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Setšhaba se mpusetsa go nna
Performance Video (4:10, b/w)
2025
Performed and recorded at Keleketla Library
Setšhaba se mpusetsa go nna
Performance Video (4:10, b/w)
2025
Performed and recorded at Keleketla Library
Setšhaba se mpusetsa go nna
Performance Video (4:10, b/w)
2025
Performed and recorded at Keleketla Library
Setšhaba se mpusetsa go nna
Performance Video (4:10, b/w)
2025
Performed and recorded at Keleketla Library
Setšhaba se mpusetsa go nna
mothalo. kgutlo. khutso
Setšhaba se gopola
mothalo wa nnete
kgutlo ya go boela
khutso e a tlala
Setšhaba se gopola
mothalo wa nnete
kgutlo ya go boela
khutso e a tlala
Mothalo o a thoma,
kgutlo e a fetola,
khutso e a kgahlela.
Mothalo o a thoma,
kgutlo e a fetola,
khutso e a kgahlela.
Setšhaba se mpusetsa go nna
kea boya, kea gopola, ke nna
Setšhaba se mpusetsa go nna
kea boa, kea gopola, ke nna
A feeling. A pulse. A loop.
A quiet instruction to return.
Self is not singular. It emerges, stretches, and shifts through time, memory, sound, and the presence of others. Inspired by the lingering energy of Black Ballerina, this piece moves into a deeper space, where collaboration becomes a method of remembering. We do not perform alone. We move with those who came before us, those beside us, and those within us.
read more
A feeling. A pulse. A loop.
A quiet instruction to return.
Self is not singular. It emerges, stretches, and shifts through time, memory, sound, and the presence of others. Inspired by the lingering energy of Black Ballerina, this piece moves into a deeper space, where collaboration becomes a method of remembering. We do not perform alone. We move with those who came before us, those beside us, and those within us.
read more
Setšhaba se mpusetsa go nna
mothalo. kgutlo. khutso
Setšhaba se gopola
mothalo wa nnete
kgutlo ya go boela
khutso e a tlala
Setšhaba se gopola
mothalo wa nnete
kgutlo ya go boela
khutso e a tlala
Mothalo o a thoma,
kgutlo e a fetola,
khutso e a kgahlela.
Mothalo o a thoma,
kgutlo e a fetola,
khutso e a kgahlela.
Setšhaba se mpusetsa go nna
kea boya, kea gopola, ke nna
Setšhaba se mpusetsa go nna
kea boa, kea gopola, ke nna
A feeling. A pulse. A loop.
A quiet instruction to return.
Self is not singular. It emerges, stretches, and shifts through time, memory, sound, and the presence of others. Inspired by the lingering energy of Black Ballerina, this piece moves into a deeper space, where collaboration becomes a method of remembering. We do not perform alone. We move with those who came before us, those beside us, and those within us.
read more
Setšhaba se mpusetsa go nna
mothalo. kgutlo. khutso
Setšhaba se gopola
mothalo wa nnete
kgutlo ya go boela
khutso e a tlala
Setšhaba se gopola
mothalo wa nnete
kgutlo ya go boela
khutso e a tlala
Mothalo o a thoma,
kgutlo e a fetola,
khutso e a kgahlela.
Mothalo o a thoma,
kgutlo e a fetola,
khutso e a kgahlela.
Setšhaba se mpusetsa go nna
kea boya, kea gopola, ke nna
Setšhaba se mpusetsa go nna
kea boa, kea gopola, ke nna
A feeling. A pulse. A loop.
A quiet instruction to return.
Self is not singular. It emerges, stretches, and shifts through time, memory, sound, and the presence of others. Inspired by the lingering energy of Black Ballerina, this piece moves into a deeper space, where collaboration becomes a method of remembering. We do not perform alone. We move with those who came before us, those beside us, and those within us.
read more
Ballerina’s
Jemiye Ugwujide
Keabetse Maake
Lelami Ngoqo
Odwa Sithunzela
Vocals
Khalysa
Pianist
Lebohang Lebakeng
Assistant
Khetho Mkhalaphi
Ballerina’s
Jemiye Ugwujide
Keabetse Maake
Lelami Ngoqo
Odwa Sithunzela
Vocals
Khalysa
Pianist
Lebohang Lebakeng
Assistant
Khetho Mkhalaphi
Re gona
Performance Video (5:24, b/w)
2025
Performed and recorded at Keleketla Library
Re gona
Performance Video (5:24, b/w)
2025
Performed and recorded at Keleketla Library
Re gona
Performance Video (5:24, b/w)
2025
Performed and recorded at Keleketla Library
Re gona
Performance Video (5:24, b/w)
2025
Performed and recorded at Keleketla Library
I’m writing from a space in between. Between timelines, names, and memories. Between selves I used to be and ones I’m still becoming. This work comes out of a long and still on going search. It started with the question whoisKarabo? a username,, a digital performance that started to take on a life of its own. Over time, I realized it wasn’t just a question of identity, but of survival. José Muñoz’s concept of disidentification (1999) helped me understand this feeling. It’s not about assimilating or rejecting dominant culture. It’s about moving through it while refusing to be consumed by it. That’s what whoiskarabo became: a strategy. Not a brand. Not a persona. A way of staying alive and legible to myself, even when I’m being read through someone else’s lens. The self becomes currency, yes, but also resistance.
GO DEEPER
I’m writing from a space in between. Between timelines, names, and memories. Between selves I used to be and ones I’m still becoming. This work comes out of a long and still on going search. It started with the question whoisKarabo? a username,, a digital performance that started to take on a life of its own. Over time, I realized it wasn’t just a question of identity, but of survival. José Muñoz’s concept of disidentification (1999) helped me understand this feeling. It’s not about assimilating or rejecting dominant culture. It’s about moving through it while refusing to be consumed by it. That’s what whoiskarabo became: a strategy. Not a brand. Not a persona. A way of staying alive and legible to myself, even when I’m being read through someone else’s lens. The self becomes currency, yes, but also resistance.
GO DEEPER
I’m writing from a space in between. Between timelines, names, and memories. Between selves I used to be and ones I’m still becoming. This work comes out of a long and still on going search. It started with the question whoisKarabo? a username,, a digital performance that started to take on a life of its own. Over time, I realized it wasn’t just a question of identity, but of survival. José Muñoz’s concept of disidentification (1999) helped me understand this feeling. It’s not about assimilating or rejecting dominant culture. It’s about moving through it while refusing to be consumed by it. That’s what whoiskarabo became: a strategy. Not a brand. Not a persona. A way of staying alive and legible to myself, even when I’m being read through someone else’s lens. The self becomes currency, yes, but also resistance.
GO DEEPER
I’m writing from a space in between. Between timelines, names, and memories. Between selves I used to be and ones I’m still becoming. This work comes out of a long and still on going search. It started with the question whoisKarabo? a username,, a digital performance that started to take on a life of its own. Over time, I realized it wasn’t just a question of identity, but of survival. José Muñoz’s concept of disidentification (1999) helped me understand this feeling. It’s not about assimilating or rejecting dominant culture. It’s about moving through it while refusing to be consumed by it. That’s what whoiskarabo became: a strategy. Not a brand. Not a persona. A way of staying alive and legible to myself, even when I’m being read through someone else’s lens. The self becomes currency, yes, but also resistance.
GO DEEPER
Le kae?
Ke tsene
Ka boa
Ke sa le nna
Le kae?
Ke gona
Mara ke fihla gape
Le kae?
ka mmele
ka leina
ka moya
ka boa
le kae?
re gona
Le kae?
Ke tsene
Ka boa
Ke sa le nna
Le kae?
Ke gona
Mara ke fihla gape
Le kae?
ka mmele
ka leina
ka moya
ka boa
le kae?
re gona
