Thando Mgqolozana on how can we decolonise SA literature

Author Thando Mgqolozana speaks to the Mail & Guardian about the 2016 Time of the Writer festival. (Thomas Holder)

Author Thando Mgqolozana speaks to the Mail & Guardian about the 2016 Time of the Writer festival. (Thomas Holder)

On the opening night of last year’s Time of the Writer (TOTW) festival, author Thando Mgqolozana announced that he’d forsworn white colonial literary festivals. But it was only when he repeated this sentiment at the 2015 Franschhoek Literary Festival that his views went viral.

His move has had serious ramifications, not only for how literary festivals are discussed in South Africa, but also how they may unfold in the future. The Mail & Guardian interviews Mgqolozana before his keynote address at this year’s TOTW festival, currently held in Durban, which he helped curate.

Is Time of the Writer as bad as Franschhoek, that you would lump them in the same category? 

This is their argument as well, that TOTW is one of the better ones. They say talk about Franschhoek or the Cape Town situation if you want to say these things. There might be 20 more black people in the audience at time of the writer, but that’s not it, we are talking about a system here. A system within which TOTW existed and still exists. One which I chose to define as the colonial literary system. 

There has never been a deliberate decolonial project. These things of freedom and democracy are not decolonial in nature. So, we inherited a colonial literary system and did nothing about it for the past 20 years. I decided I was going to stop asking whiteness to take me more seriously to accommodate me better in their system because that’s not what we need. We need two things. One being to crush the colonial system completely, because there is no improving colonialism and then imagine new things that are not framed by notions of colonialism. 

How did you set about co-curating a different festival? 

One of the things I had said to Tiny [Mungwe, festivals director at the Centre for Creative Arts] was we shouldn’t be having these things at universities because black people can’t access them. We have to take it where the majority of black people are. We have to do things in our languages.  We should make books available, etcetera. We should not do it as a visit because all these elite literary festivals visit the township and say hey, we have a relationship with Matthew Goniwe School in Khayelitsha. It was fronting and TOTW was doing that as well.  

I gave input on the (funding) proposal and the next thing was to have an agreement on the theme, which was decolonising the book, or the story. I then went to Durban to meet the provincial government with the TOTW team which, surprisingly, were the ones talking decolonisation before we did and they were co-operative in helping us deliver this festival in this way. Then we drafted the programme, names of people we’d like to see there and then the administrative things were done by the centre.

Besides having left the university as the site of gathering for you, what is the most important feature of this programme?

We’ve done something that doesn’t happen with any other festival in South Africa. We’ve addressed the question of books. Books are very expensive. We cannot ask black people to buy books when we know that they cannot afford them to begin with and so one of the phases we have to go through as a country is to make free books easily accessible to black people. 

They are supposed to be there in the municipal libraries, but we know that they are not there. So we recommended to the provincial government, and they agreed, that they will buy at least two copies of each of the invited authors’ books and distribute them in all the libraries in the black communities in eThekwini (92 municipal libraries) and these must be available before the festival takes place. We don’t want authors to be asked: What is your inspiration? We want the audiences to be engaged about the work. 

The only way that can happen is if some of the people in the communities have had a chance to read the work. It probably won’t be perfect now but after a few editions in this way there will be relevant literature in these libraries accessible to the people. And if we keep making these books available before the festivals we could affect the depth of engagement. 

The other thing is that this festival is kind of like a conference of all these black writers who have been engaging with this issue on public platforms to come together and interrogate what we mean by decolonising literature. What will it look like when we have achieved that? These two things stand out for me.

What has been the impact of your stance? 

There are people who have been negative about it. They have come out in defence of their cocoon, which is the literary space. You will find all the racists there. Racists who were leaders in other aspects of society end up writing books so they can be invited into these things to be with people like themselves. 

So those people reacted. They think this is undoing Mandela’s idealism. Reconciliation, blah, blah, blah… And obviously you’ve got the scholars as well. Some came out writing against this. Some said we were using Fanon out of context and so on. But black people are happy. They may not agree with the approach but people are saying this is necessary. 

What has been the reaction and attitude of older black writers? 

Older black writers are agreeing with each other and they are quoting each other even, but they haven’t said anything to me. Some are saying this in public: “Stop blaming whiteness. Take it to the government that we elected because those are the people that are responsible for giving us culture. I think that is a shortsighted view because the government has been described by people involved in the decolonial project as colonial administrators because we exist in a colony here.  So it gets to be about: Do older black writers even believe we exist in a colony? It’s nice to think there was a struggle we participated in it won. 

Was inter-generational dialogue a big thought in constructing the programme? 

I might sound like I’m criticising black writers but what I have discovered about the decolonial project is that black people need each other. We arrive here in different stages of consciousness. There is value in us talking each other into consciousness rather than alienating each other. We don’t want this to be an elitist thing, we want young and old to come together and see the main goals of this thing from the same perspective. The programme is not only young black people who are seen as woke, there are some mature people who are part of the programme. 

Other than the keynote address what will be your further involvement in the programme? 

I’m going to attend all the discussions and contribute to those without being on the panel. I didn’t want to hog the space and was reluctant to even give the keynote address. And there are other things. TOTW is happening but there are other things that will pop up later in the year and I can’t take credit for all of them. There is a festival coming up in the North-West (you can ask Andile Mngxitama about that). There is another book festival happening in Khayelitsha, I’m involved in that. And we are planning a massive project in Soweto later in the year. So, hopefully this will be a year of action.

The 19th edition of Time of The Writer takes places from 14 to 19 March. For more information visit cca.ukzn.ac.za

 
Kwanele Sosibo

Kwanele Sosibo

Kwanele Sosibo studied journalism at Durban's ML Sultan Technikon before working at Independent Newspapers from 2000 to 2003. In 2005, he joined the Mail & Guardian's internship programme and later worked as a reporter at the paper between 2006 and 2008, before working as a researcher. He was the inaugural Eugene Saldanha Fellow in 2011. Read more from Kwanele Sosibo

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