile, Masello Motana, Simphiwe Tshabalala, Tiko Ngobeni, Yonela Mnana and Zweli Mthembu.

Performed by:
Ayanda Zalekile, Masello Motana, Simphiwe Tshabalala, Tiko Ngobeni, Yonela Mnana and Zweli Mthembu.

Recorded live at HAU Hebbel Am Ufer (HAU2), Berlin, Germany on 16 June 2018.

Commissioned and coproduced by Berlin Biennale for Contemporary Art; HAU Hebbel am Ufer (Berlin), Funded by Hauptstadtkulturfonds, Berlin

Thath'i Cover Okestra Vol. 5: Live at Hau Hebbel Am Ufer, Berlin.

Sun Xa Experiment Live performance at Haus der Kulturen der Welt (HKW) Miriam Makeba Auditorium.

Recorded at Keleketla! Library, 3 September 2015 as part of Thath'i Cover Okestra Vol. 4 classroom sessions

Thath'i Cover Rehearsal - Trompies Marabi Blues Jazz Medley

We call it the Thath'i Cover Okestra, an evolving pan-African Okestra that investigates the meaning and importance of Kwaito (South African electronic dance genre) music’s legacy for a new generation. Through this collaborative exploration, what emerges is a new super nostalgic African futuristic spiritual chant non-genre.

This is what the beautiful people said, on Facebook about Vol.4: 

This .was .pure .GENIUS. Can't wait for the recording. Sorry for you if you missed it!
Mpho Matsipa, 5 September 2015

"That'i Cover Orchestra" 's performance yesternight in Mofolo Soweto proved to be wicked, inspired, funny, silly, spirited, gorgeous and lively confirmation that often Black Genius and ‪#‎BlackLove‬‬‬‬‬‬ cannot be quite explained. It has to be EXPERIENCED. Thanks to the Keleketla Crew and Siya Mthembu of The Brother Moves On as well as our sister, Masello Tlou Masello Motanapitsi. Expect an FB review soon, time be kind to us […]
Bongani Madondo, 6 September 2015

yoh!!! i'm still on a major high from the jeni'! thank you for braving the cold and coming out from the city, Hammanskraal, Cape Town,the sababs, Orange Farm and of course to those who came from all over the South Western Townships. To harvest memories of kwaito with you in it's deepest parts was sweet damara justice. re lebogile kudu kudu kudu.
Tlou Masello Motanapitsi, 7 September 2015

Where am at right now, ancestors are ululating and vibing to these heavenly sounds, in efforts to keep them alive... Spirits are a-woke out here.
OH-MY-WORD!
Lilly Bellair, 05 September 2015

Last night was a truly incredible evening. I'm humbled by working with such gifted musicians. This whole experience has been transformative and I'm still buzzing. Audience, you were the best.
Hannah C Jones


[…]
what do you bring to the dance? if culture is afrikan circle dance and each individual makes the art by dancing together and gets their moment, their space to express their heart with the full support of the rhythm of others... and culture draws our shadows to heal in the dance, to renew our lives and to remind us what love really is... and my first language is wordless so it's hard to express what went down with Thath'i Cover Orkestra last evening at the Eyethu Lifestyle Centre in Mofolo. Coming to culture as ritual and renewal i consciously entered an image of being Afrikan, like in Loyiso Mkize's artists statement (he's exhibiting there, quite amazing) unapologetically romantic and vibrant and rich.
[…]
Phillippa Yaa De Villiers, 6 September 2015

kwaito + classical music + jazz = AMAZING!!! 
Mpho Matsipa, 5 September 2015

Much respect to Keleketla! Library for the music on some next level! ThathiKover Okestra made history tonight!
Lineo Segoete, 5 September 2015

Thath'i Cover... and my weekend was ‪#‎Blackcellent‬‬‬‬‬‬! I have to get myself Chuck T's for the next gig...
Lerato-Rato Themba Kuzwayo, 6 September 2015

Music coursing through me. You guys did best. ‪#‎blackexcellence‬‬‬‬‬‬
Lindokuhle Nkosi, 6 September 2015

The world needs to know about Thath’i Cover Okestra. #Soweto was so lit last night. #kwaito #jozitoaccra #joburgartfair
accradotaltradio, 6 September 2015

DJ Mujava cover was mind-blowing
Mitch Said, 6 September 2015

I had to catch myself from passing out a few times last night. LAWDDDD!
Bianca Mońa, 6 September 2015

Vol 4 would not exist without the time and gifts of:
Ayanda Zalekile on Electric Bass, Simz Jazzinmoxion Tshabalala on Drums, Zweli Mthembu on Guitar, Hannah Catherine Jones on Viola, Mandolin, Theramin, Autoharp and Vocals, Tsepo Pooe on Cello, Tumi Mapholo on Violin, Tiko Ngobeni on Percussions, didgeridoo, mbira and toys and  Masello Motana on Vocal History. 

Siyabonga Mthembu as substitute teacher and cameo vocals on ‘Lerato’.

Habashwe


Thath'i Cover Vol 4 - Eyethu Lifestyle Centre

Very last rehearsal on a chilly Friday, 4 September 2015, Johannesburg.  

Artists/Spirit Mediums: 

1) Ayanda Zalekile
- Electric + Double Bass 

2) Simz Jazzinmoxion Tshabalala 
- Drums

3) Zweli Mthembu
- Guitar 

4) Hannah Catherine Jones 
- Viola
- Mandolin
- Theramin
- Autoharp

5) Tsepo Pooe
- Cello

6) Tumi Mapholo
- Violin

7) Tiko Ngobeni 
- Percussions & Didge

8) Masello Motana
- Vocal history

Thath'i Cover Okestra Vol. 4: Last Rehearsal

Thath'i Cover Okestra makes new super nostalgic African futuristic spiritual chant non-genre. Thath’i is the brainchild of Rangoato Hlasane and Malose Malahlela from Keleketla! Library. It invites a mutable crew of independent musicians to investigate the meaning and importance of Kwaito music’s legacy for a new generation - a unique collaborative re-exploration of Kwaito music. It has generated a great interest in Southern Africa due to the relevance of dance music in general and Kwaito music specifically. Its premise – a speculation into the direction that Kwaito could have taken post-2004 positions the project as both nostalgic and futuristic, thus appealing to a wide audience that cuts across age, race and geography.

The first orchestra, supported by the Goethe Institut on occasion of the Shoe Shop project, consisted of 11 Johannesburg-based musicians namely: Mngomezulu Neku on bass, Tito Zwane on electric bass guitar, Zweli Mthembu on rhythm guitar, Nkosinathi Mathunjwa on keyboard, Kgomotso Mamaila on vocals, Tiko Ngobeni on percussions and didgeridoo, RubyGold on vocals, Gwyza on vocals, Sibusiso Galaweni on drums and Tebogo Mokoena on saxophone. 

Recorded live at the Drill Hall on 5 May 2012

Thath'i Cover Okestra Vol. 1: Madibuseng

In this unrehearsed untitled offering we enter a past present future portal. In this free download for the weekend of 20 - 22 May 2016 you find the Thath'i Cover Okestra that makes new super nostalgic African futuristic spiritual chant non-genre. Freestyle: that improvised offspring to ungovernable mammal called Kwaito and its family tree, this is histories in songs, songs of histories. Our 'Weekend Special' to you.

Thath’i is the brainchild of Rangoato Hlasane and Malose Malahlela from Keleketla! Library. It invites a mutable crew of independent musicians to investigate the meaning and importance of Kwaito music’s legacy for a new generation - a unique collaborative re-exploration of Kwaito music. It has generated a great interest in Southern Africa due to the relevance of dance music in general and Kwaito music specifically. Its premise – a speculation into the direction that Kwaito could have taken post-2004 positions the project as both nostalgic and futuristic, thus appealing to a wide audience that cuts across age, race and geography.

The first orchestra, supported by the Goethe Institut on occasion of the Shoe Shop project, consisted of 11 Johannesburg-based musicians namely: Mngomezulu Neku on bass, Tito Zwane on electric bass guitar, Zweli Mthembu on rhythm guitar, Nkosinathi Mathunjwa on keyboard, Kgomotso Mamaila on vocals, Tiko Ngobeni on percussions and didgeridoo, RubyGold on vocals, Gwyza on vocals, Sibusiso Galaweni on drums and Tebogo Mokoena on saxophone. 

We give thanks to Mmaphuthi 'Muptee' Morule (who played a sghubu set) and her brother Tumi Morule who joined on stage to share memories, stories and mad skills. 

Recorded live at the Drill Hall on 5 May 2012

Thath'i Cover Okestra Vol. 1: Improvs (feat Muptee and Tumi Morule)

Thath'i Cover Okestra Vol. 1: Zabalaza

Improvisation, Sghubu & Romance

Thath'i Cover Okestra makes new super nostalgic African futuristic spiritual chant non-genre. Thath’i is the brainchild of Rangoato Hlasane and Malose Malahlela from Keleketla! Library. It invites a mutable crew of independent musicians to investigate the meaning and importance of Kwaito music’s legacy for a new generation - a unique collaborative re-exploration of Kwaito music. It has generated a great interest in Southern Africa due to the relevance of dance music in general and Kwaito music specifically. Its premise – a speculation into the direction that Kwaito could have taken post-2004 positions the project as both nostalgic and futuristic, thus appealing to a wide audience that cuts across age, race and geography.

The first orchestra, supported by the Goethe Institut on occasion of the Shoe Shop project, consisted of 11 Johannesburg-based musicians namely: Mngomezulu Neku on bass, Tito Zwane on electric bass guitar, Zweli Mthembu on rhythm guitar, Nkosinathi Mathunjwa on keyboard, Kgomotso Mamaila on vocals, Tiko Ngobeni on percussions and didgeridoo, RubyGold on vocals, Gwyza on vocals, Sibusiso Galaweni on drums and Tebogo Mokoena on saxophone. 

Recorded live at the Drill Hall on 5 May 2012

Thath'i Cover Okestra Vol. 1: Improv/Summertime/Mohu Lebo Tribute

Thath'i Cover Okestra Vol. 1: Mabhubesi

Thath'i Cover Okestra makes new super nostalgic African futuristic spiritual chant non-genre. Thath’i is the brainchild of Rangoato Hlasane and Malose Malahlela from Keleketla! Library. It invites a mutable crew of independent musicians to investigate the meaning and importance of Kwaito music’s legacy for a new generation - a unique collaborative re-exploration of Kwaito music. It has generated a great interest in Southern Africa due to the relevance of dance music in general and Kwaito music specifically. Its premise – a speculation into the direction that Kwaito could have taken post-2004 positions the project as both nostalgic and futuristic, thus appealing to a wide audience that cuts across age, race and geography.

The first orchestra consisted of 11 Johannesburg-based musicians in no particular order: 

Mngomezulu Neku on bass, Tito Zwane on electric bass guitar, Zweli Mthembu on rhythm guitar, Nkosinathi Mathunjwa on keyboard, Kgomotso Mamaila on vocals, Tiko Ngobeni on percussions and didgeridoo, RubyGold on vocals, Gwyza on vocals, Sibusiso Galaweni on drums and Tebogo Mokoena on saxophone. 

Recorded live at the Drill Hall on 5 May 2012

Give thanks to the Goethe Institut Johannesburg and the Shoe Shop project for the generous support especially Princess Mhlongo (JOC!!) and Marie-Hélène Gutberlet.

Thath'i Cover Okestra Vol. 1: Uganga Nge Ngani/Madibuseng/Oksalayo

Thath'i Cover Okestra Vol. 1: Sekele (DJ Ella & Thath'i Improv)

Black Poets consist of 3 young talented songwriters from Johannesburg CBD who participate in the After School Programme at Keleketla! Library. Emmanuel Ramos (18), Elton Bilankulu (14), Jet Khumalo (17). With Dj Zakes as their mentor along with Prince Macabe (17) on the keyboards they produced this song for Heritage Day. 

Heritage

My Machine

Black Mark gave Jozi a sermon on Monday 6 June 2016. Black Artists White Labels is a gift that speaks for itself. Keleketla! Library had the privilege to participate, including recording this gift that keeps giving. Strength in healing...

Black Mark in collaboration with The Point of Order presents:

Black Artists White Labels: A response to the exhibition 'Black Modernisms'

Panelists:
Khwezi Gule
Same Mdluli
Sharlene Khan
Lwandile Fikeni
(Rory Bester ultimately could not, with 'relief', make it to the panel, here 'replaced' by Same Mdluli)

Moderated by Zen Marie

The recent three-way public conversation between the staff of the Wits Art Museum, initiated through Lwandile Fikeni’s article ‘Black Modernisms, White Saviours’ published in the City Press on the ‘Black Modernisms’ exhibition currently running at the same Museum, has prompted a series of debates on social media and other art platforms. Much of these debates are focused on, what now seems to be personal accusations, attacks and public slander, moving away from what was initially about larger issues of institutional power, transformation and knowledge production on the works of black modern South African artists.

By bringing this panel of experts together, ‘Black Artists, White Labels’ is an attempt to refocus this discussion to issues pertinent to the development of the history of South African black modern art. It asks questions, about the limitations of such forms of representations (the exhibitions) in acknowledging and complicating the values and intellectual contributions of black modern artists in South Africa’s art history.

The panelist have been invited to respond to the following four areas;
- institutional dominance versus personal power dynamics (transformation)
- tensions in the writing of biographies and autobiographies (the artist’s agency)
- museums and exhibitions as sites of struggle (curatorial strategies)
- strategies of overlooking, deletion and the negation of critical black voices in the arts (acknowledgement of work done by black practitioners)

For more information contact: nontobeko.ntombela@wits.ac.za
www.blackmarkcollective.wordpress.com

Recorded by Keleketla! Library, 6 June 2016 at the Point of Order
Copyright 2016: Black Mark Collective Critical Thought and speakers


Recorded by Keleketla! Library, 6 June 2016 at the Point of Order
Copyright 2016: Black Mark Collective Critical Thought and speakers

Black Mark presents 'Black Artists White Labels' part 1

Thath'i Cover Okestra Vol. 1 rehearsal with: Mngomezulu Neku on bass, Tito Zwane on electric bass guitar, Zweli Mthembu on rhythm guitar, Nkosinathi Mathunjwa on keyboard, Kgomotso Mamaila on vocals, Tiko Ngobeni on percussions and didgeridoo, Thubi Masigo on percussions, RubyGold on vocals, Gwyza on vocals, Sibusiso Galaweni on drums and Tebogo Mokoena on saxophone. 

Recorded at the Drill Hall: 2012

Thath'i Cover Okestra Vol.1 : Kwere Kwere jam session

Khulu Skenjana reads Prof Keorapetse Kgositsile’s 1983 ‘Culture and Resistance in South Africa’

9 October 2016

Respondents: Prof Keorapetse Kgositsile, Masello Motana, Khulu Skenjana and Dr. Lindelwa Dalamba.

This #longstorySHORT speshal edition was made possible as a partnership between Keleketla! Library and Wits School of Arts as part of the Another Roadmap School project.

LSS/Keleketla/AR/WSOA

Another Road Map School presents: 'Ntatemogolo Speaks! Prof Kgositsile revisits Medu Art Ensemble'

Keleketla! Library is proud to publish the recording of this transformative chapter of Donna Kukama's *The Free School for Art and Other Necessary 'Fings. Recorded at the event on 17 September 2017. 

The Free School for Art and Other Necessary 'Fings is back in Joburg, and this time we invite you to MAROPENG, a talk on the role of language in decolonizing society, led by Masello Motana in conversation with bilingual author Nape Motana. 

“Maropeng go a boellwa.” 
- Sepedi idiom

“I am thrilled to engage with my peers, knowledge and cultural producers, students, and especially fallists as a part of Donna Kukama’s ‘The Free School For Art and Other Necessary ‘Fings (Until Fees Fall)*’. There has been a lot said about WHY decolonization is necessary, and it is time to start imagining and fashioning the HOW, practically. This is necessary, especially bearing in mind the existing dominant culture and a call for the recovery of lost and fading knowledge systems. ‘The Free School for Art and Other Necessary ‘Fings’ forms part of a series of important interventions that have taken place in support of the #FeesMustFall Movement. Aside from my support of the movement as a human being and activist, I have been particularly impressed with the call for decolononized education.
 
I am even more excited about the conversation in the second part of the program where I will be engaging with my father, an artist who has had a profound impact on my outlook and practice as an artist. I was introduced to African literature in his study. He has always worked in Sepedi and English. My favourite work of his is the bilingual Sepedi Idioms published in 2004 and the staffrider stuff of course!

He comes from a different generation. Growing up, he was surrounded by his language, so he has complete access to his traditional archive. This is unlike our generation, which is in a process of rehabilitating that access. I am interested in how we can use generational knowledge to Recolonize, in the quest of decolonizing.” - Masello Motana.

*The Free School for Art and Other Necessary 'Fings is a virus that will pop up in various locations, carried by different bodies, with the aim to spread until there is free quality decolonized education in our lifetime. It was established by Donna Kukama in 2016.

Background songs:
Abdullah Ibrahim: Pilgrim from Manennberg (Its where is happening)
Tlokwe Sehume & Medu: Naga ya fsa from 'Naga ya Fsa"

The Free School for Art and Other Fings

27 September 2017

The Free School for Art and other Necessary Fings: MAROPENG with Masello Motana and Nape Motana

SIDE A: Nhasi
SIDE B: Pamberi

Recorded December 2017 at Downtown Music Hub, Johannesburg, South Africa.

NHASI

PAMBERI

17 July to 12 September: Lebo Mathosa Is Born, Steve Biko is Assasinated

Sab'shaya Live at Hau Hebbel Am Ufer, Berlin.

The Freedom Community College choir commence an eight week music project that forms part of the autumn/spring Keleketla! After School Programme (K!ASP) project. The Freedom College choir will form an ensemble, collaborating with young professionals Tito Zwane (bass guitar), Simphiwe Tshabalala (drums), Zweli Mthembu (rhythm guitar)and Zithobile Sibiya (keyboard). 

Sounds from our After School Programme

Sometime in June Keleketla! Library co-steerings went to Basel for executive meetings and some fun. Here's the fun part. 'The Church, the Hall and the Shebeen: The Song that became the Organiser'. We give thanks to:

Thulani Mdoda on Tuba
Miseka Gaqa on Voice
Tubatsi Moloi on Lap Steel Guitar, Fugal & Voice
Yonela Mnana on Piano and Voice

With interludes by:
“Thokozile Queen Mother” from Tumi Mogorosi’s Project Elo, 2014

And sonic archives by:
The Mama Africa Sonic Archives
The Radio Freedom Archives

And Texts by: 

David Koloane in conversation with Kabelo Malatsie from the booklet accompanying her 2018 MA in History of Art titled Autonomy?: South African Independent Self-organised Art Institutions, funding models and its effect on institutional programming, University of the Witwatersrand

Isabel Hofmeyr from “We Spent Our Years as a tale that is Told: Oral Historical Narratives in a South African Chiefdom”, 1995

Louis Chude-Sokei from “Dr Satan’s Echo Chamber’ from Chimurenga Magazine, 2008
 
Saidiya Hartman in ‘Wayward Lives, Beautiful Experiments: Intimate Histories of Social Upheaval’, 2019

Octavia E. Butler in “Parable of the Sower”, 1993

Recorded live at Art Basel Conversations, Basel, Switzerland. 
13 June 2019.

The Church, The Hall & The Shebeen: The Song that became the Organiser

Keleketla After School programme members in dance come full circle as they return to their earlier production titled Movement Mandela, then under the choreography of Mike Machaya. Performed for the first time on the occasion of a Q & A session with Ahmed Kathrada, the dance piece on the violent arrests of struggle heroes featured Tito Zwane, Zweli Mthembu and Simphiwe Tshabalala on sound and Thenjiwe Nkosi on video. This piece brings new choreographer Mpho Molao with most of the original members + , this time with a choir.


Through Movement

Hugh Lewin & Paula Akugizibwe.mp3

Keleketla! exemplifies a practice deeply rooted in the intersection of storytelling, cultural advocacy, and spatial justice.

Keleketla! Library

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