78 Article(s) by:
Dan Moshenberg
Dan Moshenberg founded Women In and Beyond the Global, a open access feminist forum.
The Story of South African Farming is a Women’s Story
Kenalemang Kgoroeadira combined two passions — empowering women and farming — when she founded Thojane Organic Farm in 2009. This partnership has been a resounding success and has earned Kgoroeadira the title of best female subsistence farmer in South Africa. The 61-year-old started the project on a hectare of land as a cooperative of six members. Just three years later the farm produces tons of green beans, spinach and tomatoes, which is sold to local markets and school feeding schemes around Boekenhout village near Rustenburg, North West. Some of the produce is donated to hospices. The produce is healthy and environmentally sound because it is grown without the aid of chemicals, which can strip the soil of its nutrients. Instead, the farmers use fertilisers that are found naturally, such as chicken manure. This forms part of the co-operative’s commitment to maintaining agricultural systems that are similar to those found in natural ecosystems. The cooperative recently started a herb garden with rosemary, thyme, lemon grass, mint, lavender and garlic. Kgoroeadira says they plan to extract essential oils from these herbs to protect their crops. They also aim to supply retailers that sell organic produce, such as Woolworths. 'Our mission is to train women and young people to become food producers,’ says Kgoroeadira.It’s a good story. But somehow, when the focus shifts from Kenalemang Kgoroeadira to 'farming’, the empowerment of women drops by the wayside. In fact, women drop by the wayside. That’s what happened in a recent piece focusing on “South Africa’s farming failings”. The multi-media multi-panel exposé of the ways in which the apartheid legacy haunts South African farms and farming opens with a powerful interview of Kenalemang Kgoroeadira being her powerful self, and talking directly about women farming:
I used to go and till the land because that’s where we got food. Our grandmothers and our mothers used to pay school fees with a basket of eggs, and that means farming was very important to them. Because the history of this country, because of migrant labor, our parents, our fathers, were pushed to Johannesburg and all over to come and work, and the women remained in the rural areas and they tilled the land. And they raised their children, and they tended to the cattle, to the sheep, to the goats, to the chickens. They kept the home fires burning. I thought it is time for me to go back home, for me to re-Africanize Phokeng.And that’s what she did, because it was the right thing to do, because it was time, and because the memories, the spirits, of 'our grandmothers and our mothers’ inspired and compelled her. http://www.youtube.com/watch?v=9QkTdZcuPx4 The interview with Kgoroeadira is the longest interview of the six video interviews. It offers the most impassioned and insightful analysis about the State’s failures to support subsistence farmers appropriately. And hers is the single most powerful voice to be heard among the otherwise all male speakers. And it is the first, last and only explicit reference to women. As Govan Mbeki wrote, so many decades ago, the women who engaged in the peasants’ revolt did so partly because they were targeted in particular ways by apartheid policies and practices. As the men were pushed here and there, the women tilled the land. Apartheid haunts the South African subsistence farm. Ask Kenalemang Kgoroeadira. She’ll tell you. The struggle continues.
On Sunday night, Aminata Touré was named Prime Minister of Senegal

George Bush and Nicholas Kristof’s Hunger Games
We hope the “women of Africa,” who are being discovered yet again, appreciate all the good work being done for them.

The Poo Fighters
Townships and informal settlements are not dump grounds but living breathing communities where the residents are tired of being treated like shit.

The Real Housewives of Harare
The case of Ethiopian journalist Reeyot Alemu
I believe that I must contribute something to bring a better future… I knew that I would pay the price for my courage and I was ready to accept that price. Because journalism is a profession that I am willing to devote myself to. I know for EPRDF, journalists must be only propaganda machines for the ruling party. But for me, journalists are the voices of the voiceless. That’s why I wrote many articles which reveal the truth of the oppressed ones.
In the award ceremony this Friday, Reeyot Alemu again asked, again via note: “Who will expose the unpleasant truths of those in power if not journalists?” So, where have the journalists been in the case of Reeyot Alemu? Largely absent. Bloggers, such as Rosebell Kagumire, have written. Journalist advocacy organizations, such as the Committee to Protect Journalists, and Africa-focused venues, most notably Pambazuka, have followed the case, off and on. Outside of the usual suspects, the mainstream press has been remarkably silent about one of their own. The Daily Beast had a moving piece; Women’s Wear Daily covered Alemu’s 'fearlessness’ in the context of last year’s IWMF awards. The Guardian reprinted a piece from The Bureau of Investigative Journalism, and even that was a more general piece that only referenced Alemu in passing. What is the threshold here for 'news’? What exactly is all the news that’s fit to print, or read? Clearly international recognition counts for nothing. Clearly courage means nothing. And meanwhile Reeyot Alemu sits in the terrible conditions of Kaliti Prison, while the rest of the world, that trusts the news media to report on 'far-off places’, goes on about its business, listening distractedly to “Freedom’s just another word..."Why France doesn’t want to let Aminata Traoré in and Germany allowed her only inside Berlin’s city limits

Cinderella is Pissed
South African artist Belinda Blignaut's work was calculated to evoke a more immediate sense of discomfort for the viewer, through its confrontational exploration of gender and identity. Blignaut scattered posters of herself, half-naked and bound, throughout Johannesburg on bus stops and in public toilets, with no explanation but a local phone-number. Calls were received by an answering machine which was installed in the exhibition space in the 'Museum Africa'.
From her first exhibition, Antibody, in 1994, to the present, Blignaut’s work has been visceral, arresting, and prescient:Antibody, a bleak and foreboding little square, in which cover boards and interior are marvelously integrated, operates through visual texts and images bleeding upwards between the pages. What are signified through the interplay between transparent and opaque information are deeply imbedded wounds and the passage of time over which damage is done and healing needs to take place.
1994, as the nation began to begin to think of emerging from the apartheid regime, Blignaut’s art insisted on posing the problem of women’s place in a 'rainbow’ built on so much violence against women, and on so much violence period. Her rainbow’s colors emerged both from and with wounds, and the colors bled. Then, for almost twenty years, Blignaut wasn’t much heard from, and now she’s back, with only her second solo exhibition. There’s a lot going on, but for now, consider the "BLOWN" Series itself. Visualize this: a steel slab, 60 cm wide, 130 cm tall, 4 cm thick; perforated and punctuated throughout with “bullet holes from various firearms.” Across the entire surface, in dripping red letters: “CINDERELLA IS PISSED.” Blignaut transforms “life size” into a death-sized frame and syntax that somehow, also, maybe, offers a dark glimmer of hope. Cinderella is pissed. She’s pissed at the sexual violence, she’s pissed at violence against women and girls, she’s pissed at the trivialization, she’s pissed at the Cinderella-fication and the Rainbow-ification of people’s struggles for a decent and joyful life. It’s a barely lit and dimly seen hope -- but it is something. As Blignaut 'says’, in “Why I Make”:
In Belinda Blignaut’s South Africa, as in the South Africa of so many women and girls across the country, the fire next time is burning right now.
* BLOWN runs until May 5 at Blank Projects, Cape Town, South Africa.
No, Africans don’t remember Margaret Thatcher fondly
Thatcher’s energetic opposition to sanctions and support for right wing forces prolonged the state of violence across the breadth of Southern Africa.
Zimbabwe’s Tortured Rule of Law
Does Zimbabwe’s new Constitution live up to women’s aspirations?
Zimbabwean Activist Jestina Mukoko ‘Released’
Kenya is More than its Election
So, has the media gotten anything right reporting the Pistorius murder case?
Even in the most dangerous cities, gun-wielding paranoia is not nearly as common as outsiders believe… Studies suggest that 12 per cent of South Africans own guns. It’s a relatively high percentage by global standards. But it still means that the vast majority of South Africans prefer not to have guns in their houses – mostly for safety reasons, since they realize how often guns can be stolen, misused, or accidentally fired.
And as development blogger Tom Murphy noted, homicide is actually down in South Africa. Furthermore, violent crimes tend to occur in areas with high unemployment and low income (as Molefe made the case here too), while property crimes tend to occur in areas of, well, property. This pattern is true for most of the world, and it suggests that those who live in wealthy areas have reason to protect their property, but not with lethal force. Adriaan Basson, assistant editorOscar liked his guns. Oscar felt under threat, and South Africa is a place that apartheid is over, but there’s a terrible chasm between rich and poor, income equality, and people with money, people with homes, tend to live behind walls, behind barbed wire, behind gates with guns. And this is not a pretty thing. It is somewhat understandable, but I think Oscar’s paranoia, if that’s what it was, was not uncommon to his class in South Africa … I think that perhaps even more than our own violent society and our own gun-soaked society, South Africa society is on a hair trigger. And I think it’s fair to say… that Oscar was on high alert. Oscar was on a hair trigger. Oscar had a paranoia about who might be coming into his house … I didn’t see malice from Oscar. I didn’t see him as a violent person. I did see him as a man of action, coiled, and on a hair trigger. And that has its own dangers.
So, that’s the story. The paranoia of the White master class explains violence. The hair trigger does what hair triggers do. High alert is high alert; 'we’ are in a Code Red. And the facts be damned. What matters are the impressions, on the one hand, and the perception of malice. Because, as we know, the perpetrators of domestic violence, as of sexual violence more generally, are always recognizable. Aren’t they?The Story of a South African Farm
What kind of home is the “Home Office” anyway?

Woman of the Year
Alice Nkom, the brave, activist lawyer, harassed and imprisoned by Cameroon’s repressive regime on the government’s actions: “Threats like these show us that the fight must continue.”

What was Strauss-Kahn wearing?
Euro-American media just can’t do right by Nafissatou Diallo, the Guinean hotel worker who accused a prominent French politician Dominique Strauss-Kahn of sexual assault in a New York City hotel. Even though she effectively won the case.