20/07/2023
LISTENINGS in Johannesburg | Morena Leraba - Fela sa Ha Mojela (EP) VINYL Listening Session | STEVENSON Gallery — we’re still celebrating the release of our debut record “Fela sa Ha Mojela” — a 5 song EP released by The Good Times Co and Permanent Record — and we’re glad to announce Stevenson Gallery in Johannesburg will curate our vinyl listening session at their newly-launched space THE CLUBHOUSE Lounge [27.07] - 46 7 Avenue, Parktown North. For more information : www.stevenson.info | Fela sa Ha Mojela is available on Spotify (and other platforms) here : bit.ly/MorenaLeraba-EP-FSHM
“Meritlhoana is a second single off Morena Leraba’s 5-song debut EP “Fela sa Ha Mojela” — a story on spiritual and ancestral calling. In the song (narrative), our main character has a “calling” (ho thoasa in Sesotho) and the message is through a series of dreams and visions. He’s seeing ancestors in his bizzare dreams — death and lingering memories of grief haut him in his visions. In a paranormal state, he’s aware he needs to find answers but he’s confused as messages and occurrences are unclear and odd. Eventually, while all’s shrouded in confusion and uncertainty, he hears a voice: “this is a gift, and it is for you”, and all becomes meaningful afterwards." - The Good Times Co (2023)...
Inspiration behind the song was als seeing Buhlebezwe Siwane’s exhibition at Hiddings Campus in Cape Town (probably in 2015) and following up — in fact, through the works of many young contemporary South African artists, one realizes how apartheid (and Colonialism) has robbed the colonized of so much in present-day South Africa, including their spirituality. Colonial laws and churches demonized “Ubungoma” (or the practice of being a Sangoma) and healers, herbalists and many had to practice in secrecy. Africans’ connection to spiritualilty was classified as whichcraft and ungodly.
Therefore, our inspiration is derived from the same endeavour to “redress” using music and other forms — somehow, a bitter reality that we’re still recovering from a “colonial hangover” and there need be a constant reminder of where we come from before our history was interrupted.
“Ubungoma was also demonised. The Natal Code of Zulu Law (1891) dismantled the practice by suffocating it with rules of subjugation: healers, herbalists and midwives lived in constant fear. Ubungoma, then classified as witchcraft, was prohibited. In The Study of Literature on the Essence of Ubungoma and Conceptions of Gender among Izangoma, which appeared in the Journal for the Study of Religion, Winifred Ogana and Vivian Ojong write about how the Witchcraft Suppression Act of 1957 also “prohibit[ed] izangoma from practising their trade”. We are the heirs of these men and women who practised ubungoma.” - Nobhongo Gxolo, Mail & Guardian (2018).
Meritlhoana was produced, recorded and arranged by Steve Hogg (alias Vox Potent) in Linden, Johannesburg. Marimba and backing vocals by Thamsanqa Ngwenya. Percussions and Uhadi by Bronwen Clacherty. Bass by Molefi Makananise (founding member of BLK JKS). Lyrics written by Teboho Mochaoa (alias: Morena Leraba) and Thamsanqa Ngwenya. Mastered by Rogan Kelsey in London, UK. Photography by Lesedi Rudolph. Cover Design by Rouleaux van de Merwe...
