As readers, we get transported to far-away lands gently guided by the writer’s pen. When writers get an opportunity to travel to physical places their work is further enriched. Global audiences also get enchanted by the writer’s voice echoing with deep heritage and culture. “In essence, travel is a powerful tool for personal and artistic development, locally or internationally. It broadens a poet’s worldview, enabling them to engage with different cultures and languages.” says poet and author, MoAfrika wa Mokgathi. Just like her recent travels to Colombia in July, Mokgathi is among an array of other South African writers who have graced global stages this year. For instance, in July a group of writers celebrated Mandela Day at the FILVEN International Book Fair, Venezuela, under the theme: 30 Footprints of Freedom. Author Sabata-Mpho Mokae was also amongst a group of artists and academics who traveled to Russia. Hosted by the Linguistics University of Nizhny Novgorod, Mokae participated in the Setswana translation of the poetry of Alexander Pushkin, who is known as “The father of modern Russian literature”. Mokae in turn nominated Keorapetse Kgositsile’s work to be translated into the Russian language whose illustrious poetry is rooted in liberation struggle and digs into Setswana philosophy through idioms.
This advocacy for our rich African languages and stories to be seen- and remembered- by the world is no different for Mokgathi wa Mokgathi (MM). Rolland Simpi Motaung (RSM) caught up with the Mamelodi-bred award-winning radio broadcaster and cultural activist on her recent trip to the 34th Medellin International Poetry Festival, in Colombia, South America.
RSM – Congratulations once again on your trip, how was your experience at the poetry festival in Colombia?
MM – It was my Southern baptism by fire. When the invitation dropped, I felt a poetic pilgrimage calling. I have had my fair share of International poetry festivals, but Medellín? stands out as a truly exceptional event, perhaps the largest in South America if not the world this far. As a poetry events producer and curator myself, witnessing full venues and an estimated 2,000-person audience for a poetry reading was both inspiring and humbling.
RSM – At the festival, you performed poems outlying your vision for women and a better world, tell us more about such poems and your use of poetry as a weapon to invoke, empower, and heal.
MM- My performance at the festival provided an opportunity to explore the topic of the erasure of Black African women’s narratives through poetry and song, as encapsulated in my new project “The Black Mona Lisa: Deracinating Black African Women Names (existence) fallen in margins of Hi(her)story.” This work is part of the 30 Poems for Democracy Tour, which highlights women’s contributions to the last three decades of democracy in South Africa, the African continent, and the rest of the world. By illuminating the challenges faced by women, I aimed to inspire and evoke hope.
RSM – Usually at the beginning of your performances- including Colombia- you summon your ancestors in Sepedi, why is this important for you?
MM- Incorporating Sepedi, my ancestral language, allows me to connect deeply with my heritage and honor the wisdom of my foremothers whose language is on a decline. The language is special to me as it is my mother’s tongue. This also serves as a reminder of the language’s resilience and its ongoing significance through my work. Credo Mutwa speaks of sound balanced to perfection as a healing modality, when I sing or chant before I recite I embody what I can’t explain and those who receive it say it’s healing.
RSM – The festival had poets from over seven countries, who were some of the poets you met and those enjoyed their performances?
MM – There were over 25 countries represented, it’s hard to choose. I enjoyed Amien Kamil (Indonesia) who brings rock and roll to poetry, Babs Gons poet laureate of the Netherlands, Gladys Potosi from Ecuador who writes in an indigenous language and Tolu Agbelusi (Nigeria) who was a fellow African at the festival. The performances were world-class. The poetry reading sessions by the Spanish readers were top-tier and made all the non-Spanish poets sound great if I say so myself.
RSM – Your commendable work with the poetry organization, Hear My Voice, exposed you to funding challenges for South African artists/poets to travel and showcase their work on global stages, what was your process in getting funding for this trip?
MM- Securing funding for South African artists to participate on global stages remains a significant challenge. Despite receiving a grant from the National Arts Council, additional financial hurdles required me to take out loans to cover travel expenses. While the poetry community offers invaluable support, many literary events fail to provide adequate funding for travel or participation fees. These obstacles highlight the urgent need for a more sustainable funding model for artists seeking international platforms. We continue still, we find means to represent our nation.
RSM – You are not only a performer, but also a published poet, what is your view on artists- particularly poets- making a living/career through their work- be it through performances, selling books, etc.?
MM- The prospect of earning a sustainable living as a poet is a complex one, fraught with challenges and rewards. While the romantic notion of the starving artist persists, the reality is that many poets today are finding innovative ways to make their craft a viable career. While financial stability is undoubtedly important, it’s equally crucial for poets to maintain their artistic integrity. The pursuit of commercial success should never overshadow the core purpose of poetry.
RSM – In conclusion, what were some of the differences (and similarities) between the South African and Colombian poetry scenes you saw during your trip?
MM- Both countries have experienced significant social and political turmoil and the specific nature of these struggles has shaped the thematic focus of the poetry. South Africa’s apartheid era, for instance, has produced a body of work that often addresses issues of race, discrimination, and reconciliation, while Colombian poetry I found to be exploring themes of violence and displacement. Poetry and attending poetry events is a lifestyle in Colombia that crosses through age which was great to experience, this I wish for South Africa.//
Though, she hangs her hat as the founding director of Hear My Voice, her passion for the arts and employment remains rock solid to anyone who dares to ask. Catch this multi-disciplinary creative on the 14th of September at this year’s Folklore Fringe Festival at Constitution Hill, Johannesburg.
