… Felicity The Poet on reclaiming mother tongues through spoken word
By Feni Hiveluah
Ekstronella Geniroman goes by many names but Felicity The Poet and !Notago Gowab Gaolgoas are common aliases that the poet sports and for her, poetry is more than art but an act of cultural survival.
Speaking to Confident Woman this week, Felicity shares how unearthing her family’s written history inspired her to preserve Khoekhoegowab, proving that reclaiming your mother tongue can happen at any stage of life.
Q: Looking back at your early life, what was the specific moment or realization that made you fall in love with poetry and spoken word art?
“My love for poetry began long before I understood its power. As a child, I was always drawn to stories, songs, and the rhythm of language. I discovered that poetry allowed me to express emotions and experiences that were sometimes difficult to put into ordinary conversation. Over time, I realized that poetry was not only an art form but also a voice for people whose stories are often overlooked. That realization transformed poetry from a hobby into a calling.”
Q: Your work is deeply dedicated to the preservation of Khoekhoegowab. At what point in your artistic journey did you decide to make your mother tongue central to your stage identity?
“As I grew as a poet, I noticed that indigenous languages were often absent from creative spaces, despite being rich in history, beauty, and wisdom. I began to understand that if people like me did not actively use and promote Khoekhoegowab, future generations might lose touch with it. Making Khoekhoegowab central to my stage identity was therefore both an artistic and cultural decision. I wanted audiences to hear the language, appreciate its beauty, and recognize its place in modern creative expression.”
Q: Taking space on stage with a mother tongue that has historically faced marginalization requires immense confidence. What was your very first performance like, and how did it shape the artist you are today?
“My first performance was nerve-racking. I questioned whether my voice and perspective mattered. Performing in Khoekhoegowab added another layer of vulnerability because I was presenting a language that is often underrepresented. I remember it as clearly as yesterday. It was my debut performance at the lAellgams Cultural Festival of the year 2023. I remember performing a piece titled “lhawidi ǂgau tama” which means “The wounds haven’t healed yet” I can still hear the farthest Vendors screaming and cheering from their stalls and young women sheding tears in the front row. These positive responses from audiences showed me that there was a place for my voice and my language. Those early experiences taught me courage and reinforced my belief that representation matters.”
Q: Your poetry spans a broad spectrum—from romance and family to raw political commentary. How do you decide which themes demand to be expressed in Khoekhoegowab versus English?
“The language often chooses the poem. Topics that are deeply connected to identity, ancestry, culture, and community usually come to me in Khoekhoegowab because certain emotions and concepts feel most authentic in my mother tongue. English often becomes the vehicle for broader social commentary or for reaching wider audiences. However, I enjoy blending the two because it reflects the reality of many Namibians who navigate multiple languages and identities every day.”
Q: You view each piece of poetry as a call to remember and celebrate cultural heritage. How has writing in Khoekhoegowab helped you personally connect with your own roots and identity?
“Writing in Khoekhoegowab has unexpectedly deepened my connection to my heritage, inspiring me to explore my family history and cultural resilience. I recently discovered that my mother’s uncles, Namab Geniroman and !Garseb Geniroman, exclusively wrote letters in Khoekhoegowab to communicate with various communities. Knowing I am continuing their legacy fills me with immense pride. Contrary to popular belief, I never studied Khoekhoegowab in school—I studied Afrikaans up to Grade 12. I only formally learned Khoekhoegowab later through UNAM’s INSET programme during my teaching diploma. This proved to me that reconnecting with one’s language is possible at any life stage, further fueling my dedication to its preservation. Every poem I write serves as a generational bridge, safeguarding a language that carries the wisdom and identity of our people.”
Q: In a rapidly modernizing society, encouraging younger generations to appreciate indigenous languages can be tough. What has been the biggest challenge in your mission to preserve Khoekhoegowab through art?
“One of the biggest challenges is changing the perception that indigenous languages belong only in traditional settings. Many young people are exposed to global cultures and dominant languages daily, which can make indigenous languages seem less relevant. Through poetry, social media, community engagement, and education, I try to show that Khoekhoegowab is not a language of the past, it is a living language that belongs in classrooms, on stages, online platforms, and in contemporary conversations.”
Q: From your earliest written poems to your current performances, how has your poetic style and voice evolved over the years?
“My early poems were deeply personal and focused mainly on emotions and individual experiences. Over time, my work became more intentional and socially conscious. I began exploring themes such as language preservation, cultural identity, education, social justice, and community empowerment. My voice has grown more confident, and I am no longer afraid to address difficult subjects. I have also become more comfortable embracing my identity as both a poet and a cultural advocate.”
Q: Khoekhoegowab is a rich, rhythmic language with unique click sounds. How does the natural musicality of the language influence the way you construct your spoken word rhythms?
“Khoekhoegowab has a natural musicality that shapes the flow of my poetry. The click sounds, tonal variations, and rhythmic patterns create opportunities for expression that are unique to the language. When I write and perform, I pay close attention to these natural sounds and allow them to guide the pacing and rhythm of the piece. In many ways, the language itself becomes a collaborator in the creative process, adding texture and depth that cannot easily be replicated in translation.”
Q: As a voice that bridges tradition and modern expression, what legacy do you hope your poetry leaves behind for future Namibian poets writing in indigenous languages?
“I hope my work helps create a future where indigenous-language poets do not feel the need to choose between cultural authenticity and artistic success. I want young poets to know that their languages are valuable, powerful, and worthy of being heard on every stage. If my poetry can inspire even one young person to speak, write, perform, or take pride in their mother tongue, I will consider that a meaningful legacy. Ultimately, I hope to contribute to a Namibia where indigenous languages are celebrated not only as part of our history but as an essential part of our future.”
