This life is for me to tame
To walk in the halls of fame
With the legendary kings in the game
To learn from the best not lame
In the sphere of hope, I rhyme
Smear thy nemesis with shame
My dreams for now in rime
This life is for me to tame
All in good time

THE SACRED SPACE OF SEXUALITY

Sexual preference is a personal entity that is guided by sensual desires from each individual, which are feelings that are instinctive and secretive. Some issues relating to sexuality are anomalous in nature and should be kept behind closed doors - however due to the voyeuristic society that we live in, sexuality is no longer a taboo issue and matters that should be kept out of the public eye are dealt with publicly.

Teenage promiscuity is one of the greatest concerns of our society. We teach our teenagers to protect themselves from Sexual Transmitted Infections (S.T.Is), and H.I.V/AIDS with disposable condoms. We teach young girls to protect themselves from premature births through birth control pills and injections and yet society welcomes infants yearly from teenagers. Are condoms and birth control mechanisms being used? In past decades the scourge of H.I.V/AIDS has ravaged the African continent and the world at large. The rate of H.I.V/AIDS and other infections has increased and millions of South Africans are at risk of contracting this rampaging pandemic.

Rape, is one of the most inhuman, heartless diabolical ways that leads to sexual apathy, leaving its victim reaped of their dignity and pride. At times, a victim of rape is tainted with a deadly mark of H.I.V/AIDS and emotional scars for life. Rape victims find attachment and sacredness of sexuality with another person an emotional turnoff and an unwanted burden, however on the flipside; for emotional validation, rape victims use sexuality as escapism from their emotional pain they suffered, thus become promiscuous in the hope of extinguishing their pain. According to D.A Louw and D.J.A Edwards from the book, ‘PSYCHOLOGY: An introduction for students in southern Africa’ - sexual drive is said to be, “physiologically-based, in humans it is influenced, to a very large degree, by psychological and environmental factors.” (1993: 445) Rape victims after being raped, see their environment as a prison they need to escape from - therefore, to them there is no sacredness to sexuality.

Pedophilia forms a big part to sexual anomaly, which has left young boys and girls with a significant psychological laceration that impel, in most cases, some individuals to repeat the same circle that was perpetrated to them - when not dealt with through physiological and psychological healing, can set a never ending bend of abusers at times reaching far as creating serial killers.

At times verbal, physical and emotional abuse can and does contribute to sexual deviations with two people who are accustomed to a loving sacred space between them. Verbal tension or lack of communication does drive partners to commit infidelity, which places them at a risk of contracting the virus - however this is not the only factor. A number of women surreptitiously complain about how they are ashamed of their sexuality, when their husbands come home drunk to a pulp, thus go out to seek a sacred space from other man. Alcohol abuse can leave a man delusional, thinking that they are contributing fully to their spousal sexual relation, when in reality they do not - which does prove that the environment factors and psychological thinking of an individual alters their way of sexual perception and contributes to their relationship.

In Greek mythology, Aphrodite the Goddess of beauty and sexual desire was attributed to all things that are good and pleasurable to the sacred space of sexuality. The Babylonians, Assyrians, Greeks, and Romans erected sculptures of such Goddesses as Aphrodite and Venus to celebrate sexuality millenniums ago. This was done in such elegance and finesse which helped chronicle the behavioral patterns of ancient civilizations towards sexuality and the physical aesthetics to it. The Indians propel this to the art of Karma Sutra, which is a Hindu and Buddhist philosophy of celebrating the Goddess of love and procreation.

The sacred space of sexuality is a space that needs to be respected between an individual and their significant other – be it a heterosexual, bisexual or homosexual relation. This emotive factor behind sexuality, which is its fundamental role, for a man and a woman to bond and ultimately consummate their relationship and at times procreate thus help generate the human race.

WORD TO A NEW SEXUAL REVOLUTION

By Linda Sakazi Thwala

PLEASURES OF SOUND

The one way of communication that has had and still has an endurable influential impact on old and new traditions, and trends - bridging cultural connections with a melodic evolution to humankind’s existence and people that love the pleasures of sound - is music. With the beating of drums civilization tuned its lineage of sound and musical beats, emanating from different regions in the world, altering and forging values and traditions of all tribes, groups and nations.

The spiritual attachment to sound is a universally known philosophical wisdom, which eons ago prompted spiritual religious cults to spring-up amongst uncivilized tribal populace – chanting, raving rhymes that later evolved into song (groups that are still evident to date). Cultural cults that intertwined with their community bringing song and entertainment to them by reinterpreting, enacting and creating lyrical tales that brought emotional enrichment and fulfillment - ultimately leading certain cults that were originally religious groups forming liberal musical groups that took the gift of song to another level.

This level of communication with sound, evolved into alternative genres that were originally defined from the gesticulating, hypnotizing sounds of the drum to sounds of Rhythm & Blues (Rn’B), Rock, Rap, Disco, Grunge, Reggae, Hip Hop, Jazz, Kwaito, House Music, Ragga, Country Music, Pop and Kwela (dominated by the sounds of the flute).

It is to such sounds of melodic tempo which I found myself immersed and mesmerized at a very young age during 1980s. I would watch my Bab’Mkhulu and his friends swaying and swinging to the musical sounds of Jazz and Kwela legends from the early hours of Saturday morning until the late hours of that day. The sounds of Abigail Kubeka, Lady’s Smith Black Mambazo, Hugh Masekela, Brenda Fassie, Stimela, Caiphus Semenya’s Ziphi’inkomo and Letta Mbulu’s Nomalizo reverberating all day, after the day’s humble beginning with bitter-sweet protest sounds of Jazz from Mariam Makeba and Harry Belafonte, African Jazz Pioneers with Kid Mawrong’rong blowing hard on his sax (God bless Mr. Ralulimi). Encouraged by the legendary Ray Charles fiddling with the piano through our Panasonic speakers, in the mid-afternoons with Hit the Road Jack, supported by Stevie ‘Mr. Wonderful’ Wonder’s songs from the album ‘Songs in the Keys of Life’ and the smell of Braai on our make-shift braai-stand and bellowing voices of intoxicated men; I would emulate Ray and Stevie’s famous swaying and facial expressions, pretending to be them (Jamie, that was my role son!). However my personal favorites were the late performing artists, Pop legend Michael Jackson and the king of Reggae, Bob Marley.

In the early 1990s when the cadence of Disco music was reaching its probable end, giving birth to the higher-tempo of House music; Kwaito and Afro-Pop became a new revolutionary statement for the youth of South Africa. Arthur Mafokate was the leader in this new Kwaito genre that will prove to be stronger than Mkhukhu, Maskandi or Bubble gum sounds that had dominated South Africa’s Bantu radio stations in the 1980s. Kalawa Records was born, with the likes of Thebe, Oscar ‘Oskido’ Mlangeni, Bruce Sebitlo, Boom Shaka, Bongo Muffin, Alaska, and Mafikizolo started rocking the South African music scenes. Independent players in the game of Kwaito emerged – Mdu Masilela, Joe Nina, Zola, HHP and TKzee proved to be worthy competitors altering the sound to a more lovable alternative tune with different compositions. Compositions that later in 2003 gave birth to an elusive balaclava character named Mzekezeke, with the late T.K showcasing her beautiful sensual Rn’B voice in South Africa.

Then, foreign sounds from prominent Rn’B, Rock, Pop and Rap music icons like Bono, Sting, Nirvana, Vanilla Ice, Chris Cross, Tupac Shakur, Aaron Hall, Dr Dre, Jay Z, Snoop Dogg, Foxy Brown, Lil’Kim, Nas, Mos’Def, MC Lite, Notorious B.I.G, Salt n’ Pepper, LL Cool J, The Fugees, Michael Jackson, Johnny Gill, Bruce Springsteen, Phil Collins, Elton John, Boyz ІІ Men, Brandy, PM Dawn, R Kelly, et al – were shaping the future of music globally, with Eminem, Kanye West and The Black Eyed Pease joining the fray on the turn of the millennium.

Today’s melodies and lyrical content, predominantly in the South African and American music industries need to be beefed up. When artists in the United States came out in support of a statement that was made by one of their colleague that, ‘Hip Hop is dead’ it was a collective truth the world was waiting to hear. The death of Hip Hop is brought on by the number of newer artists, sampling and repeating the same lyrics that were done decades ago. In some cases when a song is sampled and remixed, that improves the song drastically, conversely when older ‘hit songs’ are sampled changing them for the worse, it makes the music industry look like a superfluous music factory that lacks creativity.

Information overload is one of the tools that contributed to the death of the Hip Hop genre globally since the dawn of this millennium. Technological gadgets that allow people to download music not only led to killing the music industry worldwide, however played a hand in slumping the financial remuneration aimed at improving the industry and the artist’s livelihood on albums sales. In South Africa archetypes of American artists and beats made it difficult for our music to penetrate overseas markets due to local artists emulating the type of sound that has dominate the world over.

Musicians and writers who come up with their own lyrical content and structure in this industry help in advancing the musical revolution in this difficult stage of the entertainment industry. The frustrations felt by musician are also evident in their fans, with music taking a redundant route and rocketing album prizes.

In my household we embraced the joys and pleasures of sound. Music that began with the beat of the drum, music that aims at disseminating political, cultural, religious, and any societal ills that need to be addressed in camouflage - music that aim at bridging the gap of inequality; celebrating new love and rekindling old love, forging friendships, a remembrance and authenticity of life.

WORD TO A NEW MUSICAL REVOLUTION

By Linda Sakazi Thwala

Community Radio: The Voice of Tembisa

The Voice of Tembisa or V.O.T as it is affectionately known is a community radio station based at T-Shad in Sangweni section, Tembisa that was established by Reynold Nkwe, together with the community of Tembisa, at 87.6 FM, which targets close to a hundred thousand listeners within the peripheries of Tembisa and surrounding areas, including Alexandra Township.

The station was first inaugurated on the 5th of December, 1997, however due to a lack of funds and sponsorship, the project was then placed into remission and disappeared from the community scenes, nearly two years after its inception.

On the 3rd of December, 2005, V.O.T reopened its doors with the biggest salutation from the community of Tembisa, bringing along a glimmer of hope and a promise that, the future will not repeat the calamities of the past. However, according to the then acting Station Manager Portia Zwane, who also presented a mid-morning show, called REFLECTION, between nine and twelve; the station was still facing major problems due to improper behavior by certain individuals who are reluctant to follow the ethical codes of ICASA (Independent Communications Authority of South Africa), which is the governing body to rules and regulations concerning Broadcast Media.

The board members selected to represent the community reflect a false image of the community and are not as instrumental to influencing the content needed to develop the identity of the radio station - consists of forty-five staff members and a board of ten members that were selected from prominent community leaders. The Broad of Representatives is a pendulum that boasts an equal equity of gender with five females and five males in the board. Including the station's Program's Manager, the Marketing Department, News Desk, and the Public Relations Officer. Most of the members are not full-time employed due to a lack of funds in the station and little resources available for the technical side of the production.

The Voice of Tembisa Community Radio to my opinion is still a baby that needs to be nurtured and directed to the adult steps of Regional Radio station like Youth FM (YFM, 99.2), KASI FM (Katlehong) and JOZI FM (Community Radio)). Even though it is a community radio station nothing can restrict the station to follow in the footsteps of these larger radio stations. However due to management squabbles and infighting by Board members, reaching that goal seems to be an insurmountable dream.

The Management of the station needs to be changed with a more free-flowing constructed structure and format established. The station lacks the spirit of youthful zest that a young Community Radio Station evidently must have in order for it to generate more Share and Reach which are the most important elements that support the growth of the station.

The future of radio in Tembisa is a struggle to the ears of the Tembisans and needs a competent team of educated young bloods to emancipate the community from the shackles of bad radio. The community needs to standup, particularly the youth and enhance the standards of radio in Tembisa.

WORD TO A NEW MAMBISA RADIO REVOLUTION

By Linda Sakazi Thwala