Somebody almost walked off with all of my stuffAnd didn’t care enough to send a note home saying I was late for my solo conversationOr too sizes too small for my own tacky skirtsWhat can anybody do with something of a nobellier on an open market?Did you get a dime for my things?Hey man, where are you going with all of my stuff?This is a woman’s tripping, I need my stuff to ooh and aaah aboutHonest to God! Somebody almost ran with all of my stuffAnd I didn’t bring anything but the kick and sway of itThe perfect ass for my man and none of it is theirsThis is mine…Phemelo’s own things…That’s my name now give me my stuffI see you hiding my laugh and howI sit with my leg open sometimes to get my crotch some sunlightThis is some delicate leg and whimsical kissI gotta have to get to my choiceSo you can’t have me unless I give me awayAnd I was doing all that till you ran off on a good thingAnd who is this you left me with? A bad attitudeI want my things, I want my Oooh with a hot iron scar,I want my leg with the flee bite, yeah I want my thingsI want my calouse feet and quick language back in my mouthI want my own things how I love themSomebody almost ran off with all of my stuffAnd I was standing there looking at myself the whole timeIt wasn’t spirit that ran off with my stuffIt was a man who’s ego won’t drown like road ants shadowIt was a man faster than my innocenceIt was a lover I made too much room for almost ran off with all of my stuffAnd the one running with it, don’t know he got itI’m shouting this is mine and he don’t , and he don’t even know he got itMy stuff is the anonymous ripped off treasure of the yearDid you know somebody almost got away with me!Me! in a plastic bag under his arm, Me! Phemelo Motona!Somebody almost walked off with all of my stuff!
The Personal Is The Political
In my Black Scholar readings and my trip to the Schomburg, I was confronted with the message that the personal is the political. The Black Sexism Debate states,
“We cannot solve our “personal” problems individually, nor by pretending they are not real. What is required is a collective struggle to change the social conditions that create so many “personal” and social problems.”
In thinking about my final project, I have been interested in mental health and mental illness in communities of color and how it is dealt with both individually and collectively. During the Schomburg visit, I came across an article written by Vanessa Northington Gamble which referenced mental health issues in the black community. For Gamble, her “personal” issues battling depression are political. When she was having difficulties at her job due to her depression she said, “I believed that my performance [work] represented not that of an individual, but that of a race.” This illustrates how mental health issues are political issues in communities of color because individual experiences get generalized to be representative of the whole race. As Gamble also writes about her mother’s suicide attempts and thus, her subsequent struggle with depression, there seems to be the idea that mental health issues are in some way generational and/or genetic.
Gamble invokes bell hooks in arguing that the personal is political. When Gamble wanted to start writing about her battle with depression, her colleague criticized her for: “wanting to put her business out on the street.” However, she counters this by emphasizing that voicing our personal struggles is key to liberation. Gamble says,
“Telling our stories, hooks insists, is a crucial strategy for the self-recovery of black women because it allows us to acknowledge our pain, reach out for solace and find ways of healing. There is no healing in silence… hooks views personal transformation through a political lens. She sees self-hate, low self-esteem, and addiction disorders as reflections of a political system that devalues the lives of black people… Personal recovery, hooks argues, must go hand in hand with political struggles, because no level of individual self-actualization alone can sustain the marginalized and oppressed. We must be linked to collective struggle, to communities of resistance that move us outwards, into the world.”
In my readings and encounters with archival material, I was struck by how the two were in conversation with each other. It is my hope that through my final project that I can bring Shange’s experience and that of other black female artists’ to the forefront so that other women of color can be empowered with the knowledge that their “personal” is political.