Koleka Putuma

Everybody has a fear, but with a little bit of bravery, fear can disappear... and become an adventure. A fear can be BIG or small, loud or quiet, far away or too near. This lyrical picture book explores the relationship we have with fear and how, with a little bit of bravery, we can all find the courage to overcome our fears. Written in lyrical verse by award-winning writer and poet Koleka Putuma, the story follows the children from the town of Possibility as they journey through their fears and find the bravery to face them. With striking artwork by Amanda Mijangos, this beautiful and empowering picture book celebrates the bravery and courage within all of us. The perfect gift for fans of Maya Angelou's inspiring poem Life Doesn't Frighten Me.

Everybody has a fear, but with a little bit of bravery, fear can disappear... and become an adventure. A fear can be BIG or small, loud or quiet, far away or too near. This lyrical picture book explores the relationship we have with fear and how, with a little bit of bravery, we can all find the courage to overcome our fears. Written in lyrical verse by award-winning writer and poet Koleka Putuma, the story follows the children from the town of Possibility as they journey through their fears and find the bravery to face them. With striking artwork by Amanda Mijangos, this beautiful and empowering picture book celebrates the bravery and courage within all of us. The perfect gift for fans of Maya Angelou's inspiring poem Life Doesn't Frighten Me.

Desde a sua publica o em Abril de 2017, Amn sia Colectiva tomou de assalto a cena liter ria sul-africana. O livro vai na d cima primeira edi o e entrou no c none liter rio em universidades na frica do Sul e mundo afora. Amn sia Colectiva examina a intersec o entre pol tica, ra a, religi o, rela es, sexualidade, feminismo, mem ria e muito mais. Os poemas provocam institui es e sistemas de aprendizagem e interrogam o que deve ser desaprendido na sociedade, na academia, nas rela es, na religi o e nos espa os de mem ria e esquecimento. Obra vencedora do Pr mio Glenna Luschei para Poesia Africana (2018) Nomeada para o Pr mio Ingrid Jonker (2018) Livro do Ano, City Press (2017) Livro do Ano, Sunday Times (2017)

Press both feet to the ground. Place your hand on your heart. You are brave and capable. It will always be your time. An empowering and uplifting collection of poems from groundbreaking and award-winning poet Koleka Putuma, about figuring out who you are and embracing it. With words to affirm, this is the ideal companion to hold your hand while you navigate all the big questions, discoveries and transitions of young adulthood. The perfect gift for fans of Rupi Kaur, Nikita Gill and Elizabeth Acevedo.

I Hullo, Bu-Bye, Koko, Come In, bygger Koleka Putuma videre på sin succesfulde debut Kollektivt Hukommelsestab. Denne gang bruger hun sine egne erfaringer fra rejser og optrædender i Europa til at grave et spadestik dybere i reflektionerne over sorte kvinders (u)synlighed i Historien og Kulturen. flere år efter din dødtjener din gallerist stadig euro på din kunstmens dine børn samler dine ejendele sammeni det skur du efterlod dig ”Med Hullo, Bu-bye, Koko, Come In ville jeg gerne reflektere over min personlige oplevelse af at rejse og optræde uden for Sydafrika, helt specifikt i Europa. Jeg ville gerne forstå de forskellige former for æstetik, erindring, dokumentation, performance, hypersynlighed og udviskning. Jeg ville se nærmere på, hvordan disse ting rammesætter vores forståelse af kvinder i arkivet, af nedarvede arkiver, af hyldest, berømmelse og kultur samt af sorte kvinder på og uden for scenen.”– Koleka Putuma

Med Kollektiv minnesförlust har Koleka Putuma tagit den sydafrikanska litteraturscenen med storm och ses som en banbrytande poetisk röst. I sina dikter skildrar hon såren från apartheid som lämnats till hennes generation att läka, och om erfarenheterna som queer kvinna i ett land där homosexuella utsätts för "korrigerande våldtäkter". Putuma utmanar inte bara genom de ämnen hon tar upp utan också genom sitt språk och dikternas form, samtidigt som hennes poesi är fylld av passion och vackra barndomsminnen. Putuma har på ett självklart sätt gett uttryck åt en generation sydafrikaners frustration över rasism och att apartheidregimen aldrig blev straffad. Hon har blivit en kraftfull internationell poetisk röst som framträder på poesifestivaler världen över och har även skrivit dramatik åt bland annat Backateatern.

NO EASTER SUNDAY FOR QUEERS follows the (hate) (crime) (murder) love story of Napo and Mimi. The lovers, through the (spirit) (subconscious), Easter Sunday sermon, return on the anniversary of their (wedding) death (crucifixion) to make the (church) (pastor) (perpetrator) Father (reconcile) reckon with the present and the past and a (sacrifice) crucifixion he must account for. The alter is a cross and the subconscious a courtroom where the dead seek justice for a (an act) sin committed by their perpetrators. The (antagonist) protagonists cannot (any more) tell the past from the present and scripture from the truth. Every year, (through the visitations) on Easter Sunday the (pastor and his) church is made to remember.

Oversat af Liv Nimand Duvå. På kraftfuld vis undersøger sydafrikanske Koleka Putuma forbidelsen mellem den personlige og politiske erindring i sin prisvindende debut.” Alt ved denne debut føles nyt og tidssvarende. Putuma skriver fra et queer perspektiv med en frigjort poetisk stemme, om politik, race, religion, forhold, seksualitet, feminisme og meget mere. Samlingen byder ogsa° pa° udfordrende innovation, følelsesmæssig og intellektuel kompleksitet, bibelsk intertekstualitet og en gribende retorisk hørbarhed.” Bernardine Evaristo, jurymedlem af Glenna Luschei Prize for African PoetryKoleka Putuma (født 1993) er en prisvindende poet, facilitator og teaterperson. I 2018 udråbtes hun som en af Forbes Africa Under 30 Honorees. Hvis du kan lide Audre Lorde, bør du læse Koleka Putuma.

This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa. Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising. Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence. I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues. Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions. Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country. Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by. Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family. Each play also includes a biography of the playwright, the writer’s own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.

This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa. Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising. Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence. I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues. Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions. Unsettled by JC Niala (Kenya) deals with gender violence, land issue, and relations of both black and white Kenyans living in, and returning to, the country. Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by. Bonganyi by Sophia Mempuh Kwachuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family. Each play also includes a biography of the playwright, the writer’s own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.