Dance your anger and your joys,

Dance the military guns to silence,

Dance oppression and injustice to death,

Dance my people.

- Ken Saro-Wiwa

Likely many Zimbabweans feel stuck and maybe slide into complacency. The current election crisis has left people feeling frozen, like there’s nothing that can be done to bring positive change. Also, issues such as vulnerabilities to HIV, domestic violence, gender inequalities, and others at times carry self-acknowledged complacency often due do a difficult to shake feeling that reality only allows for complacency. A couple things got me thinking about complacency and possible ways to make complacency productive.

First, I saw a Zimbabwean film The Bitter Pill and there’s complacency everywhere in the film. A married couple feels helpless they have not been unable to conceive a child. The frustrated husband goes to Canada. The husband’s best friend, a wealthy entrepreneur, pursues the wife. You feel his complacency – forex is the only way to make money and belief it’s his right and obligation to pursue any women he wants because that’s what men do (particularly wealthy ones). The film portrays a possible reality. After having sex with the entrepreneur, the wife becomes pregnant, and through meeting one of the entrepreneurs other girlfriends, the wife discovers the entrepreneur is HIV-positive. It struck me that HIV is a prominent element in the film. However, as is an accurate reality, HIV is barely discussed. Not only are the characters complacent, but the film itself, given the way HIV is engaged (or rather is not discussed), potentially perpetuates complacency. Thus, the all important question: What’s attached to disseminating the film? In a move to find productivity in complacency, the International Video Fair intends to use the film to facilitate discussion. Importantly, part of discussions will be seeing that silence around HIV may be a common reality, but silence is not the only option.

My second set of thoughts about complacency developed while reading Charles Mungoshi’s Waiting for the Rain. First published in 1975, the book is a timeless classic. Additionally, I found it interesting to think about the complacency of the father-son characters Tongoona and Lucifer; they both are struggling with a feeling that many things remain unsaid. At the same time, the characters are not at all complacent. I’m fascinated by the ways Tongoona and Lucifer are, individually and in conversation, immersed in self-reflection – about life, family, opportunities, change, etc. Perhaps this is a way of reading thought processes as an example of productive complacency. Many things in the world can and do remain unsaid, yet the thought process around why they are difficult to be said is just as crucial to efforts to bring positive change. Delving into Tongoona and Lucifer’s thoughts serves as a reminder that reality has long made many people feel stuck and limited actions, but complacency to the point of being void of thought is not a place many people have ever resided.

For every girl who is tired of acting weak when she is strong, there is a boy tired of appearing strong when he feels vulnerable. For every boy who is burdened with the constant expectation of knowing everything, there is a girl tired of people not trusting her intelligence. For every girl who is tired of being called over-sensitive, there is a boy who fears to be gentle, to weep. For every boy for whom competition is the only way to prove his masculinity, there is a girl who is called unfeminine when she competes. For every girl who throws out her E-Z-Bake Oven, there is a boy who wishes to find one. For every boy struggling not to let advertising dictate his desires, there is a girl facing the ad industry’s attacks on her self-esteem. For every girl who takes a step toward her liberation, there is a boy who finds the way to freedom a little easier.

Poster from CrimethInc. Ex-Workers’ Collective

In recent discussions with several colleagues, we floated the idea of organizing a conference in Harare on sexualities. I would emphasize the full stop. Not reproductive and sexual health. Not HIV/AIDS, gender, and sexuality. Not violence against women and sexuality. Those are topics worthy of attention as well as a conference. Yet, conversations have had a slightly different focus, more an interest in exploring sexuality itself by examining, for example: How Zimbabweans understand and negotiate their own sexual selves. The rich histories of sexual practices and meanings in Zimbabwe. The ways discourses around sexuality make their way into projects of nation-building. The blending of Western and African ideas and categories in expressions of sexual rights and sexual liberation. Such a conference would continue to open up discussions about sexualities. Additionally, a meeting of the minds might lend insights into the ways sexuality relates to how day-to-day life happens, and is interwoven into economic, political, and social issues informing advocacy and challenges to the status quo.

The play Loupe, by Mandisi Gobodi, which ran during HIFA, is a good example of the ways sexuality can be an entry point to examine the landscapes and dynamics of the environments we live in. Or in this case a loupe, which is a type of magnifying glass. In the play, two brothers are at odds. One brother (Kilem) is a party commissar; he’s a comrade who likes beer, women, and power. Kilem’s younger brother (Sizwe) reveals he’s gay. In part, the play is about family bonds, while portraying a possible reaction to a family member acknowledging same-sex attraction. But the play is much, much more than a play with a “homosexual” theme. To a degree, the fact that Sizwe wants an intimate relationship another man is irrelevant. The overarching message of the play could have worked if Kilem was reacting to Sizwe having any goal he (Kilem) perceived as wrong. The play astutely unpacks, through Kilem and through sexuality, a mindset that seems present in Zimbabwe, and all over the world. It’s a mind-set driven by the desire to hold extreme and forceful power over people, ideas, and behavior. To manipulate facts, diminish individual rights, and selectively control what is acceptable. All the while building a power base to pressure others to conform. It’s a mindset that might be described as masculine, but not necessarily practiced by men only.

Gobodi’s writing is nothing short of amazingly masterful, particularly in capturing the complicated nuances of life in Zimbabwe. The play is extremely well directed and produced. And the acting . . . the performances were so powerful that when I saw the young man who played Kilem wandering around HIFA I was scared of him. Scared of the ways desire for power is exerted. The play will live on beyond HIFA as the British Council is currently working out plans for another run. It’s a must see for anyone interested in the economic, political, and social dynamics of Zimbabwe.

Looking back at our blogs – the persistent theme is “waiting” . . . and I was reminded of a beautiful piece of writing from Fools & other stories by Njabulo S Ndebele:

If the fish in a river
boiled by the midday sun
can wait for the coming of evening,
we too can wait
in this wind-frosted land,
the spring will come,
the spring will come.

If the reeds in winter
can dry up
and seem dead
and then rise in the spring,
we too will survive the fire that is coming
the fire that is coming,
we too will survive the fire that is coming.