Determined to dedicate myself to writing after I retired from teaching in 2000, my first thought was to capture the history of Marabastad (The Asiatic Bazaar), the location in which I had lived as a child. I immediately set about interviewing people who had lived in the location. During my interviews with Sinthumbi Naidoo, he made me aware of his concern that Tamil religious practices were losing their meaning for Tamil South Africans and suggested that I work with his son, Ronnie, a poosari, to put together a manual that explained the meaning of the rites. That is what we did and A Little Book of Tamil Religious Rituals was published in October 2004. In between interviews for my book on Marabastad, I began recording my experiences as a teacher in Limpopo Province and day-to-day happenings, my friendships, my hijacking, a wedding in the family, among other things and compiled a book of short stories, Jail Birds and Others , which was published in December 2004. Soon afterwards, I completed Stories from the Asiatic Bazaar and it was published in 2007.
In 1994, South Africa became a democratic country but the racism into which we had been socialised did not disappear at the stroke of a pen and writers continue to reflect experiences gained through racial and cultural balkanisation. Consequently, varying racial, ethnic and cultural experiences, do not find affinity across the board. And publishers, concerned only with markets, are unwilling to takes risks with unknown writers. They told me time and again that there was no market for my work so I decided to go into publishing. I have published A Little Book of Tamil Religious Rituals, Stories from the Asiatic Bazaar, Monkey Business by my sister, Seetha Ray, and am working on a book of children’s plays by my brother Seeni Naidoo, a short story that he has written, more short stories, a novel and three novellas and children’s stories that I have written.
I spent the years 1977 to 1983, involved in Anti-SAIC and UDF campaigns, which inspired me to write a number of plays: We 3 Kings, a farce about ‘Indian’ elections, Ikhayalethu, about dispossession, Masks, the search for African identity. One of my revues, The Masterplan, a comic interpretation of separate development and the Tricameral Parliament, was banned in September 1983. My last play Flight from the Mahabarath, written sometime in the 1990s, is a feminist critique of the epic.
All my plays have now been published under the title WIP Theatre Plays. (WIP = Work-in-Progress)
Going through my papers, I discovered a number of articles written over the years so I revised them and put them all together with new articles. They include reflections on drama, reactions to apartheid, reflections on writing, my joy at discovering Milan Kundera and my attempt to understand the functions of religion and democracy in a society.
From Baba Bantu: In Defence of Comrade Mike Stainbank and his Family
Family of Afrikan Warriors!
Respect to Zeer Nehanda for setting a strong foot forward and kickstart the movement of this campaign. We remain angry, confident, ambitious, goal oriented, hard working and insane (in our opposition to what is rendered 'normal') and are glad to announce that the CAMPAIGN GROUP ON FACEBOOK has been launched.
After this, thereÂÂÂ will be an orientation by Bra' Mike Stainbank, his case and the campaign for justice.
AFRIKAN LUNCH Event Page:
Info: 074 690 4012
Revolutionary, in servitude of Blackness
Please take note of the following events for the weekend:
Friday @ 4pm Bra Mike Speaks at Wits Senate House- Contact sister Ayabulela for details: 0732814960
Saturday- Bra Mike Speaks@ Black House- Soweto- Contact brother Thabang for details:0737254238
Sunday- Bra Mike Speaks @ Ebukhosini- Jeppe town- Contact brother Siya for details:0746904012
This story concerns the Trademark: The Apartheid Museum™
I registered the trademark The Apartheid Museum™ in 1990 in Services: Class 41 – Education. (Fuller explanations around trademarks and trademark law appear throughout this story.) I had been developing the concept of my vision since about 1978. By 1990, with very limited resources, I had drawings of the vision and a great deal of written material on the concept, working and reworking thoughts around a great many elements that would make this vision work. About 1995/6 I was invited by the Free State Provincial Government to make a presentation on the Apartheid Museum. Continuing toward the attainment of the primary goal, I was speaking to a wide range of people in my efforts to get this project off the ground. I must fast forward to 1998, when I published my document outlining all that one could around the importance of a vision like this under the trademark The Apartheid Museum. After distributing the publication across the length and breadth of South Africa, I resumed discussions in the Free State, but this time with the Bloemfontein Transitional Local Council. Contact with Gold Reef City Casino, Solly Krok and their BEE persons came in 1999, by way of a request from a friend to help him in a pitch for the Gold Reef City Casinoadvertising account. This led to my meeting Solly Krok – who after perusing my publication asked me why I had chosen such a negative title for my project. GOLD REEF CITY CASINO at the time had been granted the Casino license and was operating from a temporary facility while building their permanent site and a structure they presented to the Gauteng Gambling Board as FREEDOM PARK.
Nothing came of the advertising pitch and to my absolute surprise in December 2001 I opened my Sunday newspaper to find a story about Gold Reef City Casino opening THE APARTHEID MUSEUM and not FREEDOM PARK. I sued for infringement and they in a counter action, in the name of a company called The South African Apartheid Museum at Freedom Park, applied to expunge my trademark. They succeeded in the Court of The Honourable Judge Southwood. That judgment sealed the matter for Judge Claasen when I made an Application for Leave to Appeal as it did when I petitioned the Chief Justice. After years of investigation and research I found stuff which I now refer to as the Krok/Salmon/Southwood Troika.
I took this and other information to the Constitutional Court too late it seems. On what I have unearthed over my 3 years of investigation around Gold Reef City Casino, Abe and Solly Krok, Richard Moloko, Bongani Biyela, the BEE stuff, the Honourable Judges Southwood and Claasen and court administration, we must revise the worn out cliché ‘we respect the decision of the courts’. My alternative is that: “we respect the decision of the courts where it seems to us that on the evidence, the conclusion reached was based on law and on the impartial assessment of the evidence before court.” Blind and uncritical respect just will not do. When on the facts, the actions, events and evidence that support a judgement appear wrong, inconsistent and suspicious; we must keep challenging until truth and justice prevails.
In pursuit of my original vision under the trademark The Apartheid Museum – this is my task. Read, if you will, all that I have put together and you too may understand why I believe that the Gauteng Gambling Board must exercise its obligations in terms of the Gambling Act and especially as it relates to the provisions of the Constitution of the Republic. Also, read all this and you too may understand why I believe that there exists – in the fullness of this matter; the symbiotic nature of things – a prima facie case of Perjury and/or Corruption and/or Fraud and/or Defeating the ends of justice.
Mike Stainbank – 2007
Founder: The Apartheid Museum™
For more please visit the following link: http://www.apartheidmuseum.org.za/quick-facts/
That Justice is a blind goddess
Is a thing to which we black are wise.
Her bandage hides two festering sores
That once perhaps were eyes
Langston Hughes (1902 – 1967)
From Mike Shirley and Family
Humbled and grateful, brothers and sisters.
A great moment when Mme Thabisile with Brothers Mabule, Thabang, Sibusiso, Rithili and Mduduzi brought Black Love to that courtroom on Tuesday 21 October 2014.
“This is not your fight” they said. “This is the fight of all Black people” they insisted.
I was deeply moved by the revolutionary spirit conveyed. It summed up what was captured by one reviewer of my book.ÂÂ ÂÂ
“. . . . the story about the Krok brothers amounted to less than a chapter, but was spread out across the telling of the story;
which is more about how white people have ripped off the black majority of this country, with the 'Kroks' and The Apartheid Museum amplifying the theme.
Rudi Nato da Mata
When they think it is overÂÂ . . . it has only just started.
Gratitude. Black Power!
Mike, Shirley and Family