History and that Gaddafi diversionary trail


Muammar al GaddafiIt did not require some extraordinary insight to predict the utter failure of the July 2007 Accra summit of Africa’s heads of state – not so much the indifference shown to the vaunted theatrics of the so-called “continental union government” performance by Libyan leader Colonel Muammar Gaddafi but the assembly’s deafening silence over the ongoing Arab-driven genocide against the African people of Darfur. This failure is indefensible. Just as the 1966-1970 Igbo genocide (post-European occupied Africa’s foundational genocide which the Arab/Islamic World, in concert with Britain, the former Soviet Union and the Nigerian state executed, resulting in the murder of 3.1 million Igbo) and the subsequent genocides in Sierra Leone, Rwanda and the Congos, African leaders have yet again failed to confront and halt another mass slaughter of an African people. Just as in all the pre-Darfur continental genocides of the past 41 years in which 15 million Africans were murdered, the world appears, yet again, to watch at the sideline as another nation of Africans is being systematically destroyed by an African state run by a ruthless minority Arab/islamist hegemonic grouping. A total of 200,000 Darfuri have so far been murdered.

Despite Gaddafi’s pre-summit boisterous campaigns across Africa to publicise his “union government” ambition, the Arab nationalist, who has turned his country into some religio-dynastic fiefdom since he seized power in 1967 after a coup d’état, has obviously scant democratic credentials to present to the current frenetic African discourses geared to the reworking and transformation of Africa’s debilitating sociopolitical spaces of dictatorship, militarism and genocide. Africa’s strategic goal in these early decades of the new millennium, it should be stressed, is to dismantle its extant genocide-states and create extensively decentralised new state forms of organic coherence that not only halt the slaughtering of four decades but also embark on the construction of African-centred polities of advanced civilisations.

Continue reading “History and that Gaddafi diversionary trail”

South Africa…Witchcraft suppression – please speak up


To all South African Family and Friends of Africa! This posting is a little late but I’m publishing this information anyway to raise awareness on this issue…Ramon Thomas, webmaster

I do not usually send out petitions but in this case I am sure you will forgive the intrusion:

Mpumalanga are in the process of drafting a Witchcraft suppression bill which will make the practice or admission of witchcraft a criminal act in Mpumalanga !!- you might think it is not your province or not your problem! BUT if Mpumalanga do it, they open the doorway for other provinces to do the same! They also open the doors for innocent people to be incriminated and even killed by mass trial/mobs.

This affects ALL traditional Crafts and most Importantly the SANGOMA’S.

What you can do to help:

The deadline for objections is 13 July so please do not delay. We need all Pagans or persons practising Traditional Crafts (Sangomas) OR who identify themselves as ‘Witches’ (or even those who don’t) to lodge PERSONAL objections against the bill. No group petitions PLEASE. We want a large quantity of individual mail being submitted against the drafting of the bill!

This Bill is in direct contravention with the South African Constitution and Bill of Rights , which allow religious freedom to ALL!!

We need to get as many objections as possible so please take the time to send a mail and also pass this along to all Africans, Traditional healers, Pagans and Witch-friendly folk.

To make it easy for you – BELOW are address details and a template and email address for submission of your Objection (just add your personal details and tweak the wording if you like)

Witches are NOT what the story books claim them to be! Nor are they Christian Hating or evil people! DO the right thing!


Warm Blessings

On Behalf of NDUMA (Sangoma and Traditional healer)


Send your mail to : bbongo@mpg.gov.za

Subject: Witchcraft Suppression Act – OBJECTION

E-mail content :

Office of the Premier
Mpumalanga Provincial Government

For attention: Advocates B. Thomas and H.M. Mbatha and L. Pretorius

With reference to: P.15/5/15 Comment as an Interested and Affected Party: Mpumalanga Witchcraft Suppression Bill 2007.

I, INSERT NAME HERE, hereby formally object to the proposed Witchcraft Suppression Bill on the following grounds:

1. Any bill that provides for the suppression of Witchcraft is in direct contravention with the South African Constitution and Bill of rights (which allow religious freedom to all)

2. The proposed bill will criminalise members of a recognised and established religious minority

3. It denies the members of this minority religious community freedom of religion and belief

4. The bill will create a threat to the dignity, and well being and safety of Witch/Wiccan religious communities throughout South Africa

5. The bill will misrepresent a Witches worldview and belief system and will create discrimination and division within communities

I respectfully request that this bill is not passed with the current wording – and that alternate solutions are found to deal with the issues at hand.


aka INSERT : Pagan / Traditional healer Name

No sacred cows in Divided Kingdom Republic


THERE are no sacred cows on Afro-centric artistes Divided Kingdom Republic’s new effort, the double album Kudakwashe/Munyaradzi. The Zimbabwean-born rappers, pioneers of hip hop in their homeland deliver a scathing no-holds barred full frontal attack on just about all forces propagating strife on the continent: from sycophant Western powers, the G8 to corrupt African leaders.

Following hot in the footsteps of their impressive debut offering , Rhythm and Prose in 2005, Mcs Kudakwashe Musasiwa a.k.a Begotten Sun and Munyaradzi Nota take a new approach to producing rap, a lighter way to enlighten, and some of the sharpest double entendres and wordplay ever recorded in hip hop and hereby leave an indelible mark on music history.

To start with, the duo who produced most of the tracks on this double cd, takes a bold decision to ditch the predictable and overused technique of computerised melodies and sampled bass lines for live guitar riffs, thumping traditional ngoma (drums), rattling hoshos while the Mbira yevadzimu dominates prominently.

The set is then completed by the compliment of kicks and a skanking drum machine to retain a hip hop flavour, already catchy before the addition of the often satirical but mostly blunt yet clean political compositions.

The genius in this record is the Chitauri theme which threads throughout the album that is famously attributable to Zulu Shaman and best-selling fiction author Credo Mutwa.

Click here to read the rest of this story from the Association of Zimbabwean Journalist s website.

The lady’s not for burning


The Kanga and the Kangaroo Court is a battle of ideas and behaviour; a battle against, not of, violence Mail & Guardian reviewers examine meaning and myth in Mmatshilo Motsei’s The Kanga and the Kangaroo Court

wen Ansell About 55 000 rapes were reported in South Africa in 2005/06, along with close to 10 000 indecent assaults. Many of the latter may also have been rapes: of men, or with bottles, knives or guns — prevailing legal definitions did not permit the “rape” label for those. If you are part of the majority population (according to Statistics South Africa, 51% of us are female), South Africa is a dangerous place to live.

Just how dangerous, was highlighted by events inside and outside the court where one particularly well-publicised rape case was heard in March last year. Jacob Gedleyihlekisa Zuma, deputy president of the ANC and former deputy president of the country, was on trial for the rape of a young woman identified as “Khwezi”. The court acquitted him. But, throughout the trial, mobs of supporters, many of them bussed in from Zuma’s base in rural KwaZulu-Natal, menaced the complainant, her family, legal team and supporters. Their chant — reproduced on a particularly ill-judged Sowetan front page that the photo-burning mobs then brandished as a placard — was “Burn the bitch!”

Women and men picketing for a fair trial faced a barrage of abuse. It sometimes seemed as if every passing hand was making gestures of throat-slitting or pistol-firing in their direction. The verbal and ideological violence continued long after the verdict. (Rapes, of course, had never stopped.) Calls for South Africa’s next president to be a woman met such gender-specific vitriol that Thenjiwe Mtintso, South African ambassador to Cuba, coined the term vrou-gevaar (women peril), in parallel to the swart-gevaar (black peril) psychosis infecting the supporters of apartheid.

The Zuma trial let loose the stink of some odious aspects of life. But it also highlighted a still-unsecured front in our liberation war: the struggle for gender equality. And if “Burn the bitch” was the literary expression of the enemy, Mmatshilo Motsei’s book sounds the clarion call back to battle.

It’s a battle of ideas and behaviour; a battle against, not of, violence. In 200 meticulously researched and passionately (but also wittily) written pages, Motsei examines the gender images and self-images men and women create and hold, where these images come from, and how they are expressed in behaviour.

Though the Zuma trial is the anchor for her argument, she considers many broader issues, including patriarchy in religion and popular culture, and the impact of globalisation and militarisation. She debunks — tragic that it must be done so repeatedly — the myth that women “ask for it”. And she kills the canard that African cultures are inherently sexist, drawing on authorities to the contrary from gender studies academic Molara Ogundipe to traditional healer Credo Mutwa and veteran Alexandra community leader Drake Koka.

Please click here to read the rest of this story…

Sutherlandia frutescens herb may help fight Aids


Sutherlandia frutescensA South African endemic medicinal herb, with the botanical name of Sutherlandia frutescens may hold the key to the treatment of HIV and Aids it has been reported in many places including the BBC news site, and by Zulu shaman Credo Mutwa, who in recent years has become a good friend of controversial author and speaker David Icke.

Credo Mutwa, however, got the name slightly wrong and refers to it as Suderlandia Fructosate, and this has led to very many enquiries on message boards online where people have been trying to track the herb down. Some botanists also refer to Sutherlandia frutescens as Lessertia frutescens, which confuses matters further.

Sutherlandia frutescens is also known in English as cancer bush and balloon vine, and it grows naturally throughout the dry parts of southern Africa, in Western Cape and up the west coast as far north as Namibia and into Botswana. It is also found in the western Karoo to Eastern Cape and has been cultivated as an attractive garden flower.

Sutherlandia Frutescens, sub-species Microphylla has been undergoing clinical trials to assess its immune-boosting properties and evidence suggests that this plant can improve the quality of life of thousands of people suffering from HIV and full-blown Aids.

The South African San people who know it as “Insisa,” use Sutherlandia frutescens as an energy booster and an anti-depressant, whilst Afrikaners call it the “Kankerbossie” or cancer bush, because of its properties in treating people suffering with internal cancers.

Phyto Nova, a company specialising in herbal remedies first started researching the bio-chemical properties of Sutherlandia frutescens and they were so convinced it could be used to help HIV and Aids sufferers, that they contracted farmers to plant acres of the herb as a safeguard against over-harvesting of it in the wild.

The Phyto Nova company has been manufacturing and supplying high quality Sutherlandia frutescens tablets, gel and powder.

originally published on Enjoy France website here.

You may also be interested in reading this detailed write-up on the Sutherlandia treatment here.

Genetically Modified Crops in South Africa


Dr. Moira Gunn talks to the chief of a rural South African village, Chief Advocate Mdutshane, and a South African government scientist, Dr. Makhosandile Rebe, about genetically modified crops in South Africa. And on Bio-Issue of the Week, science journalist David Ewing Duncan reviews former President Clinton’s keynote speech. This edition of BioTech Nation was broadcast from the BIO2006 conference in Chicago.

Download interview with Chief Advocate Mdutshane and Dr. Makhosandile Rebe here.

Zulu Shaman: Dreams, Prophecies, and Mysteries


“Credo Mutwa paints a stunning picture of the complex world of Zulu cosmology and traditions. The colorful array of stories and the science of healing he offers with humility take us into the heart of African ancestral wisdom. His courage in revealing to the world what would otherwise remain hidden commands respect and reverence.”
Malidoma Somé, author of The Healing Wisdom of Africa and Of Water and the Spirit

“There is medicine for the soul here. One feels Credo Mutwa’s wonderful humanity and the genius of his people in these stories.”
Luisah Teish, author of Jambalaya and Carnival of the Spirit

In this rare window into Zulu mysticism, Vusamazulu Credo Mutwa breaks the bonds of traditional silence to share his personal experiences as a sangoma—a Zulu shaman. Set against the backdrop of post-colonial South Africa, Zulu Shaman relays the first-person accounts of an African healer and reveals the cosmology of the Zulu.

Mutwa begins with the compelling story of his personal journey as an English-trained Christian schoolteacher who receives a calling to follow in his grandfather’s footsteps as a shaman and keeper of folklore. He then tells the stories of his ancestors, including creation myths; how evil came to the world; the adventures of the trickster god Kintu; and Zulu relations with the “fiery visitors,” whom he likens to extraterrestrials. In an attempt to preserve the knowledge of his ancestors and encourage his vision of a world united in peace and harmony, Mutwa also shares previously guarded secrets of Zulu healing and spiritual practices: including the curing power of the sangoma and the psychic powers of his people.

Vusamazulu Credo Mutwa currently resides in Kuruman in the Northern Cape.
Previously he lived outside Pretoria, South Africa, near Johannesburg, where he used to sculpt, paint, and teach Zulu lore. His book Indaba, My Children has become a classic of African literature.

read more about this book here…

Interview with Chika Onyeani author of Capitalist Nigger


Capitalist Nigger: A Spiderweb Doctrine by Chika OnyeaniI do not know if Credo Mutwa knows about this particular book because his health has been deteriorating since 2005 when Capitalist Nigger was first published. Whether he agrees with the views expressed in the book Capitalist Nigger I publish this interview so that you can make up your own mind. As a concerned South African I believe this book holds a wake up call for all those who are open to it, and will annoy the rest who are conformist or politically correct.

Here’s an interview originally published in Mail & Guardian newspaper from October 2005 when Dr Chika Onyeani visited South Africa:

M&G – What is the difference between what you are preaching and what other Africans on the continent and in the diaspora have said about the need for economic self-reliance?

Chika – My message is different in that they were always blaming colonialists or slavery for the black persons problems. I am not saying we should not recognise the impact of colonialism. But we should say that it has been 45 years since Africa was decolonised. It is time we said that what happens in Africa today, we are responsible for it. We cannot continue to blame the colonialist. Who said to [Nigerian military strongman Sani] Abacha and [Congo dictator] Mobutu [Sese Seko] take the money and go and put it in a bank in Europe.

M&G – So what do you see as a solution?

Chika – We need to learn to take care of ourselves. Indians wear saris made in India, they drive cars made in India, and [the] Chinese are not afraid to use products made in their country. We must do the same.

M&G – What is stopping blacks from doing what they need to do?

Chika – Inferiority complex. I met a man who says he is from a village somewhere here. He told me that the people in his village have lost all their stores to the Pakistanis. Why is that? It is because we are not willing to put in the same amount of time. It is because the Pakistanis are willing to work hard; they are prepared to work 25 hours a day and eight days a week. Blacks are not willing to work hard. They think that once you have a shop, you have arrived.

M&G – What about the possibility that the Pakistani, like the Chinese, have access to cheaper raw materials and commodities because of the lower cost of doing business in their countries?

Chika – People in Africa should not demand such high wages. The Indians dont mind working for peanuts, as long as it is for the good of their communities.

M&G – But there are wealth-gap issues in both India and China.

Chika – Why must we concentrate on the negative? In India, the larger part of the population is still poor. So what? India is leading in a lot of ways. If you make a call to credit card company, chances are it would be answered in India. Just because of the way they have been able to do the things. The reason we have so many people going to Europe looking for work is because we have not been able to provide jobs for our people.

What would you say to comments that you are playing into the hands of racists by depicting black people as lazy and inefficient?

Chika – I dont care about what white people are thinking. It is what we think about ourselves. If we talk about it, perhaps we will stop doing it.

Purchase Capitalist Nigger by Chika Onyeani from Amazon.com.

If you liked this interview I also recommend you watch the video of distinguished economist George Ayittey at TEDGlobal conference in Tanzania in 2007.

Audio Message from Credo Mutwa


Reposted from y Dean Liprini’s blog

Urgent Message from Credo Mutwa

I was asked last week by Baba Credo to record a message for “the
People” – All spiritual truth seekers This 45min. message relays some
of Credo’s deep concerns for the year and years ahead.

encourage others to do so.

PLEASE send the info of this message to All you think will be
interested. ….Spiritual groups/individuals and organizations. OR I
will post it to you on a CD at a cost of R30 in South Africa ( One to
two weeks delivery) and R60 to International destinations, to cover
expenses, postage and packaging.

If you wish to order the CD. in South Africa, please make a bank
to order using a credit card (click here) it will be on the Products

{ Download here }

House of Credo Mutwa


What is the film all about?

The film is a contemporary recount of the daughter of Credo Mutwa of the burning of their house in 1976, on how she has carried the burden that is either a falsity or a truth for the past thirty years and her opening a can of worms, as if to exorcise a ghost, through searching for some semblance of the truth in her immediate community, and ultimately through a confrontation with her father.

The film parallels Nozipho Mutwa’s search for the truth that will heal her relationship with the community, and the varying testimonies of varying degrees of myth and truth on what exactly took place before, and after one of the more prominent events in Diepkloof in 1976. As Nozipho is propelled further in her search, we wonder: How will she walk on the thin and treacherous thread, where society, history and memory meet, where her father exists as man of many dimensions?

Where did it all start and why did you make it?

Well, as you know the film was a response to the SABC’s call for proposals for stories that would in total constitute what Sylvia Vollenhoven (then Head of Factual) and Eugene Paramoer (CE) called a “monument to the spirit of ‘76”. Now the story of Credo Mutwa house is one of the more famous events that happened in Diepkloof. I grew up there and as a childhood memory I remember it well seeing the house razed to rubble. I also remember it overgrew with vegetation, generating al kinds of mythical stories in the township. What I also remember is how the burning of the house was spoken of in hushed tones. In a poem from my debut book, Ten Flapping Elbows, Mama, I recall the childhood memory:

“…it’s night now
diepkloof sky peels off the roof
just to gossip dark-
credo mutwa’s four
burnin’ in ’76…

credo mutwa graveyards
he sees
in a colour tv

And I have not
No, I have not got a room
With a view
For my blues”


The part about Credo and the colour television referring to the time when he used to feature a lot as the resident prophet on Felicia Mabuza-Shuttle talk-show, in particular when he spoke in a current affairs programme after the murder of Chris Hani, his presages of an epoch of great blood-letting that was incumbent.

In general I have been fascinated by Credo Mutwa, but in the end, I think other reason I made the film was to satisfy my wonder about what exactly happened to him, since those days at the height of his stature as a prophet of the highest order among the emerging black elite, totally erasing any reference of the time when he was a suspect individual.

I think his daughter also struggles with this, as she carries the pain of their family breaking apart, and her thing is that someone has to say sorry to them, as a family. But in the film, of course, her father tells her to forget it all. I had sensed this through digging for the quest in film and designing the narrative structure in my treatment, that it would be the irresolvable, yet painful aspects of the story that would make the narrative engaging. It all made it a great project to work in and struggle hard against all odds to see it to the finished.

As the Director, what were the greatest challenges you were faced with?

The first big challenges was to translate all the wonderful twists and turns dreamed up in my treatment onto the screen, and one big hurdle was convincing people to appear in the film and share what they remember of the day and the event. Many people people in Diepkloof, teachers who were around in 76, students and political leaders expressly said no, as soon as we mentioned the name Credo Mutwa. My way around that was our decision to tell history from the “bottom up”, as it were, to allow myth, self-heroism and couching the facts around the burning of the house in melodramatic and epic frames of the tale or fable, none of which, of course, bear any resolving substance for Nozipho.

The other challenge was to prompt Nozipho to ask the real questions, questions that bothered her in her own heart. Also to have the courage to ask her father these as well. I was lucky that she did not offer too much resistance or denial, and truly the film shows her courage very well.

The 76 series had a few process challenges around payments and contracts and it did all pump up the levels of frustration to the point where Credo was going to cancel and I was ready to throw in the towel. All the filmmakers in the series took a bit of a strain from the contract and payment frustrations.

What is the motivation behind your choice of aesthetics for the film?

I visualised the colour and visual tone of the story as that of a contemporary, yet backward looking palate upon the landscape of memory, history, society, culture, the grand narratives of Politics and everyday life.

I tried very much to convince Mathys (DOP) that in fact we were making a horror film, and between mailed references of horror film and pictures and some reality checks, it took a little bit of a give-and-take on both our sides to get what I want and what is most probably possible. Mathys tried his best for us to achieve the look dictated by a binary codes of truth/lies, fact/fiction, shadow/light, inside-outside/open ended landscape (outdoors) compared to the walled reality of rooms (indoors). We also decided long before switching the camera, on the frames for shooting Nozipho inside the house., so as to let wonder get writ all over the image of her face on the screen. Mathys’s great touch on angling the streams and rays of lighting helped up solve problems like streetlights not working and the blue glow of the energy-saving bulbs inside every house we shot in indoors.

In deciding the images to open the film, I wanted to state quite clearly that the film was some kind of mystery, and that what would unfold thereafter was much a creation of my own fiction as it is the “real truth of fact and reality” out there. However, the opening prologue sets up Credo Mutwa’s own ranking of himself among the league of prophets that get persecuted among their own communities.

Your choice of Music?

We cut the film to the music to Mirriam Makeba’s acapella album called “Sangoma”, which has some great vocal evocative tracks, in fact she sings songs taken from traditional healer ceremonies and rituals. I gave Gugu (Editor) the music to listen to while reading the story on paper. She came to the edit with her own ideas, and we were uncannily in agreement. I guess, as well, it helps that we both cut our teeth in the Project 10 series, when she edited the film- Nabatwa’ Bam. Unfortunately for us, all the rights to the Makeba renditions reside with Warner Bros, and it was way too expensive for our meagre SABC budget. I still bear a secret desire to raise money to make a version of the film with the Makeba music. Maybe even a bigger film on The Life and Times of Credo Mutwa.

One thing was for sure though. It was that any attempt to inject and uplift the film, its images and the echoes of its emotion towards the great sphere of the cinematic, we had to go acapella, strictly percussive and vocal, with evocative music. Music that suggested both mythical mystery and the eternal flowing river of humanity at the same time.

We looked for sound similar or suggestive to the offline Makeba soundtrack, a surrogate sound at Audio Optics final mix. As I said, one thing was clear, we knew what we needed and it was based on the idea that we wanted, in the first place, voice to emerge as the leading instrument of the music. We were lucky that the final mix engineer remembered the deep bass Wasis Diop track in the library. It worked so well over the house at night in the title track.

I must add that ever since my Project 10 film, I always ask myself what music comes to mind when I conceive the look and tone of the film, and start to jot it down. Play around with it. In so doing, music becomes integral to composing the film in your head, long before you shoot.

During the edit Khalo would always say that our approach to editing between simultaneous voice of the street, the testimonies of the varied witnesses, and constant anchor Nozipho’s complicated search, must be like composing a symphony. We tried our best to build this rhythm into the film.

Audience feedback- how has the film been received?

I was pleased that Nozipho was quite enthused, and started having ideas of screening the film at Diepkloof Community Hall. Most people felt the film was not balanced enough and did not go deep enough in uncovering the allegation on what Credo Mutwa said at the Cillie Commission. I also heard a lot of complaints that we did not feature anyone who was there on that day. The only two people I had been able to locate through Bopa Senatla High School records pulled out, after being very reluctant from the very start.

But I had gone in there to try to make a film that I had imagined from looking at all the elements. In the end it was a film about a daughter confronting her father, and I decided to shoot only those things that told that story, like going to the neighbors and accosting people on the street. And of course her trip to Kuruman

What has the life of the film been till now and where to from here?

Well, the film is in the SABC International sales catalogue. Along with the rest that were fortunate to get made. As you know, we know get to know or see a cent from that. I am putting into INPUT, and that is all, thus far.

Currently I am working as a Commissioning Editor at the SABC, and trying to write two screenplays over the two years or so:- A teenage love story set in the 80’s, just after the repealing of the Group Areas Act and another idea springing from one of Bessie Head’s short stories. I think the next documentary I will do will a journey of my own, around the mixtures of my Venda, Ndebele and adopted Zulu presences in my identity. It will most likely be called-: I AM GOING TO KNOW PATTERNS…

Credo Mutwa sculptures