"The Rise and fall of the ANC Youth League by Rebone Tau" book review.

An organisation that does not know its history is like a compass without a needle, a body without a soul, a barren sparse land without vegetation virtually just a thing, a wandering soul without a place of residence. The lack of trajectory affects the identity of the organisation, the organisation becomes an oasis for buzzards, vultures, parasites, and the damned. This then reflects and pours negatively on the people that depend on guidance from the organisation. The corrupt and the damned witness any form of appointment as a money-making scheme bootlicking wheel and ass-kissing conveyor belt. The cataclysmic results of such a vile and toxic environment. The mission statement of the organisation is eroded the effects are not felt at the top or the middle. The effects are felt by the masses those that make up the base of the societal pyramid. These are your professionals of any sort, students, children, servicemen, and organs of the state will eventually fall ill. Today I take dive into the literary work by Rebone Tau, "The Rise and fall of the ANC Youth League". I look at this body of literature from a bystander's point of view; someone that is seated around the fire and listening to the tales of yesterday and then reflects on how they are manifesting themselves today and beyond.  I look at this body of literature through the lenses of a history fan, an individual that is in search of understanding intimately its place in this reality. My generation is at a crossroads whereby globalisation is at an all-time high. There is a mass exodus of people from various places as they are in search of safe-havens. Places where they can become themselves, in that whim and wind of physical displacement. Identity politics become the mainstay in anyone's view of their world, I explicitly convey the idea of searching and understanding where is the African, who is the African, how is the African. My generation is at an epoch where African voices due to the global gaze "going viral", have become the new frontier of epistemological preservation and fifteen seconds of fame. The core of being or becoming is slowly being eroded. In essence, we have become a mass or herd of the walking cadavers that yearn and crave the freshest brains to devour, the cataclysmic reality is that the mainstay that has brought and defined the African in this era and beyond has slowly become vagabonds that yearn for the attention of the marbles of men, forgetting the viper that lies in the cavern of men. My generation is poised at a transitional phase where some are second-generation after independence from one end, and others are third and fourth generation after "independence". The epistemology and discourse between the two or three generations are different. In that observation, the effect is that it is a broken telephone situation. The dangers of it all are that the lack of basis of observation or reference results in a tantamounting catastrophe, the conversation of emancipation of the black men that have been forced to become a pariah in their own land becomes a marred and distorted one. In the face of changes as time consumes itself before one knows it. The black agenda that was started in earnest by the class of 1963 becomes a joke, a farce, a humiliation to all the efforts that have been invested by the foremothers and forefathers of this continent. 

Therefore Tau-, comes into the picture with a body of literature that yearns, reflects, and consciously bemoans the catastrophe that has fallen before the once-revered political party that birthed Africa. Icons such as Oliver Reginald Tambo, Govan Mbeki, Walter Sisulu, Winnefred Madikizela-Mandela, Solomon "Solly" Mahlangu, and Nelson Mandela, among others. 

Bob Marley sang the following lyrics, "everyone has the right to decide their own destiny" the reggae crooner furthermore then says, "emancipate yourselves from mental slavery, none but ourselves can free our mind", the incorporation of the reggae crooner in this episode serves as the mulch or launching pad from the moon to the infinite universe hopefully beyond this galaxy of epistemological examination. Through the exploration of Tau's literature and attempting to extrapolate the conscious conversation behind the body of literature and from a non-partisan point of view this work best serves as a good read that allows one eager mind that seeks to understand not the ANC, but the vast extensive sparse of the political landscape of South Africa. The initial observation from this regard is that Tau's work may serve you the reader a glimpse into understanding the reasons as to why certain political parties react in their certain particular manner. If you are into business or would love to venture into business in South Africa one day the Tau literature is one of the many bodies of knowledge you ought to consult before venturing into any venture. 

In my time so far in South Africa interacted with my colleagues and shared scopes around curriculums and the length of how one should spend in school and which modules could or must a pupil be exposed to. Extensively History is one of the modules that is emphasised in Zimbabwe, every pupil that goes through the ZIMSEC syllabus they are expected to undertake history from the beginning of secondary school until they finish their secondary school. Transitioning to high school is when pupils get to choose if they are willing to pursue history or not. The point that I am delivering to the fray is that when Zimbabwe attained its independence away from the Smith regime. The then government of Robert Mugabe understood that the epistemology of Zimbabwe should go through a rapid overhaul "DeColonisation". In order to safeguard the fragile minds of the citizenry from the effects of not knowing their own past. Others would suggest it was a bid to consolidate a one-party state campaign to keep all in line and whatever endeavor that the Mugabe regime would pursue it would not be objected to. One case in point as a suggestion is the accelerated land reform program from 1998 to 2004. The accelerated land reform program submitted the fertile conversation around African Law and the inherited Roman-Dutch Law, as a legal system that emphasises the preservation of the private property rights of the white minority that has over time benefited from an unfair legal system that disregarded the voices of the African. Thus when Mugabe and his party removed Anthony Gubbay subsequently capturing the judiciary the interests of the Africans were championed and the Accelerated land reform program was given the free route to manifest itself. In the name of restoring the dignity of the African as history has and had proven itself time and time again that the Africans have been at the mercy of the imperialists. In one's suggestion, the consciousness of the Zimbabwean was and is aware of the ineptitude that has come along with the legal system versus the African legal system. Acknowledging the effect of the Accelerated Land Reform Program it forsook the interests of the nation it championed the interests of the few, thus collapsing the economy of Zimbabwe to this day, and thus resulting in a classicist feudal system that only benefits those that believe that they have earned the moral high ground of determining the future of fifteen-million Zimbabweans. The point that I working around in this juncture is to submit the suggestion as to why history is not emphasised within the curriculum of South Africa, this reasoning can be understood in the following article: History to be made compulsory in school (2018). The exhibit's inclusion in this build-up is to point out the significance of the Tau literature. Upon getting to interacting with the piece of literature I sensed an aura or yearning of heart that is whispering and communicating the essence of identity. The importance of drawing inspiration from where did the ANC start and how did it develop itself to become public enemy number one during the height of the Apartheid government. The time travel that Tau offers to the reader is a metaphorical conversation around the significance of identity and the significance of time within the African society. Tau, to the reader, is reminding the reader that traces back your footsteps you will find your way back home. In a world where conflicting stories about the origins of an organisation and to some lengths bodies of literature are woven by persons that have to do nothing with the nation or the organisation. Tau is offering an alternative route to understanding the beginnings of the ANC as a political party. Tau also submits a point as I interpreted it speaks about the need to have more black voices that are willing to serve or offer up their time and tell the authentic, intentional cause of curating information for its own people. The scope of African literature juxtaposing it against the global modern world, is sixty-four years "Things fall apart". Comparing African literature versus the world, African literature is still young and there is a lot to unpack discuss, critique, expound, emphasise, churn, and correct. Therefore straddling a bit away from the political conversation. Drawing closer to praising the literary skill of composing and consolidating African stories and history Tau submits the much-needed skill in the black community and that is preserving information in accordance to the black lens.  

1944 plays as that need to amplify the juncture that catapulted the identity of the ANCYL, the league's formation was to form as the bridging gap between the main wing and the youth wing. In essence, the youth league played multiple roles in the status quo of keeping and servicing the role of the pro-black emancipation movement in South Africa at that time. Therefore we are brought to understand that the youth league was the training ground for the future of South Africa. The youth league was the ears and eyes of the youth at that time, the foot soldiers' purpose was to charge champion and solve the problems of the youth of South Africa at that time. Furthermore in understanding the thought process of Tau in weaving the body of work. The writer foreshadows the future by taking the reader back to the olden days where and when the league was in its infancy and it maintained its mandate of serving the youths of South Africa. 

Tau takes the reader on a trip down memory lane to the time when the youth leaguers were forced to go out in exile. The leaguers found refuge and training in countries such as Zambia, Zimbabwe, Botswana, and Tanzania, among other states. The leaguers that were in exile carried out activities such as art as a movement into raising awareness of the social ills that had bedeviled the country at that time. The league served as a launching pad for artists such as Hugh Masekela among others that carried the mandate of discussing the ills that have bedeviled South Africa at that time. In exile, the leaguers have been portrayed as persons that emphasised the importance not only of art as a medium of focus for mental stimulation, but there were also reading programs involved in these camps. Thus from a reader's perspective the importance of literature, African literature decoding and understanding the use of language during a time when and where there was a massive brainwashing activity that would eventually incapacitate the black South African from being free mentally. The mentioning of exile camps outside South Africa, to one's suggestion, would be a subtle reminder to the community that no African is an Island. The struggles that experience another African are that of the next African, an echo of when Ghana attained her independence and the late Kwame Nkrumah said, "Ghana is not free until all African countries are free".

 

 As I was going through its pages I found myself being reminded of this phrase, "you need to know your history in order to know your place in this world", the literature emits Afro-surrealistic energy. Energy that reminds one and all that the African is living in a simulation and break away from the matrix and behold and brave to chart your own path. Therefore the ANCYL of yesterday was always at odds with their seniors "the main league". As the youth full of energy and zest were inspired to enact action and change there and then. However, the old order chose a more subtle approach to solving the issues of the greater South Africa. This then and was one of the many reasons that led to the emergence of parties such as the P.A.C. and fast forwarding to today the EFF. The Mister Malema-led party subsequently went away with a majority of the youth that the ANC relies on, in order to survive the tides of time. 

With a meditated and chewed to the bone understanding of the literature, it is worth noting that documentation of one's history. Is an arsenal for the one that is seeking, pursuing, and extracting the purpose, mission, and identity of an organisation in this view. We take a look at the design of the this is the colour choices, the text design invested. The concept invested in the design of the book, it emits a whispering voice that says "hey let's sit down and I will tell you, all you need to know about the ANCYL, also a crash course into South African history that is rarely told, furthermore, once you are done reading me you shall have more questions about yourself and the world around you".

This body of literature is a body that takes you on an information superhighway, which I managed to deduce further from the Tau literature. Is that the body of work that can be used in the ANCYL curriculum of party ideology. As the body of work carries the blueprint that is needed by the leaguers to make the right decisions that are based upon their own discretion and confront the old demons that lurk in the shadows so as to be bold and brave enough to safeguard the brand ANC. That has taken a knock over the past years. 

The chapter that stood out when I was going through the novel is chapters 3 & 4, the two chapters give us a picture of a movement that is experiencing a De Ja Vu of 1944. Tau foreshadows the future by communicating with the past in the early chapters as the writer takes and shows the reader that within the main league according to the writer. There was a rift in ideologies and charting the way forward for the party. The cause of the rift was based on the view of the path to take, some were choosing the more subtle route and others had chosen to take the radical route. This then was accelerated by the factions that had bedeviled ANC. 

As the world was gearing for the end of the world in 2012, the end of the world for the ANCYL was established when the main league ANC disbanded the ANCYL. The disbanding of the ANCYL in 2012 adversely shrunk the grip and reception of the brand ANC. In which firebrands such Mister Malema, Shivambu, among others. Walked away from the ANC include a legion of supporters which left the ANCYL scrounging for relevance and trying to find potential key players that would fill in the Malema void. Three years later "Fees Must Fall" the ANCYL was nowhere to be found, an opportunity that was ceased by Mister Malema's EFF. 

In observing the summary of the key chapters of this book Tau gives us an elaborated demise of the ANCYL and reminds the reader of the clash between the old guards and new guards.

In one's observation, I felt that there were key areas that could have been explored, I might be jumping the gun on the writer. However, I would like to know the role of the Mandela Football club that was led by Ma Winnie at that time. The role of people such Mcebo Dlamini during fees must fall in 2015/16, why has the ANCYL come out and stand with one of their own. There are a lot of questions and there is a potential for a volume, two or more. Finally, there are a lot of conversations that could be dug up and investigated further that might be linked with the downfall of the ANCYL. What has to be established is that this reader is the tip of the iceberg. I do not know but I can feel it...

The literature does leave the reader with some answered questions and hopes about the future and reminds the reader that there is still hope and the future for the party is still in safe hands. However, one of the main conversations that the writer and those that contributed is the consolidation and education of the newer generation. I sensed there is a gap between the old and new generation, harnessing the art of culture, especially music and poetry, most of all reading has been a culture that is being encouraged in the movement. Other than that the body of literature is a good read for the curious-minded ones.

Know your history and you will know your place in this world...  

So they speak their minds, so they face their wagging tongues.

 This piece-, is a train of thoughts inspired by the speech made by seasoned journalist and human rights defender Mister Hopewell Chin'ono. In this piece, I shall consult various reactions from various commentators and then weigh in on my views based on their reactions. First things first that have to be established in this regard are that under the sun, sourcing from the universal human rights. According to the Universal Declaration of the Human rights, Article 19, "Everyone has the right to freedom of opinion and expression, this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers". Article 19 of the Declaration of Human Rights serves as the north star in developing the thought process founded around the notion of expression. There are a number of nuances that come around the notion of "expression", the essay shall seek to explore unpack, uncover, and deduce what is expression and how do we quantify expression. 

What has to be established before one dives further into observing this point of conversation is that do not be fooled by their silence like a magician. They can whip out a crocodile from their hats, they gambled with their lives when they operated and tailored the coup in November 2017. At any moment or second are they not prepared to let go of her, this means that they are prepared for an all-out assault and invest all hooks and crooks to consolidate their gains. In gains, I explicitly point out to them where they intentionally removed-, and deleted the old Mugabe government and they are in the process of building their own government fashioned against their visions and perspectives. Which has resulted and led Mister Hopewell Chin'ono and other free thinkers to be critical of the governance of Zimbabwe. This has then led Mister Hopewell Chin'ono to speak at the Human Rights Geneva conference about the deplorable state of Zimbabwe. 

In weaving the whole conversation around free speech, and freedom we get to note that when critical thinkers and speakers then decide to trade in their time to speak their minds. In many cases, they would have witnessed and observed a conflict that is before them juxtaposed against the mass's ideals. That is to get to converse about the contextual complexities that have derailed the visions of access to justice, electoral reforms, and social reforms. 

Let us get into detail by looking at Mister  Chin'ono's speech in Geneva, at the Human rights conference. In order to understand where the conviction of Mister Chin'ono, I propose and submit his award-winning documentary called, Pain in my heart. Mister Chin'ono mentions the documentary in his speech. Putting into context the essence, of this documentary into perspectives conjoined with Article 19. Knowledge is anchored on understanding, and understanding is anchored on human interest. In that same cloth, we get to understand that the body of work that has inspired the award-winning journalist is to at least in his and everyone's lifetime witness the true potential of Zimbabwe. Thus in my understanding that is where the fire comes from and that is his source of inspiration. Focusing on the integral role of journalists under the precincts of democracy journalists are the lifeblood of reasoning in any free-thinking state. This is founded on the three pillars that inspired the French revolution, a historical monument that set out the precedence of the modern world, the tenents of democracy are Liberty, Equality, and Fraternity. Louis XVI and Marie Antoinette led a state that had sunken to depths that no mortal being in its right sense may allow itself to struggle with dignity. In turn understanding, the responsibility of journalists is, to tell the truth as it is. The onus befalls the people to decide which route they deem to take and there should be no internal or external interferences when a state or country or people then decide to choose its own path. On the same whim, the British monarchies-, and neighbouring monarchies had to enact swift reforms so as to avoid any cross-pollination of revolutionary ideas across Europe that would mark the end of monarchies in Europe. Fast-forwarding to 2012, when the Arab Spring started in the streets of Tunis, many dictatorships were toppled in a matter of months or weeks the likes of Hosni Mubarak of Egypt, Ben Ali of Tunisia, Muammar Al Gaddafi (though there are conflicting debates around the demise of the Libyan leader, which in time I shall return and discuss at length my views). Some monarchies across the middle east sought to reform, not explicitly but some reforms were implemented in states such as Bahrain, Saudi Arabia, Qatar, and The U.A.E. among other states. In that same whim, journalists were at the forefront to tell the story of the people by the people for the people. Unfortunately, this then meant the work of the journalists led them to become public enemy number one automatically and unintentionally. One such critic saw its fate at the mercy of authoritarian regimes in the late Jamal Khashoggi. In essence what I am building upon here is that journalists play an integral role in weaving, maintaining, and consolidating mass consciousness on matters that matter or are of national interest. In that same breath Article 19 then comes to the fray in protecting humanity, based on the unanimous reasoning that it states it safeguards the propagation of information from one point to the other. This then leads one to mention the accelerated consolidation of information from yesterday to today.

History repeats itself and the men of new cease to learn from the men of old. When the Nazi party rose to the summit of power they had a minister of propaganda Josef Goebbels. He was the mastermind of the image and ideas of Adolf Hitler. That saw the manifestation of concentration camps in places like Auschwitz where millions of Jews-, and Romani people were murdered, fast-forwarding to the era of the soviet union under Josef Stalin the media was consolidated to best serve the views of Stalin, where persons such as Tomas Schuman akaYuri Bezmenov defected to America. The war on terror in Iraq when and where the whole world stood by and witnessed Iraq being invaded in 2003 and agreed with American propaganda that saw the collapse of Iraq and saw the rise of ISIS. Trickling down to Africa Mobutu Seseko maintained a firm grip on what was to be said about him and his administration. In the same breath from 1998 to date under the Mugabe, the regime arrested the media and was consolidated under one blanket no an Iron curtain that saw the bombing of the Dailynews headquarters in Harare then led to the banning of the media house for almost a decade in Zimbabwe. The above cherry-picked historical incidences play or sum up the perspective that suggests and explores the role of independent media. Furthermore, the above point explores and raises the point that notes that people in power will consolidate the media or the journalists and nudge them to narrate a tale that best fits and meets their expectations as they are institutions of power and power has been arrested from the hands of the people and have been rested in the hands of a few elite persons. They believe they have an unwarranted and undebated responsibility for the destiny and determination of a country. Which is then at odds with contractual expectations of the trident of democracy. In essence, journalists play a role and should play a role in telling like it is-, as is and how it should be without fear or favour or any allegiance. This then leads one to raise the conversation around the role of Mister Chin'ono as a journalist that has seen it fitting to use his skills to conscentise the people of Zimbabwe of the true reality of Zimbabwe. Understanding the reasoning behind the above segment one suggests that we pay attention to the November coup of 2017. It is undoubtedly and undeniably the statesman "Mugabe" had fallen short of the support from everyone, the nation, the army-, and even his closest allies all shunned him. It was a matter of time to witness the fall of the then once-revered leader that fell short of being an immortal. Thus the public of Zimbabwe and the whole world witnessed a power struggle between the old guard and the new guard. Which then resorted to the old guard to spurn and act as if they are giving Zimbabweans the freedom that they yearned for. Alas, Zimbabweans were dupped only to realise we ended up holding a pound of fools gold, what happened in Egypt happened in Zimbabwe. What is being woven in this body of mental conversation is that Mister Chin'ono among others that have dedicated their time, efforts, and energy to safeguarding the remaining remnants of the 2017 euphoria use their hard-earned platforms to raise mass consciousness. From one's view is the echo of article 19, thus we are witnessing the remnants of information being wrestled by those in power and those that want to be free thinkers. 

From one's point of view, I perceive and understand that Mister Chin'ono's speech in Geneva serves no harm or ill to anyone. As it serves to spread the information about what is actually happening in Zimbabwe. Therefore in any whim of inspiration based on the platform that inspires the advocacy of democracy, it is important for those that are skilled in extracting accurate information to do so without fear or favour they have woven or yoked themselves against the responsibility of telling the truth and tell it as it is. Thus giving the people the onus of deciding what to absorb and not to absorb. It is not up to the state or its media or any arms it has to restrict the masses to decide on what to listen to or hear but to decipher on their own. This then means intimidation should be off the cards, threats must be off the cards, and intentional harm to another has to be off the cards. The focus in this regard is to build or break down further and raise the following point. The truth is inexcusable, unavoidable, and cannot be removed as it must and should serve the people. When people in power decide to harass those that have the sole responsibility of doing their job or fulfilling the code enshrined in Article "19". It then becomes a problem, one of the pointers that I have noticed is that when one seeks to harm another. In which they know that what they are doing is wrong and they must not undertake any activities that seek to harm anyone. The truth yokes at the same time it liberates. 

It cannot be debated nor may it be denied that ever since the nation of Zimbabwe founded its independence it has been marred, tainted by corrupt officials. Officials traded the camouflage for the suit. The project Zimbabwe was never intended to build a nation, one nation; the project Zimbabwe was forged against the notion of maintaining the old order that was established by the Smith regime. Then forged to benefit the newer custodians of the farmhouse. In order to be in the house, you have to kiss and shine their boots to the extent that they recognise your activities-,  and you are given a morsel or two of bread from their inherited table. The rest of the nation we all become infinite versions of Boxer the horse. Work for the state, build the state, ask no questions, the reason no more, do as you are told-, and build the windmill until you die. Then replaced by another boxer the horse version two-point-eight, a system that carries on and on until time decides to collapse. This then meant that a fertile breeding ground for corruption, nepotism, and kleptocracy took a firm foothold within Zimbabwe. In one's proposal though debated as is one might suggest the roots of democratic decay started in 1982 when Gukurahundi started. Due to the fact that no one is willing to discuss the actual causes of the "violence". So far what can be submitted before the counsel is this hypothesis, "Gukurahundi was a politically inspired move that had the intention of establishing a party state, the common enemy was removed however there were two bulls in one kraal. Each party had a dagger hidden behind the back and it was a matter of time before the masses' observed in Mugabe was the first to make his move, again it is a hypothesis that is still being developed with time hopefully a conclusive submission shall be made public". The capture of the judiciary in the 2000s with the firing of Anthony Gubbay meant that the appointments that were and are to be made were all anchored around a spoiled, polluted appointment system which in turn all witnessed 2002, 2008 violence that saw the death of many MDC supporters. 

In the focus of maintaining political control of Zimbabwe and economical control of Zimbabwe, it has to be understood forthwith. In Zimbabwe, those that run the politics of the country are the same people that are running, monopolising, and controlling unabatedly the commerce of Zimbabwe. This then means that the politics and economics of Zimbabwe are forcibly conjoined. Therefore there is not much nor there is much autonomy in Zimbabwe both politically or economically for any Zimbabwean to self actualise. This in turn means that the masses are at the mercy of the elites of the country that have instead kept a state, they in turn have privatised a state. Thus making Zimbabwe a feudal state in the twenty-first century. A distant cousin of Eswatini, if the economic opportunities are limited the chances of self-actualising for any person in any field of profession is either non-existent or slim "unless you are part and parcel of the system". In one's observation, this then reverts one to pinpoint and observe that the government of Smith has reincarnated itself in the twenty-first century in essence Zimbabwe is haunted by the ghost of the future past. Basically ever from 1979 to 2022  the country has never seen or witnessed any growth that establishes its original vision, "Of making Zimbabwe a Black Eutopia". The consolidation or gatekeeping of every facet of the industry that comes to mind has resulted in Zimbabwe devaluing and becoming one huge ass-backward state, that still yearns and suckles on yesterday's rhetoric about itself. When in actual terms that rhetoric belongs to the Smith regime as they formulated and designed an economy that best served the white minority. In Zimbabwe, the economy has still been designed to serve the elites with the same vision as Smith. One might suggest and submit the reasoning as to why the powers that be want to establish a victoria falls stock exchange ie creating a parallel stock exchange from the Harare Stock exchange. The elites seek to maintain and consolidate and create two ajar perspectives of a country. Therefore defeating the ends of the reasons that inspired them to go to war in the first instance. This is my suggestion if you have a point and reasoning to share with me and the rest of everyone go ahead, the purpose of this body of work is to trace and try to figure out the reasoning behind Mister Chin'ono's efforts that have led him to present the case of Zimbabwe before the world in the year 2022 in Geneva. 

In one's observation thus far the privatisation of a country such as Zimbabwe has created a system that disregards the ethics that are woven against the hallowed garment of access "democracy". The simple word "access" has become more valuable than gold in Zimbabwe. This means the access to education has become expensive, the access to health has become expensive, the access to food has become expensive, the access to justice has become expensive for the ordinary, however, if you are part of the one-percent access becomes a simple word as simple as reciting the vowels "a,e,i,o,u". In one's suggestion, the Covid19 pandemic had its perks of being a negative catastrophe and also being a positive catastrophe. In this, I mean that if it is a positive catastrophe the ineptitude and the tomfoolery of the elite came into the full glare of the public. Triggering a surreal experience that leads one to question what is Zimbabwe, are there parallel perspectives of Zimbabwe. In turn Journalist, Chin'ono served as the sacrificial lamb that exhibits and proves the social experiment to be true. The state of Zimbabwe has become no, has been a kleptocratic state, a kakistocratic state. Where virtually if you know someone at the top, you can get any tender you deem or wish to own or want at that point in time. In essence, this means that instead of opening the due tendering process that welcomes everyone that is willing to serve their country the government of Zimbabwe. According to The Sentry Organisation during the Command Agriculture program. Sakunda Holdings were given the task of providing the services that the government needed to get the program moving. The red flag according to The Sentry Organisation report is that the tendering process was not followed which then raises concerns around the appointment process of who would be persons are supposed to service the country's needs. What this means is that if there are any loopholes or errors or any fault such as inflated prices for services there are no records of that. Furthermore, what was the reason to grant the contract to Sakunda holdings when a private company is meant to be in full access to taxpayer's money? Let alone the owner of the company Sakunda Holdings is the advisor of the President another red flag that affects the processing of clearing and making sure that the interests of the public are best protected in essence what can be understood. Observing to the report is that the failure of following due processes has resulted in corruption to have an uncontrolled, unmonitored, unjustified enrichment of persons that have never gone through the processes that must be followed when hiring any firm to do a job for the government. This then affects aggressively the livelihoods of 15 million Zimbabweans. Legal Tender? - The Sentry

In 2020 during the height of the Coronavirus Journalist Chin'ono uncovered a corruption scandal that was afoot in Zimbabwe. The scandal was centered around the procurement of Covid19 equipment and the Ministry of Health had acquired the services of a company called Drax. Subsequently resulting in the scandal being called "The Draxgate"Zimbabwe Health Minister Draxgate article, the case resulted in the Minister of Health Obadiah Moyo and a series of arrests were made. To of no success to this day, however, Journalist Chin'ono became a person of interest to the institution and he was arrested based on frivolous charges that have not been resolved. The reason being-, is that the journalist was doing his job of exposing the elites of the country that are and were in business with shady characters.  The price for speaking his truth the journalist spent forty-five days in prison without trial and then spent twenty-three days in prison without trial and then spent twenty-one days without trial. The Highcourt eventually threw the case away, in total Mister Chin'ono spent at least eighty-nine days in prison without a trial which is almost three months of a year in prison without a trial. 

Corruption in Zimbabwe is not only a scourge it is a pandemic that has destroyed the very fabric of a country, instead of awarding people based on merit. The system has become deplorable to the extent the people awarded key posts are based along party lines and who can slob on the boot the most. The appointment of ill-equipped candidates has not only resulted in the country to further downgrading its key potential it has opened the floodgates of ineptitude and inadequacy. 

The endemic corruption in Zimbabwe has not only resulted and exposed the country to the wolves it has left the life of millions of Zimbabweans to be at risk. It will not be a shocker if critiques suggest that Zimbabwe is a failed state, or it has already achieved that unflattering achievement. Since 1980 Zimbabwe has not achieved any resounding achievement that ensures the progress of a country, cyclone Idai came and went people are still destitute, Covid19 came is about to go children have lost three years of schooling. The children that depend on public and mission schooling-, therefore. The honest question that would rise to the floor would be must Zimbabweans blame sanctions for the inadequacy that has incapacitated the whole nation. According to Journalist Chin'ono, "two-thousand five hundred Zimbabwean pregnant women die each year from childbirth". Furthermore in an alarming article Seven babies stillborn in one night in one hospital indeed there are various causes that affect mothers to experience stillborn babies. However, in all fairness, there are outside factors that do play a significant role in leading women to have stillborns. One of the many significant factors that can be suggested in this essay is the lack of infrastructure development over the past forty-two years and counting. There is a gap between institutions and those that are running the country. The ones that assumed and believed that saving the people is their duty when actuality they are saving themselves "the people".

"The voice of the people is the voice of God", so it was spoken to this day the voice of God has been morphed into the voice of a mouse housed in a church. 

A journalist becomes a public enemy number one when they speak out of context when speaking of the contrary not the contrary of the national direction. So they speak their minds, so they face wagging tongues. In conclusion, a journalist's role is to inform the people of what is going on in the country. It is up to the people to decide what they want to consume based on their own reasoning capacities. Therefore skills such as reading at any age must be emphasised in order for people not to be misled or misinformed. The basis of this essay is to highlight the importance of journalists in today's society where misinformation has been at an all-time high and is never stopping. 

You choose your truth. 

All I want is to return: A review of Sampa The Greats Album: The Return.

 "All I want is to return..."

The Hip-Hop genre on the continent of Africa has been rocked and inspired by a plethora of sources and terrains of inspiration. In the whim and wind of free-thinking the ajar worlds, separated by the sea and the hands of time. Standing by the doors of no return, the soul of the African seeks to return to its former self through rhythmical wordplay that is worldly yet timeless. As the winds of inspiration carry the legs light over the sea of words, I am taken aback to gaze-, and ogle at the Atlantic ocean as I am reminded of my kindred that was kidnapped, sold by their kindred-, and many were plundered by the colonialists and slave traders that viewed and saw it fitting to exert their godly righteousness to its other people or races in the name of religion, law, and power. The enlightenment of the soul is then frozen in time passed on from one generation to another. Dating back to the times of Miriam Makeba, racing to the days of Thomas Mapfumo we get to understand that free thinking has been the vehicle for African liberation. A person that is not aware of its history is like a compass without a needle. Then we are brought to the worldly view of Sampa The Great, The Zambian-born rapper is a force to reckon with when it comes to lacing words of wisdom against an Afro-jazz hip hop inspired beat. The Return by Sampa the Great is a masterpiece on its own. Zambia raise your hands up, Africa raise your hands up, the Queen of Hip Hop music has arrived. In as much as there are other MCs on the continent and industry, Sampa is just in her own lane and her own league. Others seek to use other means to substaniate their claim to the rapping game. Sampa does not need any of the gimmicks to prove a point all she has done is give us the amazing body of work that speaks about the African in the present time, the album to me becomes a personal interactive space or window because I am experiencing the life of an immigrant trying to make its claim in this polarised world "enough of me, let's revert back to the Kween".

The Return by Sampa the Great, is a masterclass a rare gem on the Hip-hop scene, and what a time to be alive. The rapper's full name is Sampa Tembo, hails from Zambia, and has extensively grown up in various parts of the world. To me, I suggest that the globetrotting part of her life has had an influence on her music and pen game. Which saw her manifest a timeless body of work that reminds the wondering soul that home is where the heart is. I am reminded of the phrase, "you can take me out of Africa, but you cannot take the African out of me". In a space and time where conscious rap is shunned because the machine is dictating the quality and quantity of the music that is and should be produced on the circuit. Sampa to me has mastered the art of dropping conscious nuclear bombs and still appealing to the machine. She has graced Coachella 2022, and her performance was as spectacular as always, the neon soul of Africa and the world coming together is an explosion of a well-curated work of art that not only serves to entertain the masses to the acute and attention you are also given your fair share of serving that always keeps you in the realm of consciousness. To be fair to you right now, listening to conscious rap is not about looking for the devil in the church-, or looking for the baboon in the mountain. In one's view, conscious rap's intention is to keep the consumer aware and alive in this polarised world where realms are constantly at odds with each other. In space where the real reason Hip-hop came to be regarded as a work of art the same way as classical music, rock-, and roll. It was and is a movement that challenges or rebels against the machine and the system. That has for over five centuries and counting is still messing up people's lives based on the virtue of being in authority and then consciously messing up people's lives in the name of the divine right to be the custodians of this realm. Therefore hip-hop understanding that the ills of society within the black community and the black culture are not preserved there and then we were brought into witnessing the rise of gangster rap in the naughties that was rocked by the likes of Niggers With Attitude, Tupac, The Notorious B.I.G., Wu-Tang Clan, Grand Master Flex and the Furious Five, MF DOOM "all caps when you mention the man's name", Queen Latifah, Lauryn Hill, RUN DMC. Hip hop was not deemed appealing and also attractive to the gatekeepers, the ground reflected otherwise. Therefore, the genre's potential of being a commercial success and reaping off the backs of black expression art. There and then saw the rise of pop-rap the type of rap that is modeled against the needs and wants of record label executives casting away the surreal art of expressionism as it stands morally in carrying the voices of the marginalised and seeking to raise awareness of the ills that the rapper talking about. In the hopes of bringing societal mass consciousness and then finding means and ways that are sustainable to the community. In essence, the art of rhyming against a beat that is jazzy inspired or traditionally inspired is to at least communicate through sound to the community the need to change and to change for the good. Therefore bodies of work such as Water by Nikita Dawson and The Return by Sampa the Great serve as a reminder of the need to cleanse ourselves and then return to our homes, the true home, it is either returning to yourself or returning home. Therefore the double entendre of the title itself is a trojan horse into the subconscious mind that is trying to rationalise the real world and the ideal world. In this same breath and wind, the whim of finding the north star in the space of madness becomes an existential crisis that inspires action. Therefore we are then brought to this point, upon looking at the cover art of the album, The Return. It is worth noting that we are introduced to a plethora of conflicts, we see Sampa seated wearing all-white apparel to her left "your right" there is a body that is dressed in Zambian traditional attire and then there is a house that is built of bricks. One might suggest that it is the conflict between modernity and culture, where does the African stand, who is the African in the space where black voices are not heeded nor even tolerated as they are dubbed and witnessed interpreted as insignificant. So to me, I suggest that Sampa, is not only reminding or preparing the listener for an Afro-surreal experience but you are part of the experience. I am not sure what you are going to evoke after going through the body of work I am sure you are going to understand yourself. In essence, Sampa the Great, reminds me of the song by Lauryn Hill off her album, "The Miseducation of Lauryn Hill" the track's title is Zion. The juxtaposition here is that Zion is home, as an individual you are bound to return home therefore the title The Return. Furthermore, the point is metaphorically affirmed by the house that is behind Sampa. A home in accordance with the African eye-, is a place of rejuvenation, a place where the bearings are brought back to alignment. We live in a space littered and laid with different types of energies, and we are bound to veer off course as we interact with various bodies of energy that attempt to veer one-off course. Therefore this title by Sampa is the necessary introduction and preparation for any unsuspecting soul. That intends to listen to an enlightening body of work. Understanding the commercialisation and the sexualisation of female MC's in the industry. The type of singing or songwriting is then inspired by the commodity that is always in high demand "sex" or "sex appeal". Sampa has navigated around that space or lens giving music lovers a body of work that is reminding them of the true intention of hip-hop music. Sampa evokes the royalty of hip hop music, especially the fundamental role that women across the continent of Africa have played in evoking mass consciousness. Thus in listening to The Return, the album is a body of Afro-Surrealism, a body of Afro-realism all converging at a time where and when the African is seeking understanding of itself as it carries out its existence with due diligence. The body of work echoes the views of the magnum opus of Kendrick Lamar, "Section 80, Good Kid Maad City, To Pimp A Butterfly, and Damn". Therefore not only Sampa has given us a poetic sonic, but she has given us a timeless work of art. It takes the attentive ear to grapple with the consciousness of Sampa the great and her magnum opus. In the track Final Form: "Y'all already comfortable stuck up in the matrix", the idea behind the matrix is that you can never escape the matrix, you cannot run away from the matrix, but you can glitch the matrix. You can become the matrix as you are part of the matrix. In one's view the matrix is that space of mental and moral consciousness that understands the hinges and the codes that trickle down as it has not only enslaved all, but as well as boxed us. In a guinea pig caught up in a wheel type of situation. Becoming the matrix is at least expressing yourself to the extent that a part of yourself is inked against the walls as hieroglyphs are printed on the walls of the pyramids of Egypt or the Khoi wall paintings. Upsetting the matrix is seeking one's liberation, as institutions of higher learning are focusing on assembling the best bot worthy of the matrix's needs the bot that does not meet the criteria of the matrix then becomes the glitch that seeks to dismantle the conveyor belt. In essence institutions of higher learning are churning, assembling, and releasing bots that are comfortable serving the matrix however, they are failing to solve their own problems. Give that bot a lifespan of four to five decades after serving the matrix it is spewed out and replaced with another. It has never actualised in its twenties, thirties, and on. Therefore what is the point of existing when the being itself struggles to find its purpose. In essence, Sampa in that line is encouraging mass consciousness into embracing the Afro-surreal experience that is advocating for freedom of the mind and soul. The track Heaven: "Have I told you 'bout the time where I almost died? Almost tried to fit in with the new tribe", the track embraces the existential reality of fitting in as an outsider. In the wake of mass human migration, the body and soul as they are traveling the passage of they are caught up in space of yearning to belong. The track telepathically communicates back to the title of the album The Return. Lastly, The Return: "Mirror Mirror On the wall, Who's the blackest of us all..." this track is the rosetta stone of the louvre of this magnum opus. The track speaks about the soul that is screaming and seeking to be found in itself, within a plethora of casted souls that are seeking themselves within themselves. This track is a spiritual track, a prayer, a dua, worship, a surreal escape to the vulnerable. As the globe is witnessing mass migration of human beings. The battle of fitting in and at the same time holding on to yourself becomes a battle for anyone that is going through the immigration battles. From an outsider trying to find their place in this world sometimes writing down what I feel becomes the only avenue, I can take at this moment as myself is searching for myself. In essence, I might be afraid of tomorrow thus I preserve myself within these words that I have weaved to show my appreciation through praising Sampa's amazing body of work.

In conclusion, this album is a magnum opus, it is a prayer, a body of Afro-surreal experience, that is timeless and has rivaled, surpassed the already set-, and determined to be the elite music meant for the masses. I am excited to see and hear what Sampa is going to take us next. This Album is a must listen over and over again until you are tired, Sampa has outdone herself. To top it off she is a Grammy Award winner, that Grammy nod cements Sampa as one of the best in our era. 

Congratulations to Sampa the Great! 

Afro-surrealism understanding the ism in various perspectives: A reaction and understanding to the ism.

 "2018 The Year of the Afrosurreal"

Afro-surrealism is a state of being that evokes a sense of being that seeks to break down the reality that does not make sense therefore, the medium that seeks to understand the nonsense resorts to blending. The alchemical approach of synthesizing the complexities of reality from a black eye use Afro-surrealism. 

You are in the space of time and reality it is a constellation of ideas, the past, the present, and the future. In that wind, you understand the existence of the conjoined timelines. The past is the future, the future is the present in its present state-. The human being's "subject of interest" seeks to embrace its reality as it tries to make sense of the complexities that are interwoven in this reality, thus Afro-surrealism embraces the complexities that come along with being period and then investigates to the core the root problem of the period. With the whim and the goal of sparking a conversation or dialogue so as to find answers to the intricate unanswered questions to the secrets of the black struggle through metaphors. The bid is not to waste anyone's time, the intention is to source the cognitive reasoning through mass consciousness. 

Take a look at the back, simultaneously looking at the front. 

Time floating away, yet we are a part of the time, time is us and us is time. Therefore there is a symbiotic relationship between time and humanity. Humanity is a part of the time and it brings being into one's space to make sense of what is happening in the moment and space. The human being tries to bring all to sense feels as time floating away. As history repeats itself it becomes a never-ending fragment of existence. In the bid to rationalize black, history, black identity, and black existence is then bent through words for one to have a look into the mirror of words that is willing and yearning to connect with other distant souls. Therefore Afro-surrealism becomes the vehicle that is able to connect with everyone from the diverse Afro community. A harmonious connection with every being under the sun, the metaphysical elevated consciousness of thought processing that brings every black person under the sun to be aware of the dream space that has consumed itself from within and from outside. A never-ending spiral dark void itself thus literature, music, and art,  plays that key elevated conscious role that brings everyone together; to bring dignity to the black person in this time and moment. The Afro-surreal space is necessary to transform how we see things, interpret things, and embrace things that occur around us. In this space, we look at what happened then and what we can. 

 Leopold Senghor "Afro-surrealism is mystical and metaphorical"

Afro-surrealism sees that all others create from their actual lived experiences and therefore surrealism is an escape into the realm of inner reasoning of all the elements that restrict growth and fore-reasoning. Furthermore, Afro-realism is about the present, past, and future all occurring in that same space and time. Context is a necessary part of the journey into understanding Afro-surrealism this means that the view focuses on the lived experiences and a surrealist experience is meant for the people to be able to connect with the product that is being produced. The modus operandi is to humanize product and consumer, an idea that focuses to inspire and trigger dialogue. 

Afro-surrealism is about the present and about the past, and the future. 

Afro-surrealism exposes the future-present the RIGHT NOW, therefore the school of thought is always seeking to address the needs of the current time, therefore it never gets old as the struggles for the marginalized communities expand and extend through millennia.

The school of thought is a form of drifting from spectrums of understanding or reasoning. This means it is a contemporary culture on a rowboat with no oars, entering the city to hunt down clues for the cure to this ancient, incurable deserve called "Western civilization".

 Afro-surreal presupposes that beyond this visible world there is an invisible world striving to manifest itself. Therefore art from the lenses of artists serves as that vehicle that brings reasoning and comprehension of the contemporary conversation in society. One such Afro-surrealists would be Harmonia Rosales, the artist who designed the cover art of Nas' Kings Disease. 

An investigation into the unknown, it recognizes the impact of human nature which generates the surreal experiences that any other process could hope to produce. The spectrums of timeline observation in accordance with past-present experiences such as colonialism, slavery, and neo-colonialism. All are symbols of black awakening, "the Phoenix rising from the ashes", Afro-surrealism identifies the glitch in the matrix, and seeks to address the glitch through art, vice versa this means that the interpreter of reality becomes awakened of the glitch that it witnesses in that time and space. The discipline looks at the beauty, the sensuous, and whimsical for the "rational-minded". 

Afro-surrealism looks at the highly-paid short term commodities "as opposed to poorly long term one (slaves)". The school of thought excavates the remnants of this post-apocalypse with disdained flair. Exploring further, a reflection of yesterday's icons is a source of inspiration to the nature and structure of the art as it reflects the theme of Afro-surrealism. The harmonization of the past into the present evokes the essence of humanity and being as it's inspired by the ethos of existence and this means that death or those gone are still a part of the time. The past strengthens the future, the past prepares the future and present. 

Understanding further Afro-surrealism through the lens of the movement one gets to note that all others who create from their actual lived experience are surrealists. In the sense of the surrealist's experience, one gets to observe that the observer struggles to embrace its reality as it does not add up to its observation. Therefore Afro-surrealism is the gate or medium of the nonsense to the sense that is kept behind the lenses of the common eye. In essence, the observations of Laury Hill best assert the observations of Afro-surrealism, pay attention to Jordan Peele, Dany Glover, Lakeith Stanfield, as for the African context one would suggest that Dambudzo Marechera embraced Afro-surrealism religiously-, and his works such as House of Hunger, Black Sunlight, Cemetry of mind, among some of his works. They amplify the absurdity of reality in words best come into the projection of the works of Marechera.

The work explores and excavates the remnants of the post-apocalypse with dandified flair. 

D Scott Miller says, "The critical response to living in an unreal world that you must treat real lest it beats you down". The quote essentially reflects the views of Afro-Surrealism as it manifests the ideals of black emancipation through raising mass consciousness.  The Afro-surrealism is an incomplete letter, someone tempered with the letter, therefore the people that practice the art through their work attempt into bringing sense to the missing elements of that letter.  

The perspective of reality becomes surreal as it reflects the inconsistency of humanity the sense does not make sense what is deemed reasonable becomes unreasonable. In essence, Afro-surrealism is a vehicle that reflects the conscious reasoning of society brought to light through mass consciousness of the oddity of society through the emotive conversation of the intense complexities of the existence of humanity. The voice of the voiceless becomes amplified by the use and collaboration of the absurd and incomprehensible. Is the selling point that submits the effectiveness of communication through figurative speech. The work is introspective in nature where metaphors like the sunken place are used to explore painful truths of the murky nature of being a human being in one's view the vices of man "which I am not immune from as well, I am part of the problem as well".

Winnie Madikizela-Mandela, "I am the product of the masses of my people and the product of the enemy"

Understanding the concept requires consultation from a plethora of sources and basing one's understanding is something that directs the producer and consumers into one desired direction "mass consciousness". The historical existence of Africa and her scattered children, the tragedy-, and the transformation from the material, that surrealists draw inspiration from as they define the core mission purpose of the art form. Therefore being an Afro-surrealist does not mean you are perfect nor are you stellar, you are part of the problem in your work you are trying to find the answers that define the meaning of the problems that are there. Therefore Afro-spirituality becomes a north star, as it defines the essence of blackness. 

Spanning the map of Afro-surrealism what can be understood is that the school of work is vast and extensive. One can suggest that the vastness of the universe is the prime juxtapositioning of Afro-surrealism is the best experience that makes sense in the current contextual reality. This further means that there are aspects of the ism that may be discovered, that have been discovered, that shall never be discovered as it is vast and extensive. Thus in one's stance, there is no answer to Afro-surrealism there is no definitive conclusion to Afro-surrealism therefore it would be self-righteous for one to claim that there is an answer and all should follow it. The reasoning is based according to this notion, ideas and concepts from an Afro-surrealists observation add on from where the previous practitioners left off. A never-ending cascading river into the reasoning of the absurdity of that time and in one's observation it has to be quantified and it should make sense. Thus time becomes the ally of any practitioner of the discipline as it is the only form of reflection and reference when it comes to the craft and those that are seeking understanding in their lifetime.  

The practice is anchored around blackness and black rebellion against the system as it has proven to be exploitative, restricting-, and suffocating. Therefore the yearning for the independence of the mind and soul is then manifested around the imagined world that has been brought about the identification of body snatchers, revolution highjackers, cultural diluters, and culture vultures instead of advocating for violence. Afro-surrealism sows the mustered seed of black rebellion-, and suggests that there is a future for the formerly and presently disenfranchised majority. In Afro-surrealism, the art or the ism illuminates the basis that would be used to amplify creativity, social activism, and mass consciousness. In which programs such as economic recovery through knowledge sharing as the basis of the problems of society are then tackled through Afro-surrealism. One might suggest the reasoning around Leopold Sedar Senghor's vision around nation-building through art, though twenty-five percent of the national budget was earmarked for art development in Senegal. Furthermore, a country's evolution can be inspired by Afro-surrealism. 

Things float, fly in surrealism, darkness defines more than light and this means in pain there is joy in pain, we find ourselves in pain, the mind's spectrum's perspectives are broadened through pain. Thus one can suggest this thought that Afro-surrealism can be understood as religious practice or activity that seeks is spiritual as it seeks to connect with the soul, an elevation beyond reasoning, a practice that defies the gravity of practicality based on the western-inspired lens of reasoning. The being is defined by its adversary, tribulations, and trials, that have defined the black person. This does not mean that pain defines the black person, but pain serves as the vehicle that brings the marginalized community together and is able to be masters of their own destiny, "the black man is capable of managing his own affairs"

"Afro-surrealism and fees must fall" hold that thought I shall return to this topic in the future.

Afro-surrealism-, looks into the following aspects of fall and rise, tragedy and transcendence, slavery and freedom, death and birth, and rebirth. 

Afro-surrealism knows no borders, knows no boundaries it brings the conscious understanding that all marginalized persons from all the corners of the globe are united by the tides of history.

According to E. Sellin, there is a concise distinction between surrealism and Afro-surrealism, obviously, the prefix "Afro", be that as it may, there is a deeper diverse distinction between the two isms which are. Surrealism is pitted against a certain time and place and eternal surreal feeling that is founded upon an agreed space of practitioners that share a similar scope among themselves. As for Afro-surrealism, the ism is a never-ending conversation translated from the absurdity of moments and time to the "surdity" of moments and time. As this means that time is not constant in Afro-surrealism as compared to surrealism.

Historical occurrences are a mainstay in the contemporary view of Afro-surrealism discussing historical revolts, the use of signs which have a meaning as one critic puts is a mental space that is unbounded and it equates all lost ones into one space that brings them together and unites against a common enemy that has brought displacement and angst upon another race. This then does not equate nor may it justify or may it inspire conflict, it inspires self-determination and self-actualization among the dispelled and despoiled many that they can rise above their circumstances.  Therefore the metaphors are the gateway that communicates and manifests n the minds of the masses after they have gone through the journey.

Furthermore observing the nature of Afro-surrealism as an ontological model admits of no chronological or geographical boundaries and readily accommodates everyone under one bracket that acknowledges that there should be universal consciousness upon a specific topic, as the vices of the mortal men are the detriment of the mortal men. 

Poets and thinkers such as Birago Diop and Leopold Sedar Senghor, their works extensively echo Afro-surrealism as they expound the negritude as a catalyst or accelerator and anti-catalyst into societal acceptance. This means that the school of thought around negritude and Afro-surrealism is that they dispel the notion around the stereotype of how the black person has and is perceived to be incompetent. The field of work advocates for a tolerable and respectful view of the black person, the black person can see the world and can define the world for all to borrow and learn as well. Thus having a voice at the table, understanding the voice at the table, and respecting the voice at the table. In epistemological codes, the African voice is still scraping its way to being universally accepted as it should be witnessed like the rest of the world. It is ironic that African Art that has been plagiarised by persons such as Picasso or Elvis Presley, they all founded their careers around black exploitation. In essence, what is being forwarded and argued in this topic is that Afro-surrealism amplifies the negritude as a status of being that not only must be viewed from a whitewashed lens but should be viewed from an equal lens into observing the acceptance of the product by all in the same breath all should embrace the same breath that focuses on listening what the negro also has to say about this world as well. 

The discipline is a medium of artistic independence and it evokes awareness, and mortality, and it is aggressive "revolutionary".It suggests awakening and self-awareness as the complete remedy for all the ills that have plagued the historically marginalized voices. Historical occurrences play an integral role in affirming blackness as a legal approach as it allows the law student or practitioner to embrace the origins of the medium called the law and how it has been brought into existence as a tool of conquest, not a tool of advancing civilization. Through the lenses of the cis-gendered, heterosexual Judeo-Christian white man saw fitting that the law must be abided because he deems so. Thus Afro-surrealism plays an unequivocal role in addressing the flawed bearings of the African legal practitioner. Migrating from being sheeple to becoming the wolf that hunts down the sheep that are used to propel ineptitude in the black community through "epistemological enlightenment" whereas the black man can and is able to the master of his own intellectual destiny that then seeks to evoke sustainable justice. As compared to its perspective around the ideals of accessing justice. Within the lens of justice according to the African interpretation, one submits the notion, that suggests that the law is not used for the purpose of correction, the law is used as a tool to delete and destroy the dignity of the African. Through the religious apprehension of the views of the chief architects of the law, that carried the agenda of deleting, eliminating, incapacitating, and dismantling the African and all would be free thinkers. However, afro-surrealism evokes the African approach to law as a theme of restorative justice and corrective justice. In essence, the humane nature of law is withheld by the discipline of Afro-surrealism. 

The impact of the mass awakening has a cascading effect in suggesting the policies and ideas that are formulated and constructed around the interest of the people, in turn, whatever you produce in mass you are expected to recover in mass. The ideals of commerce centered around humanity become the founding pillars of humanity, not the ideals of mass exploitation that then results in consumerism that then has an avalanching impact on the environment. 

Afro-surrealism does not force anyone to awaken, nor does it seek to create a cult out of cognitive universal reasoning, as has been reflected and projected by the machinations of mortal men. The discipline submits the universal truth and the truth which is undeniable as it speaks what the masses understand about their worldly reality as compared to the assumed truth that has been universally forced upon the majority through, death, kidnappings, and conquest. 

The reasoning allows one to access their own truth at free will and find their own answers at free will, that they seek within themselves and they convincingly understand that it is in the best interests of themselves and those affected by the machinations and constructions of the mortal man, basically Afro-surrealism notes the following: find your truth, understand your history, embrace your circumstances, find that which is harmonious and is in tandem with mass ideals of the affected. In the best interest of peace, tranquility, and serenity all fashioned against the universal goals of peace and harmony which are difficult to attain, if given the chance they might be achieved. 

Therefore contextualizing the school of thought communicates with telepathy with the Afrocentric ancient sacred ideals of Unhu. 

Afro-surrealism creates a contrary expected reality, that many desire to witness "The city of Wakanda". The ideals are in accordance with the "rational" mind that deems and understands justice through the lenses of Afro-surrealism. The disciple of the ideology is presumed, assumed, and observed to be beside itself. In essence, what is real what is not, what is the truth, and what is not the truth. Therefore human interest is the influencing notion of Afro-surrealism. 

Afro-surrealism contradicts universal apprehension of the deemed acceptable route of conduct within society. As society is buttressed against the exploitation of the masses all for the benefit of the few. Afro-surrealists convey the notion of critique against justice as it is viewed from a microscopic lens, and its flaws are amplified. Thus, the ajar contradicting modes of the practical reality that is on the ground that is tainted and polluted by the human needs that transmutate to the seven vices of men. Thus creating a symbiotic relationship between reality and surrealism, one needs the other to be alive, a ying to the yang of the other. Afro-surrealism acts as a reminder to the negro folk: hey wake up from your stupor and claim your birthright like the rest of your folk.

2018 might have been declared the year of Afro-surrealism, I propose that Afro-surrealism is an annual process, it happens every day, therefore until the end of time. Afro-surrealism is a part of humanity, what does the crystal ball hold, it says the truth is in Afro-surrealism.