My time of hibernation is coming to an end and there is a whole heap of resistance. It’s not as if I’ve got loads of work lined up. It’s the thought that my time will not be mine alone, to do with what I want come April and beyond.
I took a major risk taking/ making the time away to rest and dream. But for me there was no other choice. I think I was a bit burnt out around the edges and I needed to pull back and heal. And I have done that but there is no end point for healing. No rubber stamping a certificate.
I continue with my morning routine and hope to continue beyond the hibernation period. And this will be where the true test lies. To continue to love on myself daily before I have to meet the world will make the difference between continuing on the healing journey or coming to a full stop. As there can be no healing and growth and self-love if I don’t protect the time to {BE}.
I’ve been up today since about 8am. It’s just after 10am now and I’ve had this track, Love Dimension by Beautiful Chorus on Insight Timer on repeat. It’s only 2 minutes long so I’m not going to work out the math for how many times it’s been on repeat. But let’s just say a lot.
I’ve got it running on and on in the background as I go about my morning routine. I’m feeling the need to have this reminder coming at me on repeat entering my bones, my blood, my heart and soul subliminally.
Oooooooooooooooooooo
Welcome, welcome, to the love dimension. To the love dimension. Ooooooooo
Welcome, welcome, to the love dimension. To the love dimension.
It’s Monday y’all and that can only mean Level 3 Counselling Skills today. Yeah Love Dimension is on repeat. Like a mantra. Like an incantation. Like a protective shield of steel.
End / beginning of another week. Depending on if you see Sunday as the end of the week or the beginning of the next.
For me it’s and/both. Sundays are usually change over day at our house as Ella goes between my home and her dad’s. Sometimes we do things on a Sunday or sometimes we don’t.
We just take it easy.
But usually on a Sunday I reflect on the week gone and plan for the week ahead. It’s a ritual of getting my head in the game. Not the outside societal, capitalist game. No, my own game. The Sheree Mack Game, which runs counter to the White Supremacy Culture game of go go go produce produce produce and strive for perfection at the same time as avoiding conflict and being grateful for the crumbs from their table. Yeah counter to that game as I refuse to be part of this system, where my labour is being bought and sold to support the actors, that are white people.
I’ve been hibernating for months now and I’m still tired. Go figure. Maybe my exhaustion is more than a year in a dumb ass job but runs much deeper. A generational exhaustion that I just can’t shift which has to be recognised but will take a lifetime to ease.
Ease. Yes that would be welcome.
There are moments when I grasp these ease and feel it spread across my back, untightening bunched up muscles. Making my spine fluid rather than ridged. These times I can feel my heart and soul float and I’m relaxed into whatever I’m being. But these are just moments. The aim is to extend these moments into longer moments, into days and months.
I’m working on being so but it is a practice. So when I say Sundays are reflecting/ planning days. I don’t mean around a to-do-list of jobs that need to be completed in order to bring in the tainted coin. I mean, where did I experience ease this week and where can I factor in/ plan for more ease next week. Where did I experience joy and pleasure and how can that be replicated moving forward.
Yeah in the Sheree Mack Game, all the rules and tasks are different to the societal external game. At more ease and I know I’m winning x
Yesterday, I clocked up 17 miles on my walk into Aviemore and back. So today was a talking it easy kind of day. But I still needed to move my body. To explore the camp site and be with the loch. So a morning walk it was.
Sun just up. Loch serene.
10am, River into Loch
Some days, to keep the creative juices flowing and the blood pumping, I take a walk out. Stretch the legs and clear the head. All those great thinkers from time have sworn by taking a walk and a problem is solved.
Sun up. River flowing.
2pm, Loch Morlich
As the afternoon wears on, I usually get a slump in energy levels. If I was home, I’d crawl under a blanket and ride out the low energy. Picking on myself for being so lazy and not doing something to shift my energy. Today I got back out to the loch and noticed a nip in the air. A rise in the wind speed and a reluctance to get into the water.
Sun descending. Loch rippled.
5.30pm, Loch Morlich
The aim was to enter the loch with the sun going down. But I couldn’t be arsed. There were too many people round. I was the only Black body around for miles as well as the only body I’d seen for my stay entering the loch. I was too tired to be singled out any further. So I walked the loch. Around to the point of the sun going down and the loch taking on the colours of dusk. I was glad I walked out again.
This short piece is a mash up of a certain clip from Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy and music from Insight Timer, called You.
Seen recently in Barcelona at CCCB, Joaquina de Angola: Memory of a Liberation by Aida Bueno Sarduy is an audiovisual installation that recovers the story of Joaquina, a young woman enslaved on a plantation in Brazil, and her escape.
“A work about archived, forgotten, and silenced voices in the history of slavery and colonialism. This audiovisual installation brings to life the act of “unarchiving” an event recorded in colonial history as an escape. A 15-year-old enslaved girl fled the plantation where she lived, and her owner, after an unsuccessful search, placed an ad in the newspaper offering a reward to whoever found her. The archive reveals nothing more about this incident: it merely collects it as a piece of data. This piece challenges the oblivion, archiving, and silencing of this character. To unarchive, in this context, becomes an artistic and political act that brings Joaquina de Angola out of the shadows of the document, removing her gag and chains so that she can tell her own story. This act not only questions the record but also raises questions and delves into its details. It is an inquiry that brings Joaquina back to life and acknowledges her as a cimarrona, calling upon ancestral memory as well as imagination, intuition, and spirituality. Since the beginning of colonization in Brazil, alliances and exchanges of extraordinary significance have taken place between Indigenous peoples and enslaved Africans, but these have also been silenced. The presence of entities known as caboclos (Indigenous spirits) in all Afro-Brazilian religions is perhaps the most consistent and profound evidence of this. Amazonian peoples, Indigenous peoples from across Brazil, and quilombola communities—formed by Afro-descendant peoples—have shared ancestral struggles for the defense of their territories and against colonization and exploitation. The installation speculates on these possible Afro-Indigenous alliances in Joaquina de Angola’s journey toward freedom.”
This extracted masheup with music created above by myself, hence a found poetry film, is my take at a beginning of exploring fugitivity. I’ve been living, breathing, talking, practicing fugitivity for a few years now. I’ve mentioned it before, and it was Dal Kular who first introduced the term of me via her then newsletter, Field Notes. Dal said at the beginning of Jan 2023,
“Whatever the out-there-in-the-world fuckery is going on in 2023, I declare myself a CREATIVE FUGITIVE. A way of living in this world but not of it.”
Her take on creative fugitivity has stuck with me. I’ve gone on to read more around fugitivity. I’m even writing a chapter, at the moment, around black mothering and fugitivity. Fugitivity is taking over my life. And again I’m creating a project here in my portfolio to collect my wanderings and wonderings around this concept and way of being.
For me in a nutshell, fugitivity is the act of flight. It is the withdrawing of my labour and consent in the current system of white supremacy culture, capitalism, imperialism, colonialism. Fugivitiy is refusal and resistance. Divesting from the current way things are playing out as the few hoard the wealth of the world at the expense of the many.
Originally the fugitive was the runaway, the escapee. Hence why the audio-visual installation and consequent fugitive poetry film was created. I’m starting from the origins of the escaping enslaved. Running, fleeing captivity towards freedom. Freedom being the end point, the destination but in the process of escaping, there is the in-between space between what they were fleeing from and fleeing to. And here in this liminal space is where fugitivity is ripe.
There/ here is the lingering in the midst of flight, where I choose to SLOW down and be. To linger with nature. To seek my joy and pleasure in the world around me on my own terms. Fred Moten in conversation with Saidiya Hartman, both of whom we will be exploring further, said,
“I often use – and I always think of it in relation to Fannie Lou Hamer, because it’s just me giving a theoretical spin on a formulation she made in practice: to refuse that which has been refused to you. And that’s what I’m interested in.”
That is fugitivity as a method, kin-making and place-making, as a practice that I intend to explore within this project archive.
Living Wild Studios 