Download Collective Amnesia

Download Collective Amnesia

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Collective Amnesia

Download Collective Amnesia

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Über den Autor und weitere Mitwirkende

Koleka Putuma was born in Port Elizabeth in 1993. An award-winning performance poet, facilitator and theatre-maker, her plays include UHM and Mbuzeni, as well as two two plays for children, Ekhaya and Scoop. Her work has travelled around the world, with her poetry garnering her national prizes, such as the 2014 National Poetry Slam Championship and the 2016 PEN South Africa Student Writing Prize. Koleka currently lives and works in Cape Town.

Produktinformation

Taschenbuch: 114 Seiten

Verlag: uHlanga (13. April 2017)

Sprache: Englisch

ISBN-10: 0620735082

ISBN-13: 978-0620735087

Größe und/oder Gewicht:

13,3 x 0,7 x 20,3 cm

Durchschnittliche Kundenbewertung:

5.0 von 5 Sternen

1 Kundenrezension

Amazon Bestseller-Rang:

Nr. 108.606 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)

Tolles Buch

Poems can reveal and remind us of what we keep silent. In Collective Amnesia, it shows you pain and the quiet silence that was finally freed. Being queer or being apart of the LGBTQ community is hard when you are being raised in a Christian home. She also writes about how we are raised by the teachings of white men and we kneel down before them. How being a different color and being poor does not always mean that you are not happy with your life. That people expect that not having new things and growing up differently means you must have had a bad life. Koleka Putuma also talks about the struggles of women and how they seem as these emotional wrecks and that men are above us. That even when they are at fault we will stay and make excuses. There is a list of name that she puts and calls it "Lifeline", it's of a list of black women. There's a poem about struggling with people we have lost in our lives and it is hard to move on. These are very strong poems. They need to be read and heard because they have powerful messages about being black and queer and so much more. It teaches how not to be silent and how not be believe that we are less than just because we choose who we choose to love. We cannot change the color of our skin because there is nothing wrong with it. There other poems talking about how people claim to own a land that they did not even actually own. They act like everything belongs to them when in reality it does not. These strong messages need to be read because it breaking a silence that many still hold in. This book of poem its home for me because of the way I was raised and how I felt about being a woman.

Koleka Putuma’s work, throughout Collective Amnesia, reveals, challenges, analyzes intersectional oppression in South Africa and, thus, celebrates the intersectional diversity of the human condition on a global scale. Through the African experience, the female experience, the lesbian experience, we are able to understand ourselves as beings of civilizations as well as certain systems of cultural control present in that civilized state more clearly. In particular, Putuma takes time to explore Christianity’s malleable condition as both a means of colonial subjugation and a means of survival for those who are subjugated. She analyzes microcosmic oppression within individual family units as relegated or propogated by gender. She questions the relationship of power to history; of cultural worship to spiritual worship. Perhaps most profoundly and magically, she lays out the fear of being at an intersection of existence, of oppression. In one of her longer works, “water”, Putuma constructs a profound criticism of religion as a tool of colonization: “Blasphemy is wrapping slavery in the gospel and calling it freedom. Blasphemy is having to watch my kind use the same gospel to enslave each other.” Not only do we get this important historical locus, the role of religion in organized subjugation, but she uses the language of the religion, “blasphemy”, to condemn it. Through this powerful juxtaposition, of revealing both in the foreground and the background, we see the multitudinous nature of religion among subjugated South Africans, and thus can see the complexities inherent in the ramifications of systems of social and cultural control like colonialism the world around. It is ingrained not only because of a persistent history, but of its importance on a smaller scale. She also shows how this subjugation pours into smaller social units like the family; how the stratification of power along the gender spectrum can cause even those who are meant to be most intimate to subjugate one another— to allow that subjugation to occur. In the preface to “oh dear God, please! not another rape poem,” Putuma constructs this gorgeous metaphorical framework: “some mothers set their daughters alight to keep their men warm, and some family members would rather describe the smoke than smell like it.” In addition to this exploration of oppression within the family unit, as quietly adopted from larger constructions of social systems, this preface reveals the integral role of silence, of the seductive safety of being a bystander, to the propagation of violent dominance, particularly of men over women, that is inherent in the establishment, presence, and aftermath of colonialism. There’s also the question of worship throughout Collective Amnesia, in a multitude of critical, analytical, and poetic forms. Perhaps most relevant to the thread of social commentary that runs throughout the book, “in the classroom” juxtaposes cultural idolatry with religious idolatry through a question that is not unfamiliar for anyone privy to the plight of black folks: “The student wants to know: Why there are more blacks in shebeens and churches, Than there are in museums of commemoration sites?” Profoundly intertwined with the roles of dominance and silence in colonialism is the role of worship, whether that be religious or otherwise. In any given colonized state, worship will be ubiquitous. The important distinction here is the difference between the worship of those who are recognized as concrete, existent, human and those who are worshipped as abstract, distant, posthuman. What Putuma explores here is the truth of a worship relationship, that which is elevated and that which is equally lowered, and how it applies to racially charged colonial subjugation. Those who are subjugated, black Africans in this case, are always present as those who are lowered while those who subjugate, white European colonizers, are allowed concreteness alongside their elevation. Because allowing representation of the subjugated among those who are worshipped would be the undermine the function of the relationship as a maintenance of social stratification. Perhaps most simply, most distinctly, and most profoundly, Putuma presents a brief and powerful poem on the experience of the subjugated, past and present, in “memoirs of a slave & queer person”: “I don’t want to die with my hands up or legs open.” This, I posit, alongside all of the profound distillation of analysis and historical exploration, is what makes Koleka Putuma a powerful and important poet: the ability to speak to the practical, concrete, almost little-kid fear that is a real result of more abstract systems and loci of oppression. To present for those who are familiar and those who are not, clearly and precisely, what it feels like to have that history constantly inform and inflict upon your existence. There’s a real beauty to be found there, even if it’s a painful or ugly beauty: in being able to empathize with the human elements of that which may seem and feel very distant from us. While Collective Amnesia can be a painful read, it’s an important and beautiful pain that is both instructive and cathartic. Like all good art from profoundly talented artists, it allows the reader to tap into the universal through the distinct experiences of the individual. For me, there’s nothing more special or important than that.

In this book Koleka Putuma wants her readers to understand her perspective as a Black Queer Woman living in a religious house, her perspective on what certain things like religion mean to Black people when it is influenced by white people, she wants others to understand before making judgements, and that Black life does not need to be about pain.In "No Easter Sunday For Queers", Putuma explains what it is like for a Queer woman to live in a religious house. She explains that because she is the daughter of a pastor, she must hide the who and how she loves. She wants her readers to understand the strain of being herself would put on her family dynamic. She goes on to explain how she feels confined to a heteronormative life where she must hide herself. As she explains how isolated she feels, she wonders what her pastor father would say if she fell victim to one of the horrible atrocities that the LGBTQ community faces. Putuma does not just want her readers to know what it would fee like to keep this large part of one's self, she wants them to visualize this situation by explaining the details of what so many other Queer people of Africa must feel.In "Growing Up Black & Christian" Putuma wants her readers to know what it is like to devote one's life to someone that is said to look the exact opposite of what themselves. She explains Jesus as the fist white man that she and others are taught to admire. This idea is never questioned because there as she explains "it is like this everywhere. All the time." There will never be any depictions of a Black Jesus or dark skinned angles for children like her to see as they grow up and Putuma wants her readers to understand what it is like to live with this idea, when you are backed in the corner of it, without the ability to decide or image it for yourself. For someone of color this could be such a defeating idea. Putuma continues to describe it as "whiteness breaking into our homes and bringing us to our knees." When reading this you understand that Putuma does not want to believe in this idea, but maybe she would have a better relationship with this idea if she had not been forced by generations of people reinforcing the idea that her savior could never look anything like her.One of the most informative poems in the book is "Water." She begins by explaining that she used to swim in the ocean during New Years celebrations. For her this is a common and shared memory between her, her cousins, "and most people raised black." For these people this memory is normal and common for other Black people in Africa. However, there are people who do not know how common this tradition is, or the history behind Black people and water. Putuma then continues to explain that when Black people are associated with water, they are mocked, not taken seriously, and the traumatic history of their relationship with water is completely ignored. The two most important factor that need to be taken from this is that Black people are capable of having a positive relationship with water and we can no longer continue to ignore the traumatic experiences that Black people have with water. She also wants people to know the horrible history and Black deaths that are associated with the ocean.Lastly, Putuma wants her readers to understand that Black life does not have to be about pain. Similar to "Water", "Black Joy" explains memories of her childhood to teach readers that suffering and pain are not the only aspects of Black life. She explains details of a close childhood like, sharing a mattress with siblings, cousins and friends; and food her and her siblings ate to feel full and loved. She explains the real moments of affections and things unrelated to pain to prove that the lives of Black people do not need to be constant struggles or protests. Many of the poems in this book illustrate rocky family relationships, not being able to love the ones you want, and even trauma. However, this poem makes it clear that there is more to her life than battling.

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