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2 weeks 21-09-2019 - 05-10-2019 van €1,518.00 voor €1,366.00 Versindaba » Blog Archive » Andries Bezuidenhout. Walkie Talkie se ‘Noname Feniks’
Andries Bezuidenhout. Walkie Talkie se ‘Noname Feniks’
Ek is nie seker hoe “spoken word” in Afrikaans vertaal word nie. Baie daarvan moet eerder gesproke bly en nooit opgeneem of opgeskryf word nie. Daar is egter uitsonderings. Soos Walkie Talkie, ŉ projek van Toast Coetzer, Jaco van der Merwe (van Bittereinder-faam) en HemelBesem. Hulle het vandag ŉ nuwe track vrygestel, een waarvan die musiek deur Warrick Sony (onthou mense nog die Kalahari Surfers – een van daardie groepe wat destyds deur die apartheidsensors met verbanning bekroon is?) gemaak is. Gaan luister gerus hier daarna – “Noname Feniks”.
Hier’s uittreksels uit die liriek, eers Toast, dan Jaco, dan HemelBesem:
die nag was donker
en die wêreld hel
en net die eensame
speel die diep bas
van die bromvoël
soos die son opkom
op die hoek van
en beyers naude
in honeydew, johannesburg
op die eerste junie
waar iemand afkom
op die lyk van ’n pasgebore baba
toegedraai in ’n lap
binne in ’n plastieksak
Noname, ek onthou jou, so hard dat ek jy word –
jy sit in my klaskamer en ek bloei op die witbord
jou ouma val jou aan en gooi jou met kookwater
’n sangoma draai jou kaal in ’n kombers toe en bliksem jou met ’n knopkierie
om die bose geeste te verdryf, terwyl jou ouers kyk, en geld uithaal
jou pa gee klas by die universiteit en word opgesluit na hy jou ma in die publiek slaan
Ek onthou nie veel nie, maar ek onthou die ashoop.
Die toekoms was ŉ plastiek sak waarmee jy my wou vasknoop
Die trane van ŉ baba wat saam op die ritme van die aarde se as loop.
Tot by “Wat as?” …. kyk nou hoe ek op ‘As’ Hoop.
Tyd is ŉ roofvoël. Ek sien tyd in my groot oë. Tyd in my siel.
Daar’s ŉ vol gesig met ŉ leë staar as ek kyk in ŉ spieël
Die aarde draai, soms die wind ook, maar wanneer dan die wiel?
Ek knoop my das met die hoop dat als my skurf bedek.
Nie onhigiënies nie, maar vuil woorde verwurg my nek.
Tags: Hemelbesem, Jaco van der Merwe, Kalahari Surfers, Toast Coetzer, Walkie Talkie, Warrick Sony
Monday, March 17th, 2014 | Binneblik.
10 Kommentare op “Andries Bezuidenhout. Walkie Talkie se ‘Noname Feniks’”
‘n Nuwe ‘track’? Jy bedoel seker – in die taal van die ou Afrikaanse uitsender – ‘nommertjie’. Of probeer jy doelbewus Derrida se idee van die ‘spoor’ aktiveer?
Et tu, Desmond, jy ook nou ‘n Derroris? (Ek het “snit” oorweeg, maar dit klink te snip.)
March 18th, 2014 at 5:00 pm
Interessant genoeg het Derrida oor bykans alles geskryf – filosofie, letterkunde, godsdiens, die reg, ens. – maar nooit oor musiek nie. Hy’t glo nie juis ‘n aanvoeling of liefde vir musiek gehad nie.
Dankie Desmond and Andries vir julle draadsteek Derrida dis-koers – dit het my op ‘n Derrida cum musiek spoor geplaas wat my by die volgende (lesersvriendelike) onderhoud uitgebring het:
Dit sluit af met Coleman wat Derrida se “les” in humanistiese terme stel en wat ek glo Derrida sou verstaan en beaam het. Derrida demonstreer/dui na regte op niks anders as die vryheid wat skrif in die algemeen bring nie, inderdaad ‘n “difficult freedom” in Sussman (2008) se woorde in “Pulsations of Respect, or Winged Impossibility: Literature with Deconstruction”.
“For me, the human relationship is much more beautiful, because it allows you to gain the freedom that you desire, for yourself and for the other.”
Word die Derroris se dweepsiekheid gewy aan Ris? En is hy dan nie die ou in wie se naam die Krim geannekseer word nie? Prys die leer met blye galme…
Die Derotikus weet nie wie die Ris is nie – al wat sy weet is dat sy die leer-lyn inderdaad met blye galme prys, ‘n smaak het pour un(e) ris grand(e) … un conte risible …
Mooi lyne vir my:
en die eensame
“La prise de ris (verbes associés : « prendre un ris » ou « ariser une voile ») consiste à réduire la surface d’une voile en la repliant en partie : l’objectif est d’adapter la surface de la voilure à la force du vent lorsque celui-ci forcit” – vertel Wikipedia. Dit maak mens mos de(rri)liries!
March 19th, 2014 at 10:18 am
Maria, dankie, interessante onderhoud.
My opmerking oor Derrida en musiek: In Benoit Peeters se omvangryke Derrida-biografie (ek het dit einde verlede jaar gelees) noem hy dat dat Derrida minder aanvoeling vir musiek gehad het as vir filosofie, letterkunde, beeldende kuns, ens.
Op p.435: ‘Though, in the in terview in El Pais, he had claimed that he dreamed of having ‘musical genius’, he took little interest in music, apart from the Arabo-Andalucian music of his childhood. He liked jazz, like a lot of people in his generation, and sometimes took the opportunity of a stay in New York to attend a concert. But though he had sometimes met Pierre Bouez at Paule Thevenin’s, he showed no liking for contemporry muic. […] Derrida liked the Strasbourg rock group Kat Onoma and went to hear them several times.”
Derrida se rolprentsmaak was ook nie juis highbrow nie, so daar is ook nie essays en boeke waarin hy oor daardie kunsvorm skryf nie. Hhy het Woody Allen glo ‘te Europees’ gevind, en nie gehou van Allen se ‘Deconstructing Harry’ nie.
Hy het wel van die Godfather trilogie gehou.
Nou ja, toe.
March 23rd, 2014 at 5:15 pm
Andries, uiteindelik na “Noname Feniks” geluister, goed gevind en geniet! Dankie vir die skakel.
Desmond, plesier. Ja, (letterlike/direkte) musiek het duidelik nie baie van Derrida se tyd in beslag geneem nie, maar spore van musiek is te vinde in sentrale plekke in sy oeuvre, soos byvoorbeeld in Of Grammatology waar hy oor Rousseau en “… That Dangerous Supplement …” skryf (“The supplement will always be the moving of the tongue (…)”), op Rousseau se onderskeid tussen melodie en harmonie dui (“Melody being forgotton (…) Harmonic successions came to dictate …”) – “”the Essay on the Origin of Languages appeared for the first time in a volume of Treatises on Music (…) published in Geneva in 1781 (…)””, die Essay se volle titel is Essay on the Origin of Languages, which treats of Melody, and Musical Imitation. Deel II van Of Grammatology is na regte baie snaaks (na so ‘n paar honderd lese (oordryf ek nou)), hier volg ‘n paar wildweg gekose aanhalings, party Derrida s’n, ander deur Rousseau gesê:
The Interval and the Supplement.
“In the Dictionary of Music, Rousseau confesses his embarrassment in the article Song …”
The dumb don’t sing, they form only accents without permanence, a disgustful [sourds – muted] bellowing which their wants draw from them. (…) Children scream, cry, but they don’t sing. The first expression of nature have nothing in them melodious or sonorous (…) The melodious and appreciable tune, is only an artificial imitation of the accents in the speaking or passionate voice. (…), the most interesting is that of the human passions, so of all the methods of imitating, the most agreeable is the SONG.
Composers, who originally were engaged by poets and worked only for them, under their direction so to speak, were becoming independent as early as the time of Melanippides and Philoxenus. This is the license of which Music complains so bitterly in a comedy by Pherecrates, … Thus melody, originally as aspect of discourse, imperceptible assumes a separate existence and music becomes more independent of speech. This is also when it stopped producing the marvels it had produced when it was merely the accent and harmony of poetry and gave to it the power over passions that speech subsequently exercised only on reason. Thus, as soon as Greece became full of sophists and philosophers, she no longer had any famous musicians or poets. Plato himself, envious of Homer and Euripides, decried the one and was unable to imitate the other.
Latin, a less musical, more surded [mute] tongue, did harm to the music in adopting it.
Painting is often dead and inanimate. It can carry you to the depth of the desert; but as soon as vocal songs strike your ear, they announce to you a being like yourself. They are, so to speak, the organs of the soul.
“language turns, so to speak, as the earth turns”
That “Simple Movement of the Finger” …
… the origin must (should) have been (…) pure melody …
What! Ought there to be no entertainments in a republic? On the contrary, there ought to be many.
At any rate, play is so much absent from the festival that the dance is admitted as the initiation into marriage and is contained within the closure of the ball.
What ball are we speaking of here?
Thus writing is always atonal.
Rousseau’s dream consisted of making the supplement enter metaphysics by force.
What shall we say of a musician, similarly quite prejudiced, who considers harmony the sole source of the great effect of music. Let us consign the first to housepainting and condemn the other to doing French opera.
En dan is daar Mallarmé, ‘n ander sentrale inspirasie in Derrida se oeuvre, “se musiek” – sy spel met die klankaspek van uiteenlopende frases, en wat ook geskryf het:
“Silence, sole luxury after rhymes, an orchestra only marking with its gold, its brushes with thought and dusk, the detail of it signification on a par with a stilled ode and which it is up to the poet, roused by a dare, to translate! The silence of an afternoon of music … the ever original reappearance of Pierrot” (aangehaal uit Irwin (2010:90) se Derrida and Writing the Body.)
En dan is daar nog Nietzsche en sy komplekse verhouding met Wagner … , ‘n ander konstante verwysingspunt in D se skrywes …
“Die aarde draai, soms die wind ook, maar wanneer dan die wiel?”
Maria spelend met Mallarmé se musiek gesien dat die “toekoms” wat “‘ŉ plastiek sak” “was” en “Die trane van ŉ baba wat saam op die ritme van die aarde se as loop”:
[Draai na die vure van die suiwer sterflike son!]
Luisterryk, totaal en so verlate, so
trillend om die vals trots van mense uit te asem.
Hierdie haglike menigte! Kondig aan: Ons is
die hartseer ondeursigtigheid van ons toekomstige verskynings.
Na aanleiding van Harriet Staff (http://www.poetryfoundation.org/harriet/2014/02/must-read-at-psa-new-translations-of-stephane-mallarme/?woo) wat my geneem het na “Robert Fernandez and Blake Bronson-Bartlett on Another Mallarmé (http://www.poetrysociety.org/psa/poetry/crossroads/own_words/Another_Mallarme/)waar die oorspronklike gedig verskyn.