Monday, November 17, 2008

CONSULTANCY SERVICES @ the WRITING STUDIO of Rosemary K





I am in the top 20% certified Technical and Creative writers at http://www.odesk.com/ I have successfully worked on over seven (7) publishing projects, the majority of which were all starting projects. I have a result-oriented approach, and pay great attention to detail. I have a record of delivering above and beyond the expectations of the projects I handle.

I am multi-talented, with training and demonstrable experience in the diverse genres of Media Management, Literature and Literary writing, editorials, copywriting/editing, and publishing/media projects. Having studied writing as a major component of my entire academic career, in addition to my own published works/other media, I am a good fit for projects looking for a combination of professional efficiency and creativity. I am professionally proficient in both the American and the British English language systems.



Professional Writing and Media Services
  • Professional Screenwriting (film scripts and story development)
  • Assessing/analyzing film scripts (coverage) for individuals and production companies
  • Film and cultural festival support: coordinating event personnel; leading meetings; media communications; organizing film shows; guest listings; ticket sales, and writing progress reports.
  • Film production assistance (PA and Script supervision)
  • Commissioned video production
Media and Corporate Communications
  • Editorial & copywriting services for books, magazines, newsletters, journals, essays, and research papers
  • Writing company profiles
  • Writing personal stories
  • Corporate communications
Conference Support

  • Conference/workshop administration
  • Report writing
Assistance for New/upcoming Writers
Are you a new writer seeking to publish your work? Are you planning to write a novel, poems, short stories, a play, or film script? Do you have a manuscript that requires professionally polished editing? I offer professional editing services to assist you develop your manuscript and publish your work to the world! Now you can take advantage of my personalized editing and coaching services on how to write a successfully crafted masterpiece that readers and audiences will love! Let's get your book on the shelf! Contact me NOW for your customized response.


Send your inquiries to rosemaryk@odesk.com

Sunday, November 16, 2008

SEEKING MOVIE PRODUCERS AND INVESTORS FOR FEATURE FILMS







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Photo 1: (left) Shooting Campus Tour Photot 2: (right) Campus Tour Crew
Campus Tour: 1st Directional Project of Rosemary K




1) Bride from the Mountains of the Moon (Drama,119 pages)
LOG LINE: A newly-widowed woman finds herself a target of tribal wrath, when she challenges a revered ancient custom of wife inheritance that the clan imposes on her. As a mother to a less treasured baby girl, she has to use her most ingenious skills to survive the sexual demands of her dead husband’s brother, who the clan charges with the responsibility of becoming a progenitor to a boy child, a much-needed family heir.

2) Bloodline South Sahara (Drama Inspired by historical events, 127 pages)
LOG LINE: At the height of aggression and tension from a neighboring kingdom, King Mutesa I of the ancient Ganda kingdom in Eastern Africa accepts foreign intervention from the Arabs and the British, both of whom are historically sworn rivals with merchant and imperial interests. After Christian missionaries arrive from England and France , the king dies abruptly, leaving an inexperienced homosexual prince to take charge of the vast turbulent monarchy. Will the young erratic prince command respect from newly-converted Christian subjects, and also quell the threat of annexation from the ancient rivals?

3) Tears of Jericho (Drama, 120 pages)
LOG LINE: Lozio, a pious young man seeking to understand God, gets enlisted as a Church warden team leader at an Old Catholic Parish. Complications arise, when he succumbs to temptation by sleeping with his boss’s daughter, whom she impregnates. Disillusioned by uncompromising church laws, his boss’s overbearing demands and unambiguously corrupt ways, Lozio rises up in arms as a rejuvenated seeker of justice.

NOTE: Full story treatments available to qualified agencies. All script material is WGA registered and copyrighted.

© Rosemary K., 2005-2008, All Rights Reserved.

Saturday, November 15, 2008

Zenji Talk Show

















The Zenji Show

Overview

This is an “Oprah-like” variety show for a major market niche of the middle class in the western world. It offers different sketches and interviews concerning the topics of health and well-being, culture, African kingdoms, cultures, and ways of life never before seen, careers, books and readings.

The host of The Zenji Show is a writer and producer of African ancestry from a Royal lineage, who brands the name of show after the great ancient Zenji Kingdom of Eastern Africa. She is a brand personality who embodies the qualities of strong-mindedness, empowerment, cultural enrichment, and intelligence.

Premises

The Zenji show brings the rich cultural history of African Kingdoms and treasures to the living rooms of the western world. Despite colonialism, slave trade and slavery, imperial conquests and dominance, African culture has continued to thrive into the 21st Century. The Zenji show brings the non-stereotypical imagery and rich authentic storytelling never before seen on the small screen of the western hemisphere!

To be Featured:

  • The Kings of Nubia
  • Ancient royal palaces
  • The Cradle of Civilization
  • Royal Life on the Spectacular River Nile
  • Tracking humanity's earliest habitat
  • British East Africa/South Africa
  • Cultural folklore
  • Tourist attractions/flora & fauna/rare species
    and much more...

Prospective media investors direct your inquiries to rosemaryk@odesk.com

Bloodline South Sahara Scene Excerpt



INT. ROYAL CHAMBERS-MUTESA'S BEDROOM-NIGHT

A wide room with a large wooden bed. The walls are decorated with leopard skins, spears, and human skulls. Namusisi sits on the furthest end of the bed. Mutesa courts her.

MUTESA
Come over here.

Silence. Namusisi turns and faces the wall.

MUTESA (CONT'D)
I don't bite.

NAMUSISI
I have a husband, sir.

MUTESA
You don't plan to play stupid, do you?

Silence. He points at the skulls on the wall.

MUTESA (CONT'D)
Look at those fools...if they were to come back to life, they would have told you the truth.

He grabs Namusisi by the neck, and forces her to face him. She breaks out, SOBBING.

MUTESA (CONT'D)
What did you and Mugwanya do each night, huh?
(Beat)
Have you never seen a man's thing?

More CRYING from Namusisi. Mutesa grabs her, and lays her on the bed. A fight ensues.

INT. PRIME MINISTER'S CHAMBERS-NIGHT

Prime Minister stands, drinking beer from a copper vessel. He reaches for a jar, and adds more to his vessel. He drinks hastily. GULPING sound. He SIGHS, and slumps onto a chair. There is a KNOCK on the door.

PRIME MINISTER
Who is there?

NGONDWE
Ngondwe, sir.

Door CREAKS open. Ngondwe enters.

PRIME MINISTER
You should be at the gate.

NGONDWE
Sir, there are strange men outside the gate. The guards have arrested them, but they need instructions on what to do with them.

PRIME MINISTER
These strange men...
(Beat)
What do they look like?

NGONDWE
They don't speak our tongue. And one of them has skin that looks like that of a newborn baby. He also has a strange object.

PRIME MINISTER
What object?

NGONDWE
A one-eyed monster, sir.

PRIME MINISTER
Ummh.

EXT. ROYAL COURTYARD--MOMENTS LATER

The guards are dragging Stanley and his men off, when Prime Minister and Ngondwe arrive.

PRIME MINISTER
Wait!

GUARD ONE
Sir, these are dangerous men!

GUARD TWO
We found them with this.

He retrieves a rifle from the luggage and hands it to Prime Minister.

NGONDWE
Sir, that's the one-eyed monster I told you about!

LAUGHTER from Prime Minister. He feels the butt of the rifle, and aims at Stanley. Stanley tries to lift his arms up.

STANLEY
Sir, please...don't kill me! I am a prince!

PRIME MINISTER
What kind of prince moves around armed, except if he is a bandit?

INT. ROYAL COURTYARD-NIGHT--MOMENTS LATER

The Palace Guards untie Stanley and his men. Prime Minister shoves Stanley and his group into a secluded corner, which houses a sentinel's wooden post.

PRIME MINISTER
Stay right there!
(Beat)
Until the king decides what to do with you.
(Beat)

He addresses the guards.

PRIME MINISTER (CONT'D)
Don't allow in any more wanderers.

GUARD ONE AND GUARD TWO
Yes, sir!

They salute him and move off.

EXT. ROYAL CHAMBERS-CORRIDOR-NIGHT

A sound of WAILING is heard. Servants litter the corridor, speaking in hushed tones. There is a CREAKING of door hinges. Mutesa pushes Namusisi into the corridor.

MUTESA
Mukasa!

MUKASA
Yes, my lord.

He prostrates to the ground.

MUTESA
A delivery for Mukajanga. No reprieve!

Mukasa hesitates.

MUTESA (CONT'D)
Okay?

MUKASA
Yes, my lord.

Door BANGS, as Mutesa disappears. Prime Minister arrives as door CLOSES. He looks at Namusisi. Servants gather around, looking scared. Namusisi SOBS intermittently. Prime Minister KNOCKS on the door. Door opens. He enters.

SERVANT ONE
Does the king mean his word?

MUKASA
You heard him.

Mukasa and the servants grab Namusisi.

NAMUSISI
Leave me alone!

She fights and kicks. They drag her out.

INT. MUKAJANGA'S HOUSE-NIGHT

A sparsely decorated house, with dull mud walls. A few skulls hang on the walls. MUKAJANGA, 50s, Chief Executioner, is a fierce looking man. He sits on a low stool, before a slow fire. He is roasting some meat on the fire, which he washes down with sips of beer from a gourd. He occasionally LAUGHS, while SLAPPING his legs. He is tipsy.

MUKAJANGA
Ha-ha-ha! Ha-ha-ha!

He looks up at the walls, staring at the skulls.

MUKAJANGA (CONT'D)
Don't gawk at me!
(Beat)
All fools who mess with the king must pay.

He grabs a burning wood splinter and pokes one of the skulls.

MUKAJANGA (CONT'D)
Look at your ugly teeth. Ha-ha-ha!

Loud KNOCK on the door.

MUKAJANGA (CONT'D)
Who is that?

MUKASA
Mukasa, sir!

MUKAJANGA
What do you want?

MUKASA
A message from the king, sir.

Door CREAKS open, and Mukasa enters. Mukajanga looks at him fiercely, while MUNCHING the last piece of meat.

MUKASA
There is work for you, sir.

Mukajanga LAUGHS hysterically. He dances around the house.

INT. ROYAL CHAMBERS-MUTESA'S BEDROOM-NIGHT

PRIME MINISTER
My lord, I did not mean to come in here tonight, but then I had an important message.
(Beat)
The night brought in some strangers. Odd-looking men talking a different language.

MUTESA
If commoners no longer know their place, who cares about stray dogs that may look like men?

PRIME MINISTER
I saw Namusisi outside your door. I am sorry, sir.

Silence.

PRIME MINISTER (CONT'D)
Do you want me to take her for the queen mother's instruction?

MUTESA
My generosity is spurned. Do I have a choice?

PRIME MINISTER
So, she can start her lessons on royal etiquette in the morning?

Mutesa BANGS the panel of his bed.

PRIME MINISTER (CONT'D)
My lord, a commoner's wife can be molded into royalty...if given chance.

Mutesa SHOUTS.

MUTESA
Nobody spites the lion king! She must die!

PRIME MINISTER
You were offering her husband an army post.

MUTESA
I have no posts for fools, or time for female subjects who don't know their place!

PRIME MINISTER
My lord, your will shall be done.

He gets up.

MUTESA
Wait!
(Beat)
I want her head in here...

He points to the skulls on the wall.

MUTESA (CONT'D)
...with the rest of the fools.

Prime Minister bows, then leaves.

INT. PRIME MINISTER'S CHAMBERS-NIGHT

A KNOCK on the door. Princess NALUMANSI, 19, comes in. Two FEMALE SERVANTS accompany her.

PRIME MINISTER
Princess! What brings you here at such an odd hour?

Princess Nalumansi turns to her servants.

PRINCESS NALUMANSI
Leave us alone.

The Female Servants leave.

PRINCESS NALUMANSI
I heard the news.

PRIME MINISTER
What news? The palace is full of strange things these days.

PRINCESS NALUMANSI
Namusisi.

PRIME MINISTER
It's too late.

PRINCESS NALUMANSI
She is dead?

PRIME MINISTER
Your father has sanctioned her death. No reprieve.

Princess Nalumansi moves closer to Prime Minister.

PRINCESS NALUMANSI
She is innocent.

PRIME MINISTER
Disobedience is taboo for your father. It would have been different, had her husband consented to the king's proposals.

PRINCESS NALUMANSI
Is he to die as well?

PRIME MINISTER
He is in Mabusu, enjoying the cold floor. He has a slight chance. A minute chance of survival, if he could be humble.

PRINCESS NALUMANSI
What kind of humility deserves a human sacrifice?

Prime Minister moves further off, into a corner.

PRIME MINISTER (CONT'D)
Governance, security, honor. Those are a complex matters for a princess.

PRINCESS NALUMANSI
This isn't about me. People are going to die!

PRIME MINISTER
If you had been a boy, your father would be proud. But unfortunately, critical matters of the monarchy require a man's mind.
(Beat)
And a man's decisions.

Princess Nalumansi glares at Prime Minister. She opens the door swiftly, then moves out. BANG! Door closes.

INT. PRINCE MWANGA'S CHAMBERS-NIGHT

Princess Nalumansi stands looking at Prince Mwanga, who lies in his hammock. He fondles his private parts, and swings from side to side.

PRINCESS NALUMANSI
Look at you!

Mwanga jolts, but keeps lying in the hammock.

PRINCE MWANGA
What do you want?

Princess Nalumansi moves closer to Prince Mwanga, and tugs at his arm.

PRINCESS NALUMANSI
Join me. Someone's life is in danger.

Prince Mwanga sits up.

PRINCE MWANGA
Has Bunyoro kingdom attacked? How come we don't hear war drums?

PRINCESS NALUMANSI
A Munyoro man's life is in danger. His wife is to die!

Prince Mwanga YAWNS.

PRINCE MWANGA
Who cares? Captured Banyoro are our subjects. They must pay, if they err.

He lies back in the hammock. Princess Nalumansi shakes him vigorously.

PRINCESS NALUMANSI
Don't be heartless! You could be the next king!

PRINCE MWANGA
A king does as tradition expects.

PRINCESS NALUMANSI
Killing people and taking their women?

PRINCE MWANGA
I don't need women. But I don't mind expanding my father's kingdom...when time comes.

PRINCESS NALUMANSI
You wreck! I am ashamed of you!

She SLAPS Mwanga, then opens the door. Door BANGS.

EXT. MABUSU PRISON CELL-MOMENTS LATER

Princess Nalumansi talks to the Prison Guards

PRINCESS NALUMANSI
I want to see Mugwanya.

PRISON GUARD ONE
He is in seclusion. Nobody sees him.

PRINCESS NALUMANSI
I have to see him.

PRISON GUARD TWO
Try tomorrow.

PRINCESS NALUMANSI
You let me see Mugwanya, or I accuse you of treachery. First thing in the morning.

GUARD ONE
Who sent you after us?

PRINCESS NALUMANSI
My father. He wants Mugwanya as army chief.

The Prison Guards look at each other.

GUARD ONE
Okay. But if you faint while inside, don't invoke your father's wrath on us.

Guard One unhinges the prison gate. Door CREAKS open, and Nalumansi enters.

INT. MABUSU PRISON CELL-MUGWANYA'S ROOM-CONTINUOUS

Mugwanya lies on the floor, partly covered with a tattered blanket. His face looks pale, with sunken eyes. He weeps silently. SHUFFLING sound is heard. Mugwanya SCREAMS.

PRINCESS NALUMANSI
Peace, Mugwanya.

MUGWANYA
Who are you?

PRINCESS NALUMANSI
Nalumansi. The king's daughter.

Mugwanya SCREAMS more.

MUGWANYA
I know who you are! You won't kill me, or touch my wife!

Princess Nalumansi moves closer. She touches Mugwanya on the cheek. Mugwanya jolts.

MUGWANYA (CONT'D)
Don't touch me!

PRINCESS NALUMANSI
I came to save you.

MUGWANYA
I can't be your father's subject!

PRINCESS NALUMANSI
He doesn't know I am here.

Mugwanya sits up. He looks at Princess Nalumansi closely.

PRINCESS NALUMANSI
Your wife will die, unless you accept.

MUGWANYA
I am a loyal subject of Omukama Kabalega. I am not a Muganda.

PRINCESS NALUMANSI
You need to change...
(Beat)

PRINCESS NALUMANSI (CONT'D)
...pretend loyalty to the king, and your wife shall live.

MUGWANYA
Then die each night as he sleeps with her?

PRINCESS NALUMANSI
It won't be long before he loses interest in her. He will get other women. Then you will have her back. In stealth.

MUGWANYA
Despicable coward! He won't disgrace my manhood! I won't feed my wife to his lust!

PRINCESS NALUMANSI
Think about what I said. You can even see the king tonight, when he is still thinking about you. After tonight, I can't guarantee your wife will live.

MUGWANYA
Leave me alone!

He turns to the wall and starts CRYING. The scene with Mutesa plays out in his mind.

MUTESA
Ohm. I would expect a field commander to have more sense than that!

MUGWANYA
We don't belong here!

MUTESA
You ran out of luck, and obviously no longer a favorite of the despicable Kabalega.

Chains appear and grip Mugwanya's hands. He SCREAMS.

EXT. EXECUTION FIELD-NIGHT

Mukajanga and SENKORE, 20s, the assistant executioner, tie Namusisi on the pole. She WAILS. Two other EXECUTIONERS stand ready, with sharp arrows poised. A few servants watch the scene from a distance. Ngondwe is among them.

NAMUSISI
Woo-wee! Please spare me...

Mukajanga LAUGHS hysterically.

MUKAJANGA
What kind of fool rejects royal manhood?

More LAUGHTER from the men. Mukajanga SHOUTS an order. SWOOSH! The arrows pierce Namusisi. Blood gushes out of her body.

EXT. EXECUTION FIELD-MOMENTS LATER

The Executioners are wrapping Namusisi's bloody body in sackcloth, when Prime Minister arrives.

PRIME MINISTER
Wait!

MUKAJANGA
Too late, sir.

PRIME MINISTER
Hammer legs wants a part of her.

MUKAJANGA
Is my lord the king alright? Everything is dead!

Mukajanga unwraps the sackcloth from the body. A bloody sight.

PRIME MINISTER
The lion of Buganda wants her head. Don't test his majesty's patience.

MUKAJANGA
Sir, my men and I know the rules.
(Screenplay continues...)
Adapted from Bloodline South Sahara (Feature film Drama Inspired by historical events, 127 pages)
© Rosemary K., 2005-2008, All Rights Reserved.















Bride from the Mountains of the Moon Scene Excerpt 1



EXT. GRAVEYARD-DAY

Boona sits near Bangi's grave. She WEEPS. She picks some grass from the grave and rolls it into a circle.

INT. KATIMA'S HOUSE-NIGHT

A small mud and wattle house. The clods of earth in the wall show signs of crumbling. Katima and Boona drink thick millet porridge from red plastic mugs.

BOONA
You have to help me, Katima. The clansmen say I have to be inherited. They are forcing me to marry Rutaro, as his second wife.

KATIMA
First they accuse you of witchcraft, now they want you to marry your brother-in-law?

BOONA
They claim it is for the sake of a son.

KATIMA
But what can an old widow like me do about clan decisions? I was lucky that when I faced the same problem, my supposed groom drowned. If I had the powers, I would help you make Rutaro drown.

Boona starts to CRY.

KATIMA
Don't worry. We can work something out.

INT. BOONA'S BEDROOM-NIGHT

Boona lies in her bed. A hurricane lamp casts long shadows on the wall. She turns and tosses restlessly. A baby's CRIES can be heard from outside. Boona rises, and lowers the wick of the hurricane lamp. She leaves the room.

INT. KIRIGIME'S BEDROOM-NIGHT

Kirigime is soothing Karungi, who kicks her legs about.

KIRIGIME
Shut your small mouth. Your mother must get used to being without you. Besides, you may as well grow up motherless.

CUT TO:

INT. BOONA'S BEDROOM-NIGHT

Rutaro peeps through the door. He looks at Boona's bed, it is empty bed. He enters the room, and closes the door.

CUT TO:

EXT. KIRIGIME'S HOUSE-CONTINUOUS

Boona leans against the bedroom entrance door, tears sliding down her cheeks. Karungi's CRYING can be heard from inside. Boona opens the door slowly, and sees Kirigime. She sings, while rocking Karungi back and forth. Boona slowly retreats.

INT. BOONA'S BEDROOM-NIGHT

Darkness. Boona enters the room. As she bends towards the bed, a hand reaches out and touches her back. She jumps up, SCREAMING.

RUTARO
Shush!

BOONA
What are you doing here?

RUTARO
(whispers)
You know you are soon to be my bride.
It's okay if we do it now.

Boona lights the lamp.

BOONA
Get out of here!

RUTARO
I am your new husband! It's just the cultural marriage ceremony that remains.

BOONA
I said get out!

RUTARO
Don't you want to feel a man's warmth?

Silence.

RUTARO
Come on, when did you last taste a man's thing? You must be starving.

Rutaro reaches out and touches Boona's breasts. She HITS his hands with a fist.

BOONA
Leave me alone!

Rutaro holds her by the shoulders, and pulls her face closer to his.

RUTARO
You are now my woman!

BOONA
I am not your wife!

RUTARO
My family paid your bride price. I have a right to inherit you as my second wife...

BOONA
I am not a goat!

Rutaro grabs Boona's blouse. RIPPING sound, as his hands tear into it.

RUTARO
Stubborn cow! Who do you think you are?

He forcefully pushes her onto the bed, and begins to undo his trousers. Boona SCREAMS.

CUT TO:

INT. KIRIGIME'S HOUSE-NIGHT

Kirigime swings baby Karungi by the arms. She pushes a feeding cup into the baby's mouth. Sound of CHOKING and COUGHING, as Karungi vomits out the milk.

KIRIGIME
Are you possessed?

CUT TO:

INT. BOONA'S BEDROOM-NIGHT

A fight. Rutaro holds Boona's left arm behind her head, while trying to get on top of her.

RUTARO
No woman ever refuses me!

BOONA
Leave me alone!

Boona claws at Rutaro. She bites his fingers, and uses her free right hand to HIT his back. She pushes her hand into his trousers and grabs his manhood. She wrings it vigorously.

RUTARO
Woman, you're killing me! Oh, oh! Help!

Boona increases her grip. She overturns him, pushes him onto the bed, and POUNDS his face with fists. He raises his palm to her face, and Boona bites his fingers. She shoves him off the bed and throws him into the corner. She opens the door and runs out. BANG! Door closes.

EXT. BOONA'S BEDROOM-CONTINUOUS

Boona leans against the wall, HEAVING loudly.

INT. BOONA'S BEDROOM-MOMENTS LATER

Rutaro lies in the corner of the room, writhing. He clutches his trouser front. His fingers are blood-stained. The door opens.

Kirigime stands in the doorway. Karungi is strapped to her back, asleep.

KIRIGIME
I heard someone screaming.

Silence.

KIRIGIME
What's going on here?

RUTARO
Mother, that woman is a killer!

KIRIGIME
(alarmed)
Did she poison you? Oh, my son is poisoned!

She makes an ALARM, and rushes out.

INT. KATIMA'S HOUSE-NIGHT

A small fire burns in the hearth in one corner of the room. A small black pot is placed on the hearth. Katima lifts the pot, and pours steaming millet porridge in two plastic mugs. She gives one cup to Boona, and sips from the second one.

KATIMA
You wrung his manhood? That is taboo.

BOONA
He wanted to rape me!

KATIMA
Why didn't you scream?

BOONA
I screamed myself hoarse. Nobody came to my rescue. It looks like it was planned.

KATIMA
How do you know?

BOONA
My mother-in-law stole my baby from me.

KATIMA
Isn't your baby still suckling?

BOONA
Yes, she is. But my mother-in-law would not listen.
(Beat)
She wanted Rutaro to find me alone.

KATIMA
As long as you still occupy their son's house, you have no option.

BOONA
Katima, I thought you were my friend!

KATIMA
(whispering)
Many women may not say it openly, but most of them are raped by their husbands... every night.

BOONA
Rutaro is not my husband. I don't want him to be my husband!

Boona puts down her cup, and makes for the exit. Katima rushes past her and BOLTS the door. She looks at Boona, and tears well in her face. She holds Boona's hands for a while.

KATIMA
You don't have to throw yourself into the lion's den.
(Beat)
We shall see Kamooshe. For advice.

Boona SOBS. Tears slide down her cheeks.

EXT. VILLAGE PATH-NIGHT

Boona and Katima walk along a winding path. Boona's foot gets lodged into a creeper. She falls. As Katima helps her to get up, a rat crosses the path.

BOONA
A bad omen.

KATIMA
A rat is for good luck. If it were an owl, we would just turn back.

INT. PRIESTESS' SHRINE-NIGHT

A dim fire burns inside a mud and wattle hut. KAMOOSHE, 65, is the Priestess of goddess Nyabingi. She uses a wooden stick to stir brown water in a brown pot. Boona and Katima squat on their legs, craning their necks to look inside the pot.

KAMOOSHE
Wait...
(Beat)
Close your eyes.

Kamooshe raises her arms over Boona, and CHANTS: Rukiga (Bantu language) subtitles.

KAMOOSHE
Adorable Nyabingi! Goddess of wealth and prosperity! Sprinkle some of your luck on Boona, so that she gets what she seeks... Nyabingi, giver of wealth and wisdom, I beseech you!

She opens an old goatskin bag, and retrieves three cowry shells. She raises them in her right fist.

KAMOOSHE (CONT'D)
This is Bangi...

She drops the first cowry shell into the pot.

KAMOOSHE (CONT'D)
This is you...

She drops the second cowry shell into the pot.

KAMOOSHE (CONT'D)
This is Rutaro.

She drops the third cowry shell. Small bubbles appear in the pot. Kamooshe stirs the mixture. A wisp of smoke from the dim fire assails her, and she COUGHS. She waves her left hand about. The smoke shifts to Boona and Katima. They COUGH. Their eyes water. Kamooshe peers into the pot.

KAMOOSHE (CONT'D)
There he is, chasing you like a leopard.

BOONA
Who is chasing me?

KAMOOSHE
He doesn't understand this marriage.

BOONA
Mother of wisdom, who?

KAMOOSHE
Wait!

She stirs the contents of the pot. There is a RATTLING noise. One cowry shell jumps out of the pot, and falls in front of Boona. Kamooshe points at the cowry shell.

KAMOOSHE (CONT'D)
There he is. I can feel his presence...
(Beat)
...what a frightening look he has! His face is frozen like the peak at the Mountains of the Moon...your homeland.

Kamooshe shivers. She makes loud BELCHING sounds, and her eyes open wider. She stirs the contents of the pot.

KAMOOSHE (CONT'D)
He is very annoyed. He doesn't want the marriage!

BOONA
Mother of wisdom, who is that?

Kamooshe throws the cowry shell back into the pot. She picks a flickering cinder and extinguishes it inside the pot.

KAMOOSHE (CONT'D)
Your dead husband!

INT. KATIMA'S HOUSE-NIGHT

Boona stands in the middle of the room. She SOBS intermittently.

KATIMA
What's the matter with you?

BOONA
I want to go home.

KATIMA
This late? Are you insane?

BOONA
The rat was bad luck!

Katima moves closer to Boona, and hugs her.

KATIMA
Stop worrying yourself over the rat.
Kamooshe said it was your dead husband... but he wouldn't hurt you, would he?

Boona turns and faces the door. She tries the bolt.

KATIMA
Please...it's not safe.

BOONA
I need to see my child.

KATIMA
Indeed, you may never see her again, if you insist.

INT. KATIMA'S BEDROOM-MOMENTS LATER

Katima spreads two mats on a reed bed. She adds a feather mattress, and one old brown bed sheet. She enters the bed, and Boona lies next to her. Her fight with Rutaro plays out in her mind.

RUTARO
No woman ever refuses me!

BOONA
Leave me alone!

INT. KIRIGIME'S HOUSE-MORNING

Rutaro lies on a mat. He is covered with a blanket. Kirigime sits on a mat next to him, mixing herbs in a small basin. She pours hot water from a large black kettle, into the small basin. Karungi is strapped to her back.

KIRIGIME
I hope this is the last time she attempts such a mad stint. Unless of course, she wants to join my son under the ground.

Kirigime removes the blanket from Rutaro. She touches his trouser front. Rutaro writhes.

KIRIGIME
Be still. I've got to dress your wound.

RUTARO
Mother, do you think you should really be doing this?

KIRIGIME
You are my son.

RUTARO
Let Nkabona do it.

KIRIGIME
Oh, do you think your wife will be happy that you got a manhood accident from another woman?

Kirigime unzips Rutaro's trouser front. She picks a handful of herbs from the small basin, and rolls them into a ball. She presses Rutaro's groin. He grimaces.

RUTARO
Please, mother, call my wife!

KIRIGIME
So you'd rather she knows about that rabid bitch?

(screenplay continues...)


Adapted from Bride from the Mountains of the Moon (Feature film Drama,119 pages)


© Rosemary K., 2005-2008, All Rights Reserved.

Bride from the Mountains of the Moon Scene Excerpt 2



INT. RUNUMI'S SHRINE-NIGHT

KIRIGIME
The bride escaped. We fear for the worst.

RUTARO
We searched the entire neighborhood. Not a sign.

Runumi puts a black pot over the fire. He pours some herbs in the pot, and stirs. The herbs blacken inside the pot, and wisps of smoke spiral out of it. He CHANTS. Rukiga (Bantu Language) subtitles.

RUNUMI
The dead never resurrect! But when an angry spirit stalks the living, that is total disaster!
(Beat)
Propitiation!

KIRIGIME
Is she possessed?

RUTARO
Whose spirit?

RUNUMI
Her dead husband's spirit!

KIRIGIME
Bangi's spirit was propitiated.
(Beat)

KIRIGIME (CONT'D)
We are upholding the clan's decision that Rutaro marries her for an heir.

RUNUMI
A woman must not contradict me!

KIRIGIME
I am sorry.

RUNUMI
And let me ask you something? Did she steal some of your belongings?

KIRIGIME
No.

RUNUMI
Did she destroy anything in the house?

KIRIGIME
No.

RUTARO
Yes.

Kirigime looks at Rutaro with questioning eyes.

RUTARO
My dead brother's regalia. She cast it into the bush. Now rats play on its place in the room.

RUNUMI
That's it. Your bride-to-be is possessed!

KIRIGIME
But we did not see her getting seizures, like the possessed do. She never even spoke in tongues.

RUNUMI
How do you explain the disappearance of a woman who knows she is betrothed?

Silence.

RUNUMI (CONT'D)
Can't you see? Her dead husband wants her back. She must be married to his spirit.

DISSOLVE TO:

INT. PRIESTESS' SHRINE-NIGHT

A dim fire burns inside the shrine. Kamooshe's speaks to Boona and Katima.

KATIMA
They are searching for her. I fear they may discover her at my place.

KAMOOSHE
What are you waiting for? Do you want the clan to unleash their wrath on you?

BOONA
What can we do, mother?

Kamooshe throws three cowry shells in a gourd, then RATTLES it. She tilts gourd, and pours the cowry shells on the floor. One of the cowry shells is broken.

KAMOOSHE
See this?
(Beat)

KAMOOSHE (CONT'D)
Go back to your husband's clan.

BOONA
But I will be giving them chance to force me into marriage with Rutaro. I don't even know how long he has to live. His wife died of AIDS.

KAMOOSHE
What do you mean?

Silence.

KAMOOSHE (CONT'D)
Stop hallucinating, and look at this.

She points at the broken cowry shell.

KAMOOSHE (CONT'D)
That planned marriage will never take place.

EXT. FOOT TRACK-DAWN

A winding foot track, overgrown with creepers. Katima walks down the foot track. She wears a red head scarf, and carries a plastic can in her right hand. She suddenly halts, as she sees Kiragi pushing the pump at the bore hole. She walks slowly towards the bore hole.

EXT. BORE HOLE-CONTINUOUS

Katima stands above the pavement of the bore hole. She softly TAPS her can with her fingers. Kiragi puts his fingers into the slow trickle of the water. He shakes his can impatiently. Katima COUGHS. Kiragi turns his face to the pavement, and faces Katima.

KIRAGI
A poor trickle. Like a woman with gonorrhea!

KATIMA
How do you know?

KIRAGI
Experience.

He lifts his can from the bore hole pipe, then looks at Katima for a few seconds.

KIRAGI (CONT'D)
You look nice with that head scarf.

KATIMA
I know where nice things are sold.

Silence, then Kiragi speaks naughtily.

KIRAGI
I would like one for myself.

He raises the can to his left shoulder, and moves away. Katima stares at him until he is out of view. She fixes her can under the bore hole pipe. She pumps water into it.

EXT. KATIMA'S HOUSE-DAY

Kiragi walks along the path near Katima's house. He stops in his tracks. For a few seconds, he stares at a child's clothes spread on the hedges, then walks away.

EXT. COMPOUND-DAY

Magume and Kiragi move towards the reed hut, while arguing.

KIRAGI
I know where Boona hides.

MAGUME
An old man's lie.

KIRAGI
You have to believe me.

MAGUME
Where is she?

INT. REED HUT-CONTINUOUS

Rutaro and Kirigime stand in the center of the reed hut. Rutaro paces up and down. Kirigime looks at him for a few seconds.

KIRIGIME
Hunting the trickster needs more patience, son.

Kirigime sits down. Magume and Kiragi enter. Two clansmen follow. They sit on stools.

MAGUME
He claims he saw Boona.

KIRAGI
I saw her red head scarf.

RUTARO
A head scarf isn't a woman!

Rutaro STAMPS his foot.

KIRAGI
I have all the details.

Rutaro reluctantly sits down.

KIRAGI (CONT'D)
I saw Katima.
(Beat)
She wore Boona's head scarf.

RUTARO
Your story doesn't make sense!

KIRAGI
Can't you see the connection?

KIRIGIME
You shouldn't waste our time.

She stands up.

RUTARO
Old men should act their age.

Rutaro gets up.

RUTARO (CONT'D)
Next time don't call us because you saw your cow with a tail.

All people stand up. They move towards the door.

KIRAGI
There is more...

CUT TO:

INT. KATIMA'S HOUSE-CONTINUOUS

Katima and Boona have a meal. Boona alternates between eating and feeding Karungi. Karungi inserts her fingers into her mouth, playing with the food.

KATIMA
I met Kiragi at the bore hole.

BOONA
He sometimes fetches water himself. He's hardworking.

KATIMA
He commented on my head scarf...your head scarf.

She removes the head scarf from her head, and hands it to Boona.

BOONA
What did he say?

KATIMA
That he wanted a head scarf like that, for himself.

Boona ties the head scarf around her head.

BOONA
Kiragi likes cracking silly jokes.

KATIMA
I think it's more than that. His voice had an edge of mockery.

Karungi CHOKES on the food. Boona TAPS her back.

BOONA
Greedy child!

BACK TO:

EXT. REED HUT-DAY

KIRAGI
Since you don't believe my head scarf story, tell me how you explain an old woman's pregnancy.

KIRIGIME
Oh, please. Spare us your sick jokes!

RUTARO
We don't care, if your old wife is pregnant.

KIRAGI
Do you think Katima is pregnant?

MAGUME
That's enough!

Magume walks towards the door.

KIRAGI
Katima is harboring Boona and her baby.
(Beat)
I saw a baby's clothes drying in her compound!

Kirigime HISSES.

KIRAGI (CONT'D)
The red head scarf, and an old widow with a baby's clothes. Do you call that a hard riddle?

KIRIGIME
Dirty witches!

She GRINDS her teeth.

RUTARO
I'll go for her right away.

Rutaro moves towards the door.

MAGUME
Wait. The fox never lost its cunning, so good hunters need wise tactics. Let's meet again this the evening.

EXT. COMPOUND-NIGHT

Magume, Kiragi, and one CLANSMAN move about in the compound, with reed torches. Kiragi holds two spears. Rutaro runs towards them holding two clubs and two ropes.

RUTARO
Ready for the hunt?

The men walk out of the compound with loud FOOTFALLS.

INT. KATIMA'S BEDROOM-NIGHT

Boona lies on an improvised bed on the floor. She nurses Karungi, who is slowly catching sleep. Katima sleeps on a feather mattress, placed on a reed bed. She partly covers herself with an old blanket.

Boona closes her eyes. She sees Rutaro, Kirigime, and the clansmen chasing her. She sits up suddenly, and lights a tin candle. Katima stirs.

KATIMA
It's bad to stay up.

Silence.

KATIMA
What's eating you up?

BOONA
Each time I close my eyes, it's them I see.

KATIMA
Who?

BOONA
The clansmen. My mother-in-law, Rutaro... the whole damn lot.

KATIMA
Take a rest.

KNOCK on the door.

BOONA
(whispers)
Do you hear that?

KATIMA
Hush!

SHUFFLING noise from outside.

KATIMA (CONT'D)
(whispers)
Could be a night prowler looking for easy break-ins.

Silence. More SHUFFLING noise outside. Katima gets up. She presses her ear to the wall. VOICES invade the scene. Boona blows out the tin candle.

KATIMA (CONT'D)
(whispers)
Familiar voices.

BOONA
(whispers)
What?

KATIMA
Get under the bed. Quick!

BOONA
(whispers)
What about the baby?

Katima grabs Karungi, who immediately starts to CRY. Katima stuffs a piece of cloth into the baby's mouth. Boona crawls under the bed. Katima pushes the baby after her. She pulls her blanket, and covers the lower sides of the bed. MUFFLED sound come from under the bed. More loud KNOCKING on the door.

MAGUME (O.S)
We know you are in. Open the door!

KATIMA
Why disturb a frail old widow in the middle of the night?

MAGUME (O.S)
A widow must know her limits!

BANGING on the door. Door CRASHES in. The invaders rush into the house. Katima stands in the middle of the room, arms folded across her chest. She looks at the invaders, then at her broken door. She WAILS.

RUTARO
Where is Boona?

KATIMA
(sobs)
You have no right to invade my house!

MAGUME
Search the house.

They start throwing things about. Katima fights them.

KATIMA
Leave me alone!

MAGUME
Kiragi, pass that rope.

Kiragi throws Magume a long rope. Magume signals to Rutaro with his finger. They tie Katima up.

KATIMA
(crying)
She's not here, you miserable wolves.

Kiragi retrieves a red head scarf from the bedclothes.

KIRAGI
See? Riddle one solved.

He hands the head scarf to Magume, and then pulls the bedclothes from under the bed. Boona and Karungi are revealed.

KIRAGI (CONT'D)
Look, riddle two is here!

The men pull Boona out. She resists. She bites. Commotion.

KIRAGI (CONT'D)
Ouch! My fingers are gone!

Kiragi withdraws, shaking bloody fingers.

RUTARO
Rabid dog!

Magume and the Clansman use a rope to tie Boona's hands behind her back.

Rutaro pulls Karungi from under the bed. The baby kicks about, with the gag in her mouth. Kiragi removes it.

RUTARO
She can't wait to exterminate my entire clan!

Magume hurriedly gathers the clothes in sight, and ties them into a shabby bundle.

KATIMA
Stop it, mad robbers!

Magume goes to Katima and shoves her. A THUD, as she slumps onto the floor. The men shove Boona out of the room.

EXT. VILLAGE PATH-NIGHT

The invaders trudge along the village path, with Boona as their captive. Kiragi carries a badly tied luggage, which gets soiled from his bleeding fingers. Rutaro walks behind the group, carrying baby Karungi. The baby CRIES intermittently.




(screenplay continues...)

Adapted from Bride from the Mountains of the Moon (Feature film Drama,119 pages)

© Rosemary K., 2005-2008, All Rights Reserved.



WRITING FROM PRESIDENT NELSON MANDELA'S HOME!






Top left: Beautiful Table Mountain Shape
Top right: Rosemary K, inside Nelson Mandela's prison cell (2000)
Bottom: Nelson Mandela statue, Victoria & Alfred Waterfront

By Rosemary K


In 2000, I had the opportunity to visit the University of Cape Town, South Africa, as a Visiting Academic Associate of the African Gender Institute. I was among the top four women selected to attend the Associateship, and to write projects that would enhance the understanding of gender issues and social transformation on the African continent.

To me, visiting Cape Town was both an opportunity and a privilege. Although I had incorporated the gender advocacy agenda in my general social and academic pursuits, it was kind of a rare occurrence for one’s contributions to be acknowledged that soon. It was barely three years after my graduation from Makerere University with a Bachelor’s degree in Social Sciences, yet I perceived myself as a critical contributor to the global women’s agenda. Thus, when the offer from the African Gender Institute at University of Cape Town came, I did not waste any time thinking about the cons of going to write from Nelson Mandela’s home. In fact, I was already picturing Cape Town seascapes as important intellectual stimulators in the creative process. My imagination was not in vain, for in May 2000, I landed in the Cape, and embarked on the process of writing The Final Push, a gender-based drama. From my work station at the Center for African Studies, I had a wide view of the spectacular Table Mountain, the dark clouds on a rainy day, and the mist that was always a characteristic of that exquisite mountain top.

Staying in Cape Town was a busy time for me. I was at the height of my creative writing journey. I was concurrently working on producing Songs of the Third Life, in time for the Annual International Zimbabwe Book Fair in Harare, and at the same time, finding space to concentrate on my project, visit other writers, attend workshops, and discuss social issues.

I was hoping to get a chance to meet President Nelson Mandela in person, but I guess my expectations were too high. I did visit Robben Island, now a museum, his place of incarceration for close to 27 years. It was a devastating yet spiritually enriching experience of a lifetime. Sitting behind bars in his very room, touching his old blanket, and visiting the lime quarry where he spent his day time laboring, was a very humbling experience for me. To imagine selflessness and fortitude of such magnitude as Nelson Mandela’s was truly subliminal. I have never forgotten the tour the museum guide gave us, and his first hand narration of the inmates’ harrowing experiences at Robben Island. The guide, who was an ex-prisoner of Robben Island himself, talked about the segregated racial system, which was also enforced behind bars. White prisoners had the most privileged status, followed by Asians and biracial prisoners, with black people at the bottom. The white prisoners were permitted to drink coffee with milk and sugar, and to eat meat and eggs for their meals, while the black prisoners could take only coffee without milk or sugar.

Although apartheid was officially banned with Nelson Mandela’s election to the presidency in 1994, the economic and social divide between white and black are still obvious in South Africa. I will not dwell on that, as that in itself is another story, but all I can say is that I cannot comprehend why one race would oppress another based on skin color. How fickle does humanity get?

In the final month of my Associateship at University of Cape Town, a tragedy struck my family, with the loss of my very dear sister, on August 28, 2000. She was a professional in English and Literature, who was just in her 20s, and equally my friend as much as she was my sister. Although the end of my visit was dismal, I will forever remember the kind support of the staff at the African Gender Institute, in particular, Prof. Amina Mama, Director of the Institute. They made sure arrangements were immediately made for me to return to my home country for my sister’s funeral. I also got the support of fellow Associates on the program, including Josephine, a fellow Uganda National. She volunteered to go back home with me.

Although my stay in Cape Town ended on a sad note, I finished my project, plus a concept paper based on it. Now you can enjoy an excerpt from The Final Push, as well as a review of the piece from Sabata Sesiu, Senior Lecturer at the University of Cape Town Department of Drama. Check the next post.




Photo credits: capespirit.com


A look at ‘THE FINAL PUSH,’ a play written by Rosemary K




By Sabata Sesiu


The play is written with thoroughly researched insight. The plot revolves around a system of “community cultural values” which give men an extensive upper hand to subject women to all kinds of abuse and molestation in the name of tradition. The events are set in a village, against a hub of customs and rich cultural values that are otherwise spoilt by male egoism and senseless arrogance.

Ngaimukine’s daughter, Murungi, is to be handed in marriage to Maguunda, a man old enough to be her grandfather, because she has “good hips fit for a man’s bed” and that she would be a bargain for the old man as he has lost his wife. The preparations for this non-negotiable marriage are to be presided over by a council of elders, all of them men.

The story is told against a backdrop of powerful women such as Ndagaano, a women’s rights advocate from Women’s Action Program (WAP); Ngaimukine, the leader of Migina Village Women’s Association, and a variety of women who represent the effects of male dominance at almost every level. These range from a woman battered because she could not give her husband an heir (male child), to a story-teller who is in every sense of the word, a valuable gloat, who also treasures the village’s history in her tales.

The collective antagonists include a revered clansman, Rwantare; a village clown; and a host of men who consciously refuse to acknowledge the role of women as human. In this society, women are viewed more like biological vessels, rather than intelligent thinkers or important contributors to social life. Although men like Nturengye oppose the common stereotypical macho treatment of their female counterparts, this is not a smooth sail for those who think that way. Sanctions against the defiant range from exclusion from culturally privileged status, to absolute banishment from the power hierarchies of patriarchy. In a bid to restore what is deemed a deviation from cultural norms, the cultural adherents brutally destabilize a women’s protest march. All the local chief can do is dither on taking a strong decision when it comes to judgment and punishment against this subversive act.

The final resolution comes in the form of unity of opposites, and the realization of the futility of non-progressive action in the face of adversity. Thus, instead of trying the culprits in the common courts of law, their excesses are ritually renounced in a new phase of enlightenment.

The writer uses poetry, music, narrative, and easily flowing dialogue in telling the story. The drama moves with ease to the eye. The writer has skillfully succeeded in writing this play for both reading and performance. Without imposing rhetoric and slogans, the writer clearly elucidates the importance of gender equality in the many 21st Century African cultures that are still male-dominated.

The Final Push is a must read and a viable performance project for those seeking to advance the gender equity debate as a critical factor in overall human development.

***

Sabata Sesiu is a Senior Lecturer at the University of Cape Town Department of Drama. He is also a researcher and academic at the Centre for African Studies, University of Cape Town.
Photo: Cape Town at Night, capespirit.com

The Final Push Scene Excerpt



ACT ONE

Scene Two

(On the way to the village assembly grounds. Ncweekye and Murungi appear first)

Ncweekye: Listen, Murungi. I don’t like this, but I am merely fulfilling my duty.

Murungi: Which duty?

Ncweekye: I am your aunt, your father’s sister, remember? I am entrusted with the duty of
preparing you for your coming marriage to old man Maguunda. I am sure your
father has told you about it.

Murungi: I am not marrying Maguunda! He’s old enough to be my grandfather.

Ncweekye: Listen, my child, if we questioned each happening in our own lives, we would not
have a sane life. Look at me (Indicating her blackened cheek) Do you think I like
being beaten by my husband, Mirengye? (Murungi shrugs her shoulders) I don’t
like it at all, but I have nothing to do.

Murungi: I think you have something to do. Leave him and go.

Ncweekye: I wish it was that easy. He paid numerous cows to make me his wife. I can’t go
anywhere, now.

Murungi: But you can go somewhere. Ndagaano has told us of Women’s groups which work
with women like you.

Ncweekye: The problem with you is that you think too much, and question too much. You
will make a bad wife for Maguunda.

Murungi: But I said I am not marrying the old man, only over my dead body! And that is
one of the reasons we are going to the village grounds.


(Voices are heard, and groups of women arrive wearing their shoulder cloths, and
kitambi materials. The poorer women wear old tattered dresses, with torn head
scarfs barely covering their heads. Some have been in their gardens, as evidenced by
their muddy feet, hoes and baskets. They start a song)

All: Today is the day
In truth it is the one
We want you to listen
Ye-e-es!
Because this is the time
For woman to speak and be heard
Ye-e-es!

Ngaimukine: Thank you! You all know why we came?

Murungi: Yes, to say no to my planned marriage to wrinkles. (some women laugh, while
others shake their heads. Ncweekye goes over to Murungi, and presses her
shoulders to quieten her)

Ngaimukine: Good, we are here to say no to the ancient wisdom which keeps women in chains.
The secret has spilt from the sacred pots, and we can no longer be mere
spectators as our voice is gagged.(Murungi casts Ncweekye a probing eye) We
shall walk from here to Mashaku, through the valley of Nyamirama to Kayenje,
and back to Migina.

Kenduuru: Aha, will the round-bellied like me manage such a long way? I think this is fit for
people like Ncweekye, who have never experienced the pain of child birth!

Ncweekye: Kenduuru, don’t pass my name through your mouth. Who said that because I
have never given birth, I have to be insulted at any opportunity.

Kenduuru: You have to understand that Mirengye has turned you into his punching bag,
because you have never given birth!

Ncweekye: What about you, producer of restless feet? Has you husband given you a better
reward for giving birth to the unwanted sex? Aha-a-a!

(casts Kenduuru a look of hatred)

Ngaimukine: Enough! We did not come here to be mouthpieces of our village men’s thoughts.
We are all sisters here, whether mothers or not. Violence knows no limits, rape
knows no fertile or infertile wombs, and child marriages reap disaster for every
girl sacrificed. So, let’s talk like women who have been hurt by the practices in
this village, and not as rivals. Do I speak for all?

All: Ye-es!

Ngaimukine: Good. Now why don’t we start with the dance of unity, before we go? (the
women start arranging themselves in a semi-circle. They quickly start the
Kikiga dance, as a prelude to the march)

All: How is at your home?
Mother, how is it at your home?
Tell me, how is at your home?
Our home has no peace
How is at your home?
Is it really peaceful at your home?
How is at your home?

(As they clap and dance, Kabanda runs in and throw himself in the middle of the
semi-circle. There is an abrupt stop)

Kabanda: (gasping for breath) Ahu, ehu-u-u-! You women!

Murungi: What’s the matter, Kabanda? We hate being interrupted rudely!

Ngaimukine: Speak up, Kabanda!

All: What’s wrong, Kabanda?

Kabanda: (getting up) You have just a few counts on my fingers (counting fingers) to
disappear from here.

Ngaimukine: Kabanda, this is treachery. Since when did you start giving us orders?

Kabanda: It is er-er- it’s not me, but you must disappear.

Kenduuru: And if we don’t?

Kabanda: Then Chief Yahaya will have you pay with your skins. He wants you to stop the
crazy march.

Ngaimukine: I can’t believe we are being betrayed by our own son. Kabanda, aren’t you the
one who carried the message around to the women?

Voices: (shouting at cross-purposes) Yes, he came to…and me too, e-e, found me in the
garden!

Ngaimukine: Let’s have some sanity. Are you saying that Chief Yahaya says we should go
away? Is this a joke?

Kabanda: Ngaimukine, I never joke in the matters concerning the Chief. Nobody jokes with
the Chief and goes away unpunished.

All: Liar, traitor!

Kabanda: Let me make myself clear. It is true you sent the message through me, and
indeed I delivered it.

Murungi: What sense can we make out of your words?

Kabanda: Murungi, you should know better that when you finally marry the man your
father wants, your loud mouth must shut up!

Ngaimukine: Kabanda, don’t irritate us more. We are here to condemn evils like the marriage
of young girls, what sense are you making to our cause, now?

Kabanda: That I have overstayed my visit. The Chief must now attack your stubborn
heads. And don’t say I never warned you!

Kenduuru: A horrible death upon you!

Murungi: Maggots…

All: Rotting pus!

(The women agitate. There is noise in the nearby bushes, and general commotion. The
women are surrounded by strong male youths, armed with fighting sticks and spears.
Some women try to fight them off, while others wail. The crowd is soon dispersed, as the
lights fade out).


(play continues…)

Adapted from The Final Push, a 46-page gender-based drama written by Rosemary K

For inquiries and performance rights, email rosemaryk@odesk.com

© Rosemary K., 2008, All Rights Reserved.

PUBLISHED WORKS AND DRAMATIC PRODUCTIONS of Rosemary K







(Center) Cover: Songs of the Third Life



















LITERARY WORKS

1. The Bridge, 2005, The Playwrights Publishing Co., Nottingham, UK (e-book)
2. Songs of the Third Life, 2000, CreaMA Productions Ltd. Kampala, Uganda (Winner, First Prize in Short Stories, National Book Trust of Uganda)
3. Echoes of Her Voice, 1999, MK Publishers (U) Ltd. Kampala, Uganda

DRAMA & PERFORMANCE POETRY

1. We Claim Our Space dramatic poem (2002). The poem was performed by a cast of three (3)
Artistes, including Rosemary K, the Poet
2. Tears too Long (1999), Stromme-Norway Foundation Child Sponsorship workshop. The
play was performed by a cast of thirteen (13) Artistes and Extras, including Rosemary K, the
Playwright
3. The Bridge (1999), Stromme-Norway Foundation Child Sponsorship workshop. The play
was performed by a cast of fourteen (14) Artistes and Extras, including Rosemary K, the
Playwright
4. Hawks on Guard! (1998), The Uganda National Theatre. The play was performed by a cast
of twelve (12) Artistes and Extras, including Rosemary K, the Playwright
5. The Pain (1998), Dramatic poem on the effects of World Bank/IMF Structural Adjustment
Policies on developing economies. The The poem was performed by a cast of six (6)
Artistes, including Rosemary K, the Poet, at the Kampala International Conference Center

REVIEW of "Songs of the Third Life"






Songs of the Third Life is a highly inspiring book, in its vivid examination of the corruption plague. The first story, Hollow Victory questions the accepted practices of harsh punishments in schools, where the pupils are pushed into dangerous situations, with little or no chance to thrive intellectually. The main character, Mr. Rwaata, cuts a picture of the most disciplined educationist, yet turns into a lying villain for his own selfish ends. He not only cons an illiterate parent of his money, but ends up spoiling a young girl’s chances of education through inappropriate sexual involvement. In a related story, Notorious Agendas exposes the mushrooming con artistry activities you will encounter on an ordinary day in Kampala city. Nyinabyo and Dream Child feature the extent to which the evil of corruption has infiltrated society, featuring the abuse of the Women’s Movement itself. In these astounding stories, archetypal figures take to the deadly vice without reservations. Haven of Fools and Express to Heaven highlight the misery of religious hypocrisy and psychological manipulation, with allusions to modern cultic horrors and the dramatic experience of the apocalypse. The Beggars’ Show describes sham values, where characters eagerly fundraise money for a laundry list of items ranging from posh wedding parties to their underwear, while the rest of deserving society becomes derelict, or faces certain death.


Gifts of Flesh is a stark description of the social evil of prostitution, discreetly embodied in contemporary beauty contests. With fierce details, the story explores both the subtle and express philosophy of commercializing women’s bodies. In an ironic yet political twist, the story opens the debate as to whether the female species (women) are, or should in fact be considered part of the national flora and fauna.


While Nyarumaga poignantly narrates issues of institutional decay and exploitation of student activism by selfish authority figures, The Master Players and Songs of the Third Life expose both the failings and excesses of misguided political power. On the whole, the stories present a classical example of socio-political struggle, aggravated by recourse to shocking underhandedness.


On many levels, the book reflects the reality of contemporary societies, communicated in satire, wry humor, yet simple enough language for ordinary comprehension. The author enriches the stories with song, proverbs, and local language adaptations. As a creative analysis of corruption, Songs of the Third Life short story book is highly involving, with a striking sense of originality. It is a must read[1] for both the new and the seasoned reader.




[1] The University of Cape Town (African Gender Institute), uses excerpts of Songs of the Third Life for instruction and reference purposes.




*Review by International Anti-Corruption Theatre Movement


Gifts of Flesh Short Story excerpt



By Rosemary K

The advert stood out clearly in the papers. The National Tourist Council was looking for smart and attractive young women to represent the country's natural attractions and abundant resources to foreign countries and potential investors. The young women candidates were supposed to be between age sixteen to twenty four. They must never have produced or given birth to a child. Their height rage was required to be five feet five inches, to six feet three inches. This was a serious point in the requirements, and the big full-page advert also included the height range in figures, 5' 5" to 6' 3". All the interested applicants were asked to send their applications to the Managing Director of The National Tourist Council, and to accompany their documents with three full-size photographs taken at the angle of sixty degrees. One of the pictures was supposed to show the applicant in the nude, in order to enable the Selection Committee make an unbiased evaluation of the applicant's natural endowments. The successful candidates would be hosted to a colorful beauty pageant at Nile Hotel International, presided over by the world's most renowned beauty judges. This was a very competitive event, and the applicants must apply only if they were sure they suited the requirements. The Selection Committee's decision would be final, and no canvassing by candidates or their patrons was permitted.

As Hamurungi read the advert in The Light newspaper, her heart tingled with excitement. She possessed most, if not all the qualities the Tourist Council wanted. As she read on, her heart beat faster. There was a grand prize of a Hyundai Accent car, plus a return shopping trip to a country of the winner's choice! The additional part of the bargain was a mobile phone set, with a six-month air time bonus! The second prize included a return trip to the East African coast of Mombasa, where the runner-up would laze in the fine stretches of sand and the many other glorious spots of the coastal beaches. The third prize was a color television set, and a beauty box packed with multicolored make-up, imported direct from the world's leading cosmetics and beauty industries.
"Wow, what grand style!" Hamurungi exclaimed, folding the newspaper into two. She went to the right side of her bed. She looked through the mirror on the wall, supported by a rusty nail. The mirror was cracked at the sides with age. She turned her face to the right, to make use of the small sun rays that peered through the little wooden window. Not bad, she thought, as she smoothed her fingers along her chemically bleached yellow face.Hamurungi lived in a small rented room, in the slum area of Bwaise. Her rent was paid by Kimira, her sugar daddy. Kimira worked as an Executive at Bank of Uganda. Hamurungi always complained to her manfriend about the size and state of the room, but he never wanted to listen. Instead, he said that he still had big financial commitments to settle, before he could rent or build her a better house in Kololo. It was now two years since Kimira promised to build her a mansion in Kololo. When she reminded him again, he told her to forget it for a while. Hamurungi pressed, threatening to withdraw her sexual involvement with him. He responded with a defensive attack, and reminded her that his children had to have their school fees paid in Lincoln International School, his shamba boy's wages were unpaid for pruning the flower gardens, and he still had to book his business trip fares first class by British Airways. His wife also had to go to the sauna and massage parlor. What did she want him to do? Hamurungi's sugar daddy made his stand. The disappointed Hamurungi shed tears of frustration and regret. Why did she ever get sexually involved with such a crude and mean pig in the first place? She thought of how desperate she had been at the time Kimira proposed a sexual affair. She had just been expelled from school, having been found pregnant. Although she later managed to have an abortion, she could not face the prospect of returning to school.

Despite her bitter experience, Hamurungi had tasted the dangerous freedom of going out to sell herself on the streets of the city. She stole from home one night, after her mother revealed a plan of taking her to another school to repeat senior three. That night, she escaped from her home, and went to spend a night at her friend's place, who earned a living by selling herself on the streets. Hamurungi remembered clearly how she had to jump over stinking trenches of the Kisenyi slum, before she reached her friend Suzy's one-roomed house. Suzy was not working that night, so she welcomed her with high spirits.
"I am glad you have come to me at last," Suzy started, throwing her arms around Hamurungi. She went on to reassure her how her troubles of restrictive institutions like school would soon be over.
"But I feel disgusted. I wish I could go back home, but I can't. My mother wants to take me to another nuns' school, where they check girls every month for signs of pregnancy. Oh, Suzy, what can I do?" Hamurungi cried. Suzy comforted her with prospects of being able to get herself a reliable customer. Her troubles would certainly end, if she was lucky enough to land on a generous buyer. Suzy and the other girls usually got their luck whenever they landed on a muzungu or a foreign worker. These groups of people were the best customers, because they always paid in dollars. Unlike local buyers, they paid in cash, whether for short or long. The ekisiraani or bad luck normally came from local buyers, who were always in short supply of cash. If you were lucky, they paid half the amount negotiated, or else they used you for a longer time, and then beat you up afterwards. Such men were really a cruel type.

Hamurungi spent the first days of her escape from home confined to Suzy's house. She had to first learn the secret ways of street life. The most important thing on the initiation list was to change her skin color.
"Good buyers like girls with very light skin. It looks as appealing as ripe oranges," Suzy intimated. The skin-lightening rituals included washing her body in a concentrated substance, made out of two or three bottles of JIK detergent, mixed with strong corrosive soaps. The other ritual was to smear the whole body with skin bleaching creams, mixed with strong whitening lotions. It was important for the person still undergoing this bleaching process to perform these rituals daily, or else the skin would fail to change color evenly. Most likely, the results would be like those of a half-cooked meal of matooke. It was also important to collect large packs of color make up, because the buyers preferred different shades of color on the faces of their products. If you met an Asian, he most likely preferred green shade around the eyes. If it was a European, he usually wanted light make up, but with deep-red lipstick. With all those finished, a girl had to buy very large amounts of Vaseline, to keep oiling her legs smooth.
"If you are unfortunate enough to have hairs on the legs, then you would have to keep your sharp razorblade nearby. You must keep shaving off the unpleasant growth," Suzy said. The secret behind shiny legs was that they were good at reflecting light from the head lamps of vehicles. If a possible buyer approached a girl in his car, the first thing to attract him would be shimmering legs and thighs, tantalizingly peeping out of her miniskirt. It was an absolute convenience to wear short skirts, because they revealed enough to arouse the buyer's interest. And for cases of short treats, these skirts helped a girl to supply her goods to the buyer without much delay. For a girl who had a slight dislike for miniskirts, she found a convenient skirt with a small zipper fixed at the front and at the back. When a buyer came, she would be able to unzip the side of the skirt the buyer wanted to approach her from. The other very important thing was the size of the girl. She had to make sure that her figure kept a maximum flesh of about fifty kilograms.
"My friend, you have to keep a very slim figure. Some buyers, especially the whites, have said that the nearer to the bone, the sweeter," Suzy further explained.

Hamurungi took about three weeks to fully master the art of a street girl's life. She woke up every morning, boiled water from a sigiri, and poured it in a large basin. She then added the JIK mixture into the hot water, and proceeded to the small ramshackle shed which served as a bathroom. The shed was constructed using crooked wood planks, whose lower edges threatened to get uprooted from the soggy surface of the earth in which they stood. When she reached the shed, Hamurungi removed her thin lesu tied to the upper part of her breasts, and reached for her strong corrosive soap. She rubbed the soap vigorously on the sponge, which had a rough scratching surface. She dipped the sponge in the hot water, and lifted it to her face. She scrubbed and rubbed her face vigorously, until frothy foam formed on it. She rested the soap in a make-shift soap dish, made from a tin perforated with small holes at the bottom. She bent forward, cupped her hands, and gathered water from the basin. She splashed it over her face. She did this several times, before she started scrubbing the rest of her body with the rough sponge soaked with strong soap. After bathing, Hamurungi's whole body tingled with hot sensations caused by the strong brew of the JIK substances, and the strong chemical soap used in her bath. She then proceeded to smear herself with the mixture of skin bleaching creams and lotions, carefully kept in a large bottle. The large bottle occupied a permanent space on a small bedside stool. She started with her face, down to her shoulders, until she reached her feet. Her friend Suzy helped her smear the part of her back which her hands could not reach. At the end of the third week, Hamurungi's skin was as yellow as a ripe orange. Nobody could guess that she was the same girl who came to Suzy's house a few weeks back, with an even dark skin. Her cheeks were a bit overdone, and they looked like raw meat hanging up on a butcher's stall.

It was going to be Hamurungi's first night on the street. She felt little streaks of fear creep through her stomach, and she abruptly fell onto the bed. She had been leaning against the wall, exaggeratedly applying make-up to her face. Suzy was checking through her miniskirt collection for the most suitable color and design for the evening. When Hamurungi fell onto the bed unexpectedly, Suzy looked up with questioning eyes.
"I don't think I am going tonight," Hamurungi said. She then told Suzy about her fears. It was as if small butterflies were running up and down the insides of her stomach. Suzy laughed a small devilish laughter. What was she really afraid of?
"In this business, you go to make money against all fears. It is true the first night on the dark unfriendly streets is really frightening, but a girl has to toughen. If you allow feelings of any type to visit you, then you are soon out of business," Suzy replied. She told her that the business of night life needed someone with the toughest mind and the stoniest heart. She also told her of the terrible ordeal that one of their friends once suffered, when she landed on a crude Nigerian.
"But the man could have been any other tribe or nationality," Hamurungi said.
"No way, those people of West Africa have their own way of speaking English. For instance, if they want to say the word 'hurry', they always call it horry instead," Suzy explained. So when the Nigerian approached the girl, they negotiated and agreed on the amount. The man wanted her for a long treat at his house, and he showed her the tempting dollars peeping out of the pocket of his agbada. The girl immediately knew she had landed on a big harvest that night. She entered the man's Mercedes Benz car, and they drove away. When she reached the man's house, she found there a group of other men, including an elderly man of about sixty. The group spoke in very high pitched tone, and they were just completing a meal of yams served on a big silver platter. The man who had brought the girl told her to sit in the big sofa, placed in the left corner of the house. He sat in another corner, and lit a long cigar. He told one of the men to bring the girl some wine. The girl wondered whether the man had brought her for business, or for a tourist visit. Before she could have time to sort her thoughts out, the man who had been told to give her some wine planted himself in front of her. He stamped his left foot against her right foot, and squeezed her breasts. It happened too quickly for the girl to realize what it was all about. The group surrounded the girl, and started shouting obscenities at her.
"We are now in real business, baby," the man who had brought her said. The rest of the group now descended on her, and ripped her clothes off. They raped her in turns, until she passed out. They then threw her out of the house for dead. She could have died in the cold windy night, had it not been for the local defense guards who found her lying groaning on the veranda, in the early hours of the morning. They picked her up and took her to the Police clinic. The Police said there was no doctor in their clinic, and threw her limp body on their 999 vehicle for Mulago Hospital. They put her on the doorstep of emergency ward, and drove off. She was admitted to intensive care ward, and she stayed there for three days. She did not have the money to pay for the bill, and she escaped from Mulago Hospital in the middle of the night. When she told her friends about her story, some girls feared and spent two days off the streets. However, the bite of poverty became too much for them to bear, and they returned to the streets the third day. So as Suzy was saying, the business required the toughest mind, and the stoniest heart. When Suzy finished her story, Hamurungi was too distraught to speak. What had she brought herself into? Supposing she met a similar fate, like that met by the girl who went for a long treat from the Nigerian? She turned her face sideways on the pillow, and started to cry. Tears freely flowed from eyes, and traced lines on her heavily made up face as they slid down to her chin. Suzy put her arms around her, and tried to comfort her. Such incidences were a nasty part of the business, and they happened to the girls during the days of misfortune.

(story continues...)


**Rosemary won the NABOTU First Prize in Short Stories for Songs of the Third Life shory story book.