"The Music Returns to Kai-as" – a film by Future Pasts
Updated: 6 days ago
"Good day, I am happy to report to you that we are now busy watching the Kai-as video with members of the cultural group" (WhatsApp message from Fredrick ǁHawaxab in Sesfontein / !Nani|aus, 26 December 2020).
December 2020 saw two very different screenings of our film The Music Returns to Kai-as. The film is made in collaboration with local organisations in north-west Namibia – the Sesfontein Conservancy, the Namidaman Traditional Authority, and Save the Rhino Trust Namibia – with filming by Namibia specialist film-maker Oliver Halsey.
The film can be viewed online by clicking on the image below.
The first screening, on 16th December, was held remotely as a public online event held by the Research Centre for Environmental Humanities at Bath Spa University. It attracted an international audience that included the Dean of the School of Education & Culture at Great Zimbabwe University, who kindly commented on the ‘amazing work being done by the team in Namibia’.
We were joined at this screening by Theresia !Gorases Pullen, my first teacher (at the Africa Centre, Covent Garden, in 1993-1994) of Khoekhoegowab – the language spoken by Damara / ǂNūkhoen and others in Namibia. COVID-19 meant I could not travel to Namibia and check translations in the film with my main ǂNūkhoe collaborator there – Welhemina Suro Ganuses – with whom the film was made. I am grateful to Theresia for her help with some subtitle queries as we were finalising the film.
The second, rather different, screening took place in the intense summer heat of Namibia’s north-west. This is the home of the Hoanib Cultural Group who share songs, stories and senses of themselves in the film. Poor internet provision in this remote corner of Namibia, combined with the impacts of COVID-19 on travel and transportation, meant the film could only be shared after a circuitous journey by post, tracked by me in the UK as it travelled to Opuwo post office in Namibia's Kunene Region. From here it was collected by Fredrick ǁHawaxab of the Namidaman Traditional Authority who collaborated on the film. Fredrick delivered the film to the Hoanib Cultural Group in Sesfontein.
Copies of the film were also sent to Swakopmund on the Atlantic coast. These were for delivery to my collaborator Welhemina Suro Ganuses and lead SRT tracker Sebulon ǁHoëb at the Save the Rhino Trust (SRT) base camp several hundred kilometres away, where Suro works as an administrator. The contribution of time and expertise by Suro and Sebulon, as well as 'Rhino Rangers' from the Sesfontein Conservancy (especially Filemon and Patrick |Nuab), were essential for the making of the film.
The Music Returns to Kai-as
Our film The Music Returns to Kai-as is an outcome of many years' oral history research in a particular area of north-west Namibia. With Suro Ganuses mentioned above, we have worked mostly with families in a settlement called Sesfontein. They have formed a cultural group called the Hoanib Cultural Group, after the main ephemeral river that flows through the area in which they now live.
One of the favourite songs of Hildegaart |Nuas, the oldest member of the Hoanib Cultural Group, is about the Hoanib. It can be heard at the short film linked below.
Through our research, two things started to come into focus.
One was that elderly people often spoke of places in the wider landscape that were important to them, but for which very little was more widely known in terms of cultural heritage and values. These places tend not to be named on contemporary maps of the area, and histories of dwelling and use there had not been documented.
One of the threads of our research has thus been to create a record of some of these past places. In doing so we have come to understand the broader landscape as a cultural landscape, rather than only as a conservation landscape and wilderness area. Most of this cultural mapping research involved following peoples’ leads regarding places they wished to relocate, and then working with them to record information they recalled about these places.
The place Kai-as, where a permanent freshwater spring made sustenance in this arid landscape possible, was often mentioned in this research as an important past meeting place. People would congregate at Kai-as after the rains had started.
Kai-as was also a key place on routes between the localities of important food resources. For example, ǁUbun would move between !nara (Acanthosicyos horridus) melon patches in the !Uniab and Hoanib river mouths, via springs at Kai-as and Hûnkab (to the north-west of Kai-as). As Ruben Sanib described:
when ǁUbun and ǁKhao-a peoples met in the rain time at Kai-as, the ǁUbun would bring !nara and share with the others. The !nara has oil/fat inside. They would mix the !nara and the sâui (Stipagrostis spp. grass seeds) and bosûi (Monsonia spp. seeds) together – it was delicious food!
As we were doing this mapping research, a recurring theme was of how people remembered gathering to play music and dance together at former dwelling places. Ruben Sauneib Sanib and Sophia Obi |Awises thus recalled how people from different areas (!hūs) used to gather at Kai-as to play their healing dances called arudi and praise songs called |gaidi.
A |gais song, broadly speaking, is a song sung to praise something. |Gaidi are sung to celebrate things, people and events that are of value. As Jacobus ǁHoëb, leader of the Hoanib Cultural Group – known locally as the 'king of the |gais' – says in our film,
My grand-parents taught me to play the |gais. The springbok are playing. The zebra are playing, the gemsbok are playing. All the animals are playing when the rain falls. And the people say, ‘how can we make something to praise the animals?’
Arudi are sung more specifically to support individual and social healing, and especially to support the strength and insights of healers. In this cultural context, a name for a healer is |nanu-aos or |nanu-aob – meaning literally a woman or man who has been called by the rain (|nanus) and 'has the rain spirit'.
A large part of the second half of The Music Returns to Kai-as is an arus healing dance sequence. I first witnessed and recorded an arus in 1995. At the time I found the arus form to be very unfamiliar, and somewhat difficult to understand. Some of what is happening here has come clearer to me over the years, although I would not claim to have anything like a full emic (i.e. insider) understanding. For viewers for whom this form may be unfamiliar, please simply witness the sequence and allow the songs in, without trying to fully understand or explain.
The songs and practices here are part of a healing tradition that, whilst not static, is generations old. It is a healing technology and understanding of the causes of, and ways of resolving, dis-ease that comes from a time prior to peoples’ contact with allopathic medicine and that now exists alongside allopathic medicine. A concern often voiced in the present moment, especially by elderly ǂNūkhoe Sesfontein residents, is that young people are not being called to become arus healers.
Returning Music to Kai-as
Given the repeated mention of Kai-as in our mapping research, as well as of memories of playing |gaidi and arudi there, an idea started to bubble up amongst our mapping research team. This was to try and support the Hoanib Cultural Group to return to Kai-as to play their |gaidi and arudi.
Kai-as is now in an area to which access is restricted. Facilitating this event meant gaining support from a number of organisations in the area to permit the Hoanib Cultural Group to return to Kai-as. I would like to thank Save the Rhino Trust, the Namidaman Traditional Authority, the Sesfontein Conservancy and manager of Palmwag Lodge Mr Kapoi Kasoana, for enabling this heritage event.
In editing the footage from this 'Kai-as Festival' of May 2019, filmmaker Oliver Halsey and I tried to support what was shared with us as far as possible on its own terms. Obviously, we have intervened in all sorts of ways in the editing process, in part through adding subtitles in English that act as pointers towards what is happening for an external audience. What we have tried to avoid, though, is bringing an overly authoritative ‘master narrative’ to the material shared in the film, or to control the events filmed as they were taking place.
We are now working with our collaborators in Sesfontein on a series of edits from our remaining footage, all of which will be returned to the Hoanib Cultural Group and the Namidaman Traditional Authority as a record into the future of knowledges and histories shared with us.
In dialogue and solidarity with the Namidaman Traditional Authority and the Hoanib Cultural Group, a small Trust is also being established to support the Hoanib Cultural Group and their heritage practices into the future, to which we welcome contributions. For more information see https://www.futurepasts.net/future-pasts-trust
Reviews & responses
"It's really amazing and quite frankly it's also tearful for those that know and understand |gais and arus songs in detail... the sound quality and film quality is very excellent. Thanks for your commitment and time spent on developing the film of this quality. Kai-aios (Thank you)."
Fredrick ǁHawaxab, Namidaman Traditional Authority, Sesfontein, 7 December 2020.
"Invest 60 minutes.
In a couple of scenes, healers handle glowing coals to participate in access to the spirits: the whole film works on the same principle. It's a slow burn, but burn it absolutely does. And heal and move. My face was wet with tears half way.
These old bodies, dancing and stomping and stirring the soil and singing themselves home.
I was going to call the film a kind of gem but that's not quite right—it's a mud brick: baked in the desert, perfectly simple, humble, humane, crafted with nothing extraneous, but utterly sturdy & durable forever ... you could hang any single frame on your wall.
Haunting, mournful, devastatingly elegiac—yet also somehow affirming, inspiring and thoroughly joyous: it wallops you hard in the guts like a slow motion punch. Or a hummingbird-fast caress. I'd watch a second time right now but I'm not sure I could find my way out of the trance."
@mr_calvero 9 April 2021
Click on tweet below for full review & images ...
"I simply do not have the words to describe my appreciation properly."
"It is very moving, at once saddening and celebratory. And very beautifully and sensitively composed and shot. What a very significant event you managed to make happen. Respect…"
Katherine Homewood, Professor of Human Ecology, University College London
"My favorite quote from the film is 'Tobacco is smoked for the ancestors' pleasure.' As fine an expression of a down-to-earth, humanistic religion as I've heard.
I love the aerial shots of mountains and desert and of dry watercourses and their vegetation. I could watch hours of that stuff with no questions asked. In the case of a water-marginal people like those you are filming, it is absolutely eloquent as to the necessary activities of their daily lives. For me, the best thing in the entire film is the way it shows how rhythm, music, and dancing repeat improvisationally until all the rough edges--of personalities, of clothing, of hunger, of dry skin and missing teeth--are won away into smoothness, into a joyous whole made of all that is there and all who are present. I was particularly moved by the neon-orange skirt of one woman, filmed near sunset, I think, and how the light shining through it cast a glow that was picked up by other bits of orange, pink, and ochre in the scene and contrasted with some blues and turquoises and khakis and umbers that were there. I found it breathtaking!
Of course I am lucky to have some special sets of synapses born of longterm experience of similar music and dancing with the Ju|'hoansi. But the dfferences-- the generally slower pace of the songs, the ubiquitous drumming, the leather caps, and the appetitive mouthplay with burning coals--made it wonderful and NEW for me, too. ... As a whole, the way the film mostly shows, rather than tells, giving the viewer a simulacrum of being there without words, makes it very effective. I imagine that students will love this film and want to see it more than once, if they have a chance. Thank you for managing the project and being the driver!"
Megan Biesele, Director Emerita, Kalahari People’s Fund
Language note: many of the Khoekhoegowab words above include the symbols ǀ, ǁ, ! and ǂ, denoting consonants that sound like clicks and which characterise the languages of Khoe and San peoples who live(d) throughout southern Africa. The sounds these symbols indicate are as follows: ǀ = the ‘tutting’ sound made by bringing the tip of the tongue softly down from behind front teeth (dental click); ǁ = the clucking sound familiar in urging on a horse (lateral click); ! = a popping sound like mimicking the pulling of a cork from a wine bottle (alveolar click); ǂ = a sharp, explosive click made as the tongue is flattened and then pulled back from the palate (palatal click). Some ǂNūkhoe perfer the name ǂNūkhoegowab instead of Khoekhoegowab.
Sesfontein is also known in Khoekhoegowab as !Nani|aus (!Nani = six, |aus = spring) and ǂGabia-ǂgao (ǂGabia = confused, ǂgao = heart - so called because of the amazement one feels when encountering the many large springs of permanent fresh water in this semi-arid land), and Hamuheke in Otjiherero. Under German colonial rule, the settlement was called Zeßfontein.
Welhemina Suro Ganuses and I recently contributed a chapter to a national review of the circumstances of indigenous and marginalised people in Namibia, see Understanding Damara / ǂNūkhoen and ǁUbun indigeneity and marginalisation in Namibia, pp. 283-324 in Odendaal, W. and Werner, W. (eds.) ‘Neither Here Nor There’: Indigeneity, Marginalisation and Land Rights in Post-independence Namibia. Windhoek: Land, Environment and Development Project, Legal Assistance Centre, 2020. For more information regarding this work also see: https://www.futurepasts.net/post/future-pasts-scholarship-is-praised-by-damara-traditional-leader-in-namibia