Tag: woman

  • Caster Semenya, “The Race To Be Myself” 

    After years of remaining silent and never truly sharing herself, Caster Semenya was ready to tell her story, and boy did she leave it all on the page. Few memoirs can be called more than autobiographical, however, Caster has managed to tell her story with humour, raw honesty, and an admirable sense of confidence that starts from the first sentence, “I am Mogkadi Caster Semenya. I am one of the greatest track and field athletes to ever run the 800-m distance.” I know of no other athlete who has shared their story so authentically, and honestly before. 

    Caster’s memoir encompasses her childhood in rural Limpopo, the first moments she knew she would be special at the age of 8, an athletic career that made her one of the most famous athletes of her generation, meeting her beloved wife, and the painful moments she suffered at the hands of the IAAF. “The Race to Be Myself” is conversational, and no rock is left unturned in this emotionally moving and enlightening book

    Caster Semenya

    From an outside perspective, as someone who has only watched Caster run and talk in a few interviews over the years, it’s hard to think of her as someone who is larger than life. However, her personality comes off the page  as she synthesizes her past and present, in colourful and often humorous language, ” Seme looked like one of those cartoon characters where the eyes would roll with dollar signs or his face turned into one of those casino slot machines…” (The Race To Be Myself, pg 108) 

    Writing her story right from the beginning, and including her days climbing trees, hunting with her male cousins, and growing up amongst her sisters puts into perspective where Caster’s confidence stems from. What may sometimes come across as arrogance in her interviews, is actually the product of growing up in an environment where Caster was never othered or treated any differently, her parents brought a girl into this world, and Caster’s unwavering belief in who she is never faltered even as the world told her otherwise, because the people that mattered most to her allowed her to boldly be just Caster. 

    The book is laugh-out-loud funny at times, especially as Caster describes how she has zero tolerance for bullies and how she often settled those disputes with her fists as a child. This is a  belief that she has carried into adulthood, as she faces the IAAF and continues to fight for the human rights of other female athletes who have been the subject of gender testing. But as much as Caster’s light-hearted tone introduces humour to the story, it also breaks one’s heart as she recounts the times when her body and human rights were grossly violated. One of the most profound things about the book is that Caster never stops to pity herself, all that comes through every page is her determination, “I want to run. I want to win. That’s it.” 

    Caster Semenya

    In just 306 pages, Caster manages to cover a lifetime in vivid detail. No name is left off the page, and no detail is considered too small, she remembers and writes about small moments of kindness as much as the moments of cruelty that she faced at the hands of her fellow athletes. Even as Caster rightfully names and shames some people, the moments that truly mark her as the resilient and powerful person that we know and love, are the quiet moments often away from the track. For example, how she came to create her signature cobra sign that we are so familiar with or the meet-cute with her wife Violet,  all are the actual hallmarks of the book. Moments that we have only witnessed through the media, like her two-time Olympic wins, are given arresting detail in the book, so one not only sees Caster as one of the greatest living athletes of all time but also one of the most resilient and iconic women that have ever lived. 

    This is a book you inhale, simply because it is that gripping. Written in simple but clear language, Caster pours out her life and also takes the time to reflect on some of the moments that she lived through. There are many take-aways from the book, mostly, Caster’s absolute determination and discipline, and some the sheer cruelty and eugenics that still govern the athletics world. This is perhaps one of the most important memoirs to come out of South Africa, since President Nelson Mandela’s “Long Walk to Freedom”. 

    Caster Semenya

    Caster Semenya

  • Our legacy as black woman filmmakers is to show what is possible! An interview with global Bedouin Amirah Tajdin

    Our interview would actually begin in the front seat of my car as we made our way through Johannesburg central. My appointment with Ms Tajdin had been made very late by an ANC convoy that had decided to cut in front of us. With no ways of getting through, and a very angry Metro police officer making sure we didn’t, we had no choice but to admire the spectacle making its way to Ellis park stadium to hear our esteemed president.

    For Amirah this is the quintessential African experience. “It’s getting stuck in traffic from Benjamin Netanyahu’s visit as she landed in Kenya. It is seeing children running across the road, the sound of Papa Wemba blaring from the car speakers.  That is what Africa is, it is Life”

    Her first feature film entitled “Fluorescent Sin” like so much of her work functions to grasp such images of Africa.  Yet for this film maker is it these very scenes of everyday life that offer her work its transcendence. Her commissioned short film for Sole DXB, entitled Baqal, features mesmerizing images of late night grocery and stores. Filmed in a dreamy decadence the images slowly pan of over the vender. As puffs of smoke wisp from their weary lips the viewer is made to feel like a nocturnal hunter on their evening’s inquisition.

    Baqala_Amirah Tajdin_bubble gum

    For Amirah the spaces she roams are not clearly separated by geographic boundaries. She herself is no stranger to travel. A ‘global Bedouin’ she has lived in Kenya, Dubai, having received her art degree from Rhodes University. Her work has even shown at the Cannes and Sundance film festival and has attended residencies in Chile and Johannesburg. Her works celebrate how, where ever you travel you will always experience the same culture, the same store fronts.  In all her travels it is in such street scenes that she sees the commonalities between the places she travels. “We think we are different but when you step out you can actually realise that we are all the same”. This self-identified Bedouin shows us the similarities of experiences and in doing so a shared humanity that is able to thrive.

    Her own journey into filmmaker would start at 14 after watching the 1962 film “To kill a mocking bird”. She hated the movie for having betrayed the visuals of the book she so loved with the same name. Her decision to enter into film was one of wanting to take charge of the visual telling story. Her future works would centre on themes of womanhood, sister relationships and drag queens.

    She is currently working on the script for her film, Hawa Hawaii, within it she deals with a complicated relationship with a mother and her flamboyant son.

    “With HAWA HAWAII, I’ve brought the story closer to home and my heart, setting it in my home country of Kenya and more importantly, Mombasa – an island I have a complicated relationship with owing to its ancestral hold over my heritage and identity that continues to unravel itself to me. This coastal region has been the home of more than just my father and forefathers, it’s been the home of some of Africa’s most colourful characters, inspired artists and wandering souls. Hailing from this Swahili background myself, I felt compelled to pen a story set within it is sometimes restricting confines yet incredibly rich history.

    As a Swahili woman myself who has never been able to live up to my expected role as a daughter, grand daughter and woman, but who nonetheless has a deep love for my culture and religion, I am bound by my birthright to share this story with the world. Not only because of the urgency with which it needs to be made but because it is MY love letter to my people and a community that is fast disappearing, silently.”

    minerva's lilies film still 3

    Her work is sincerely personal but it is in these intimate spaces that we are shown how not so different our intimate relationships can be.  A must see work of hers is entitled “ Minerva’s Lilies”.  Here she follows the corporeal fantasy world experienced by two sisters guided by the soft backdrop of a Dubai dessert covered roads. The soft Swahili Taarab music goads us to mediate on their moments with their mother. It’s a film that shows how even within the close and personal relationship between mother and daughters, a sense of individuality is also brewing. The girls experiencing their sensual pleasures of having their hair braided and taking bubble baths. The girls ride their bikes as their mother is left in the shot with her deep thoughts.  It is a close relationship but it is one where all are growing to be their greater individual selves.

    Amirah also recognizes the challenges of being able to tell her story as a film maker. She like many other woman in the industry have the great responsibility of telling our stories. Whether black, woman or African, these are our stories as those who feel the oppressive burdens of being within such categories. Yet when one watches her work we see that there is life beyond such oppression as we lose ourselves within those quiet intimate moments. She herself is no stranger to the trials of being a black woman in the industry and acknowledges that there is still much to be done. She sees her work as one of setting an example of what is possible for other young budding filmmakers. “My legacy is to dedicate myself to the cause”.  Her success becomes the destiny set for others surpass.

    You can follow Amirah on her website, on vimeo and on Instagram.

    Marea De Tierra film still