Bøger af Kama Sywor Kamanda

Die Tragödie von Candace oder Kandake kann in der Tat überraschen. Es handelt sich um eine nubische Königin, die Hoffnung für ihr bedrängtes Volk bringt. Candace ist eine große Heldin der Geschichte, für die die Freiheit ein legitimes und höchstes Geschenk ist, das dem Menschen vom Schicksal gegeben und von der Natur bewahrt wird. Als unbeugsamer Geist, der ständig zur Revolte neigt und dessen oberstes Ziel die Bewahrung seines Vaterlandes ist, erzwingt sie den Respekt ihrer Gegner durch ihre militärischen Einsätze ohne Unterlass und ohne Zugeständnisse und beweist dabei die unersättlichste Tugend der Tapferen: den Mut. Sie war nicht bereit, die Besetzung ihres Landes durch die römischen Truppen zu akzeptieren, sondern leistete erbitterten Kampf und heftigen Widerstand. Candace ist eine faszinierende Persönlichkeit, eine kühne Frau, die von Sensibilität und Intelligenz geprägt ist und für die menschliche Entfaltung ohne Freiheit nicht möglich ist.

"Das poetische Werk "Sternenfinsternis" von Kama Sywor KAMANDA lehnt jede exotische Rinde und jede Bequemlichkeit ab. Er knetet "trägen Lehm" aus der Masse der Träume und bleibt dabei seiner Geographie - seinen "inneren Meeren" - treu. Dieser Dichter, dessen panische Aufrichtigkeit heute offensichtlich ist, hat das Ursprüngliche eines Künstlers bewahrt, nämlich die wiedergefundene Zeit, in der die intuitiven Wurzeln des Seins liegen und die bewirkt, dass das, was er schreibt, nur von ihm und nicht von anderen geschrieben werden kann. In diesen kurzen, klassisch sparsamen Gedichten gibt es eine fast ständige Osmose des Konkreten und der Idee, des Gefühls und des Gedankens, eine natürliche, wie ursprüngliche Osmose, die das richtige Wort - das nicht ersetzbar ist - und die Einfachheit im Ausdruck des Schmerzes oder der Freude zugunsten der Innerlichkeit bevorzugt. Sind Freude, Schmerz oder Angst nicht eine Verbindung zwischen dem Fleisch und der Idee, wenn nicht sogar dem Imaginären? Das kommt nur dann zum Ausdruck, wenn der Dichter es versteht, eine Allianz mit den Worten einzugehen." Claude Michel Cluny

Sethi I. ist die Geschichte eines großen Baumeisterkönigs, der sich durch sein Heldentum auszeichnete. Dieses Stück zeigt die Rolle eines Monarchen bei der Entwicklung seines Landes, aber auch sein Anliegen, den Fortbestand einer entstehenden Dynastie sicherzustellen. Es veranschaulicht die Kontrollmechanismen von Institutionen und unterstreicht die entscheidende Rolle von Sekten bei der Regierungsführung einer Nation.Es bekräftigt auch, dass die Autorität des Staates ohne den ausdrücklichen Willen des Volkes nicht legitim ist. Was in diesem Stück dominiert, ist der Glaube an sich selbst, Mut, Ehrgeiz, Pflicht, der Traum von der Ewigkeit, Liebe, die Suche nach wahrer Gerechtigkeit, der Sinn für Geschichte, die Überzeugung von der göttlichen Inkarnation, der Blick in die Zukunft und die Hoffnung auf diese Zukunft bringt Unsterblichkeit. Der Tod wird hier als höchste Befreiung gesehen, als absoluter Glaube an das, was mit der Zeit nicht vergeht, als eine Mischung aus Kontinuität und Wiedergeburt.Kama Sywor KAMANDA

I morti andranno tutti alle urne è il titolo di un'opera teatrale che rappresenta scene viventi che ripercorrono i piani che le potenze dell'Africa, e in particolare del Congo, mettono in atto per raggiungere i propri fini. L'esempio preso dallo spettacolo è quello di una campagna presidenziale in cui il protagonista, Nzambi, cerca di essere rieletto, ma i sondaggi lo indicano come il futuro perdente. E poiché tutti i mezzi sono buoni per chi governa, li usa per vincere, per questo attacca i morti affinché possano compiere il loro dovere di cittadini...In questo pezzo Kamanda riafferma la sua continuità nella denuncia di pratiche malsane che continuano a trasformare l¿esperienza africana in una tragedia permanente. Ecco perché, con l'aiuto dell'allegoria, usa una scrittura atipica, dove il reale si mescola al virtuale con una mescolanza di naturale e soprannaturale per dimostrare, certamente, che i codici etici non servono più a molto. così come non esistono più limiti nel pensiero umano.Kheira MERINE

¿Die Toten werden alle zur Wahl gehen¿ ist der Titel eines Theaterstücks, das lebendige Szenen darstellt, die die Pläne nachzeichnen, die die Mächte in Afrika und insbesondere im Kongo praktizieren, um ihre Ziele zu erreichen. Das Beispiel des Stücks ist das eines Präsidentschaftswahlkampfs, bei dem die Hauptfigur Nzambi eine Wiederwahl anstrebt, die Umfragen ihn jedoch als künftigen Verlierer ausweisen. Und da für die Regierenden alle Mittel gut sind, nutzt er sie zum Sieg, weshalb er die Toten angreift, damit sie ihre Pflicht als Bürger erfüllen können ...In diesem Stück bekräftigt Kamanda seine Kontinuität bei der Anprangerung ungesunder Praktiken, die die afrikanische Erfahrung weiterhin in eine dauerhafte Tragödie verwandeln. Aus diesem Grund verwendet er mit Hilfe der Allegorie eine atypische Schrift, in der das Reale mit dem Virtuellen, mit einer Mischung aus Natürlichem und Übernatürlichem vermischt wird, um mit Sicherheit zu zeigen, dass die ethischen Grundsätze keinen großen Nutzen mehr haben. so wie es im menschlichen Denken keine Grenzen mehr gibt.Kheira MERINE

«Vse mertwye pridut na wybory» ¿ tak nazywaetsq p'esa, w kotoroj predstawleny zhiwye sceny, wosproizwodqschie shemy, kotorye derzhawy w Afrike, i osobenno w Kongo, primenqüt dlq dostizheniq swoih celej. V p'ese wzqt primer prezidentskoj kampanii, w kotoroj glawnyj geroj Nzambi pytaetsq byt' pereizbrannym, no oprosy pokazywaüt, chto on w buduschem proigraet. I poskol'ku wse sredstwa horoshi dlq teh, kto prawit, on ispol'zuet ih dlq pobedy, poätomu on napadaet na mertwyh, chtoby oni mogli wypolnit' swoj dolg kak grazhdan...V ätoj stat'e Kamanda podtwerzhdaet swoü neprerywnost' w osuzhdenii nezdorowoj praktiki, kotoraq prodolzhaet prewraschat' afrikanskij opyt w postoqnnuü tragediü. Vot pochemu s pomosch'ü allegorii on ispol'zuet netipichnoe pis'mo, gde real'noe smeshiwaetsq s wirtual'nym, so smes'ü estestwennogo i swerh#estestwennogo, chtoby, konechno, pokazat', chto äticheskie kodexy bol'she ne prinosqt osoboj pol'zy. tochno tak zhe, kak w chelowecheskom myshlenii bol'she ne suschestwuet granic.Kheira MERINE

Os mortos irão todos votar é o título de uma peça que representa cenas vivas que retratam os esquemas que as potências em África, e particularmente no Congo, praticam para atingir os seus fins. O exemplo da peça é o de uma campanha presidencial onde o personagem principal, Nzambi, busca a reeleição, mas as pesquisas o apontam como o futuro perdedor. E como todos os meios são bons para quem governa, ele os utiliza para vencer, por isso ataca os mortos para que cumpram o seu dever de cidadãos...Nesta peça, Kamanda reafirma a sua continuidade na denúncia de práticas pouco saudáveis ¿¿que continuam a transformar a experiência africana numa tragédia permanente. É por isso que, com a ajuda da alegoria, utiliza uma escrita atípica, onde o real se mistura com o virtual com uma mistura do natural e do sobrenatural para mostrar, certamente, que os códigos de ética já não têm muita utilidade. assim como os limites não existem mais no pensamento humano.Kheira MERINE

The dead will all vote is the title of a play which represents living scenes retracing the schemes that the powers in Africa, and particularly in the Congo, practice to achieve their ends. The example taken by the play is that of a presidential campaign where the main character, Nzambi, seeks to be re-elected, but the polls indicate him as the future loser. And as all means are good for those who govern, he uses them to win, which is why he attacks the dead so that they can fulfill their duty as citizens...In this piece, Kamanda reaffirms his continuity in the denunciation of unhealthy practices which continue to transform the African experience into a permanent tragedy. This is why, with the help of allegory, he uses an atypical writing, where the real is mixed with the virtual with a mixture of the natural and the supernatural to show, certainly, that the codes of ethics are no longer of much use. just as limits no longer exist in human thought.Kheira MERINE

Sethi I is the story of a great builder King who distinguished himself by his heroism. This piece demonstrates the role of a monarch in the development of his country but also his concern to ensure the continuity of a nascent dynasty. It illustrates the mechanisms of control of institutions and highlights the crucial role of sects in the governance of a Nation.It also affirms that the authority of the State is not legitimate without the express will of the people. What dominates in this piece is faith in oneself, courage, ambition, duty, the dream of eternity, love, the search for true justice, the sense of History, being convinced of one's divine incarnation, looking to the future and hoping that this future brings immortality. Death here is seen as a supreme deliverance, an absolute faith in that which does not evaporate with time, a continuity and rebirth mixed together.Kama Sywor KAMANDA

Is state brutality legitimate? What happens when love stands alone against the forces of evil? Love, hope and courage characterise the characters in this story with contemporary resonance. The novel is set in contemporary Africa, where grave injustices are rife. This story, with its tragic overtones, recounts the lives of African immigrants who are lured into exile, but are always condemned to precariousness and misery. The author denounces an unjust society based on deception in the service of ambition. He exposes the terrifying realities of triumphant capitalism, the evils of corruption, state violence, the loss of identity of neo-colonised peoples, the manipulation of the elite, the barbarity of economic predation and, finally, the misfortunes of countries rich in minerals and oil, whose oppressed citizens are condemned to exodus and uprooting.

Self-knowledge is at the heart of this study of man. The foundations of our being prompt us to reflect on who we are and what our legitimate aspirations are. The world within and around us is the key to understanding some of the mysteries that preoccupy us on a daily basis. The author allows us to take an original look at ourselves. He offers us a glimpse into the inner workings of our behavior in creation and procreation. In this way, we can unravel certain existential enigmas for ourselves: life, death, infinity, love in all its guises and the other passions that run through us and change our destinies. This book analyzes the human being in all its complexity, strength, fragility, limits and universality.

To overcome racism, the Black man faces a mountain of seemingly insurmountable challenges. But what is the reality? Life teaches us to control our passions, to use our best assets to overcome adversity with the greatest magnanimity. Experience brings self-confidence. The fundamental thesis of this book is that "the image of the Black man has been degraded from generation to generation by his loss of freedom, despite hypocritical efforts at rehabilitation, feeding racism, poverty, ignorance and cowardice. The originality of this study of the realities and values of all black societies over the last two millennia lies in the fact that I have been able to shed light on the shadowy areas of a tragic social situation caused by the misdeeds of racism, by linking cause and effect, and by offering definitive solutions to the black question.

REFLECTIONS: "Love needs gestures of tenderness to blossom and express itself; without them, it becomes difficult to achieve equilibrium in appeasement". - "To be free is to live free from all pressures, while being aware of what's at stake and of one's strength, with one's mind free from constraints and prejudices." - "A people without memory is like a man lost in the darkness of a thousand-year-old cave without a torch to lead him out." - "Women aspire to love with the ulterior motive of a permanence of feelings, which makes break-ups crueler and disillusionments unforgivable." - "Happiness is an enchanted dream on the shore of life waiting for a gentle wind of hope to set sail."

Kamanda's marvellous tales open the doors of the imagination and take us on a journey of discovery into the wonders, customs, cultures and civilizations of the African world. Lively and full of humor, they take us on a journey and soothe us at the same time.

"The rebellious man is constant in his resolutions, faithful to his ideals and thoughtful in his commitments. Is it enough to break his pride for him to renounce his passions and aspirations? The passion of the just inspires his thoughts and actions. The fighting spirit is his deepest nature and contradiction his vocation. In truth, he must exercise all his rights without any manipulation, be it ideological or religious, to speak of democracy. Believe me, the happiness of the individual lies in what he apprehends as right in his quest for balance. The expression of free will can lead to slippage, but never to self-denial. In this play, the drama of a man caught in the trap of state reason unfolds against the sinister background of political violence and manipulation." Kama Sywor KAMANDA¿I was brought here before you, to show you the painful acts that I have witnessed, in a country where torture is assured to all who fight for freedom and democracy.¿ The Tortured Man is the translation of the French one-act monologue L¿Homme Torturé (2013) by Kama Sywor Kamanda.

"The Exile of Dreams" is a work of prophecy. Enveloped in his "aura full of storms", the "walker of life" wanders on the roads of exile with, at the bottom of his memory, the heartbreaking memory of a "dying homeland". Thanks to expressive and vivid images, KAMANDA defines himself within the landscape that encloses him. He has become aware of his mission. He knows that he must "prepare a new bed for new ideas". It is a question of "leading the blind innocents of our world/Towards the single immutable light of the heart". Word of humanist, of artist to the eyes of which art is not an end in itself but a way towards the others at the same time as a tool to transform the world. A poet-philosopher, KAMANDA never forgets, in his lucidity, the reality of the forces of anguish and absurdity that never cease to work in depth the world like a yeast of misfortune in the heart of a poisoned bread. "No one is innocent in the conscience of the world", he notes painfully. And elsewhere: "my faith of man, it is the drama of the living in the nothingness". Doesn't it exist as a kind of plot of the gods against the creature?" Mark Alyn.