#BABISHAI2015 FESTIVAL REPORT

 #Babishai2015, 1ST POETRY FESTIVAL in Uganda, organized by the Babishai Niwe Poetry Foundation
photo credits: Zahara Abdul

     

 

Beverley Nambozo Nsengiyunva, Adeeko Ibukun and Professor Remi Raj

The #Babishai2015 poetry festival, the first poetry festival in Uganda, took place from 26 to 28 August 2015 at The Uganda Museum in Kampala. The open-themed festival, organized by the Babishai Niwe Poetry Foundation, was a celebration of the #Babishai2015 shortlisted poets, awarding the winners, sharing poetry through master-classes, performing before younger and older audiences and launching the BN Poetry Foundation’s second anthology, Boda Boda Anthem and Other Poems: A Kampala Poetry Anthology. The estimated number of participants in total was 250 and the total number of countries represented was 11. There was also a welcome to the festival discussion of the #Babishai2015 shortlisted poems led by Harriet Anena, held at Femrite on 24^th August.

Davina Kawuma and Harriet Anena

Members at the discussion

Being the first poetry festival brought exciting and well-thought out sessions. On the first day, the festival began with a dance breakfast with celebrated dance group, Batalo East. Abdul, the dance director, opened up with a physical awakening of our bodies and minds and artists and consumers of art. While dancing with the festival participants, Abdul engaged in conversation about the poetry of dance and how our bodies communicate more than we can ever think.

Abdul and Sammy Wetaala in dance session.

  Later on was a master-class by Dr. Charles Mulekwa, entitled, From the page to the stage. During this session, Charles highlighted how stage performances cannot or should not exist without the process of the page, meaning writing, re-drafting and editing. Two of his students performed various poems, practically giving new meanings to words on a page.

During poetry-in-session that evening, a monthly session hosted by Roshan Karmali, the true meaning of liberty through art was felt. With performances from Checkmate Mido, Fatuma’s Voice, Professor Remi Raji, Chijioke Amu-Nnadi, Khamara Ashnan, Jason Ntaro, Fortune Unlimited, Gordon Musinguzi, Roshan herself and other celebrated poets, each piece a personal ritual and conviction of words, rose into a unique and most memorable night.

  

On the 27 August, second day of the festival, we held two master-classes. The first was by Professor Remi Raji, who is a board member of the Babishai Niwe Poetry Foundation and current President of Association of Nigerian Authors.  His class was a discussion of poetry, its craft, importance of respecting the craft and appreciating poets that have inspired great works of a generation. He then demonstrated the importance of pruning writing, of thinking creatively in order to write creatively and ended with a challenge of writing a spontaneous chain poem. The results were incredible.  

Another unforgettable session was led by Ife Piankhi and Checkmate Mido, ‘From the page to the stage.’They engaged us in role play, picking character traits and demonstrating them without speaking. It was quite hilarious, challenging and worthwhile. Theirs dealt with body language and the power of silence,  as we understood better ourselves, our voices and our innermost convictions as we react emotionally. All this played into how and why we write and perform poetry. It was spontaneous and tricky at the same time. Kagayi Peter, one of Uganda's celebrated spoken word poets, led us through important discussions on poetry and the spoken word, challenging us into deeper understanding.

 

Chijioke Amu-Nnadi, who also led a master class, used a more spiritual and soul-searching approach. He acknowledged that poets are spiritual beings and that their poetry should manifest from that deep spiritual connection. Kagayi Peter, a well celebrated poet from Uganda, spoke candidly about poetry, the learning process, the spoken craft, identifying with subject matter and production.

   

None of us knew that blogging poetry could be so much fun and Magunga Williams, one of Kenya’s most celebrated bloggers and Eric Otieno from Fatuma’s Voice. Blogging is one of the most essential forms of communicating in our times. It’s creative, has a wide reach and potentially positive influence. Blogging, in order to be taken seriously, requires utmost care and consistence in order to gain credibility. #hopeyougotthat .Femrite, Black Poet and Checkmate Mido met students, children and a few older poets, sharing challenges and joys of writing but mostly encouraging younger writers to not give up, to read and practice as much as they could and read widely.

In the evening, we launched Boda Boda Anthem and Other Poems: A Kampala Poetry Anthology, at the Goethe Institut. Close to 100 guests were in attendance. The anthology, edited by Ugandan writer, Mildred Barya, a doctoral fellow at The University of Denver, is a selection of voices across the world, on me the theme of Kampala City. The verses, well selected and edited, magnify Kampala’s weaknesses, strengths and aspirations, through their imaginative images and strong diction. Guest appearances from Daniel Omara, one of Africa’s greatest stand up comedians, were a major highlight. Chijioke Amu-Nnadi launched the anthology and Professor Remi Raji made an order of 30 copies for each of the states of Nigeria represented under the Association of Nigerian Authors. Jalada Africa, who sent reviews to several journals in East Africa, also led discussions on the anthology and asked participants about their own imaginative depiction of Kampala in 50 years time.

  

On Friday the 28th, the day began with a session entitled, “When the earth weeps, art also weeps.” Led by Sara Kaweesa, a board member of the Babishai Niwe Poetry Foundation and director and founder of Arocha Uganda, she emphasized how crucial it is for us to be stewards of thee earth and use creative messaging to share that to the rest of the world. As artists, our responsibility is to raise as much awareness of the dangers of global warming, littering and un-care of the environment. Next that day was Poetry On the Mountain. In partnership with Uganda Travel Bureau, The Babishai Niwe Poetry Foundation will take poets and thrill seekers for an excursion to The Mountains of The Moon in Kasese-Uganda. Deo Lubega, Patron of the Mountain Club of Uganda, took us through the process of both physical and mental preparation for the task ahead. Interested participants registered and from June 10 to 13 in 2016, about 50 enthusiasts will climb Mountains of the Moon and recite poetry, at an individual fee of 355 USD. For more details, visit the website or email bnpoetryaward@bnpoetryaward.co.ug.

Maritza

       

Every lunch time of the festival was filled with performances from various artists including children. In order to fill the demand for performance space, this was necessary. We then held a session led by Cross Cultural Foundation of Uganda, who talked about historical buildings in the city and how important the documentation of history is, to the preservation of culture. Later, we were hosted by Martha Byoga aka Maritza, host on Urban T.V, who interviewed past winners and shortlisted poets of the Babishai Niwe Poetry prize, alongside the #Babishai2015 shortlisted poets. It was here that Rashida Namulondo, Kelly Taremwa, Flavia Kabuye, Sophie Alal, Sheila Okongo Nyanduaki, Regina Asinde, Adeeko Ibukun and Nakisanze Segawa, who were present. Interestingly, while a few poets wrote their poems on the spur, all of them had to go through the rigor of re-writing, editing and self-doubt, which still re-emphasizes the importance for all poets, that nurturing is always key.

           

In the evening, was the grand finale award ceremony. Guests filled the main hall of the Uganda Museum. Various poets filled the stage and a documentary highlighting the Babishai Niwe Poetry journey was played, before Professor Remi Raji, board member of Babishai Niwe Poetry Foundation and President of Association of Nigerian Authors, announced the top five winners.

The #Babishai2015 celebrated shortlisted poets by name:-

Adhiambo Agoro from Kenya, Richard Otwao from Uganda, Arinze Ifeakandu from Nigeria, Sheila Okongo from Kenya, Nick Makoha from Uganda, Sanya Noel from Kenya, Lua Davis from Cameroon, Gbenga Adesina from Nigeria, Famia Nkansa from Ghana, Tolase Ajibola from Nigeria, Babajide Olusegun from Nigeria, Danica Kreusch from South Africa, Salawu Olajide from Nigeria, Ann Waruguru from Kenya and Adeeko Ibukun from Nigeria.

In fifth place was Ghanaian poet Famia Nkansa, for her delightful love poem, Elixir.

In fourth place was very memorable poem Like Scented Mangoes by Nigeria’s Arinze Ifeakandu.

In third place was the irresistibly provocative master poet, Nick Makoha from Uganda, with his poem, LHR.

In second place was the chilling and highly imaginative poem, The Ghost of Jevangee by Sheila Okongo Omare Nyanduaki of Kenya. She attended the Storymoja Festival in Nairobi in September.

And in first place, from over 2,000 poems, Adeeko Ibukun’s A Room With A Drowning Book, emerged winner. The subtle politics, vivid imagery, atypical structure and secreted message, were some of the winning points for the jury. Adeeko’s winning prize: 1,000 USD. Along with other shortlisted poets, m prizes include attendance at the Lagos International Poetry Festival, the Ake Arts and Book Festival, online mentorship for six months and copies of poetry collection and anthologies from poets celebrated world-wide. The prizes for first fifteen winners : Copies of poetry collections and anthologies, participation in various literary festivals continent-wide and six months online mentorship from well-known, celebrated, remarkable poets world-wide.

    

We thank all volunteers, George Kiwanuka, Caesar Obong, Sheila Abaho, Sylvia Nakiirya, Rosey Sembatya, Mirembe Kisakye, Nambozo Norah, Joan Agaba, Christine Namubiru and Ann Apio.

  

      #Babishai2015 winning poem

           A ROOM WITH A DROWNING BOOK  by Adeeko Ibukun (Nigeria)

            Somewhere in the room a book is drowning, the floor

            is shivering with pages. You said the spine is the balance

 to our two winged hearts. Sometimes it’s the light knitting

            its letters to our hearts. I see how things hold us in their lights

so we aren’t here or there like you’re here and somewhere

a lover holds you in her heart, light in water teaching these lessons.

Sometimes something holds clearly what we couldn’t say in words.

We face it to learn our silence and that again becomes part of

our languages. Places own us like this, light bounces off them,

turning their spears at me. Our hearts beat now and vision takes

its shapes—the stream of consciousness, nuances as water turn,

streamlet as novella lost in our undercurrent.  I’m lost in a story now

or a story’s lost in me. Perhaps we should hang on words so that

we do not drown. Remembering makes living its anchor. So I asked

if it’s us you wanted to save insisting everything  is placed this way

and that way of our anniversaries, each moment  achieved  as light

buried in water—so it’s here or there, past or present, our chairs and tables,

dresser and records becoming the dykes. The mirror’s at an angle

to the world so it does not yield all its light at once. Everything’s our

subject before we become their subject, relying on memories to endure.

    All #Babishai2015 shortlisted poems can be read here:

  http://bnpoetryaward.blogspot.com/2015/07/the-bn-poetry-award-2015-shortlist-is.html

  Photos of our festival can be viewed on our blog at http://bnpoetryaward.blogspot.com

  Follow us on Twitter @BNPoetryAward

 Best Wishes!

 Beverley Nambozo Nsengiyunva

 And the Babishai Niwe team.

 Thanks to our partners:-

 Stichting Doen, The Uganda Museum, The Uganda Society, Urban TV, Power FM 104.1, Gilgal   Media Arts, Storymoja, Novel Concepts, Parresia Publishers, Sunday Trust Nigeria, Femrite,  Sooo Many Stories, Poetry in Session, Nation Media, Jalada Africa, Lawino Magazine, Touch FM 95.9, The Observer Uganda, tru-IT Uganda Limited, The New Vision, Goethe-Institut, Uganda Travel Bureau, Cross Cultural Foundation of Uganda and Malaika Educare.

#Babishai2016 festival takes place from 24 to 26 August 2016 - The Uganda Museum

PROFILING NICK MAKOHA (UGANDA) #BABISHAI2015 SHORTLIST

Nick Bio:Nick represented Uganda at Poetry Parnassus as part of the Cultural Olympiad. A former Writer in Residence for Newham Libraries. His 1-man-Show My Father & Other Superheroes debuted to sold-out performances at 2013 London Literature Festival and is currently on tour. He has been a panelist at both the inaugural Being A Man Festival (Fatherhood: Past, Present & Future) and Women Of The World Festival (Bringing Up Boys). In 2005 award-winning publisher Flippedeye launched its pamphlet series with his debut The Lost Collection of an Invisible Man. Soon to publish his 1st full collection The Second Republic from which his poem Resurrection Man was shortlisted for the Flamingo feather poetry competition 2013.He was a joint winner of the 2015 African Poetry Brunel Prize.

His shortlisted poems for the #Babishai2015 Poetry Award are below:

LHR:  by Nick Makoha (Uganda)

An airport is a room. I keep talking as if my body is elsewhere. 

In full sight of a crimson God as children we were burdens,

coffins with eyes. A professor steps into the light to educate us.

You can't kill the dead twice. Has he seen the militia slide down

a mountain like goats, or a beatingheart explode on to a barrack wall?

Even the coffee I brought back in hand luggage when poured in a cup

is an eye, a past dark itching for light.Therefore, I cannot be the memory

of your death, let me bend the waya river does, all shadow and sound,

around a hill, towards a village I once recognised. There are days

when this unplanned landscape speaks its music, above a ribbon of stars,

below a wall of torn out tents and beyond a river waiting as one would

the apocalypse. On other daysyouare a name on a list, given to armed men 

at a roadblock. Guns held loosely by their waist. Hovering as catfish

in a shallow pool. Before roads led to you, or Livingston's maps found you,

before the mountains grew their backs, before sight was tempered,

before the revelation on a skies blank page in this perfect chalice of night

you are not the first pilgrim to ask the oracle what will I become me.

If I could  stop the sky from stretching its arms across the horizon, 

or the serpent Nile opening it's mouth toward a sea, or star blinking

in a midnight constellation as god watches your wife wash silk in a stream

would I not stopped our countries screams. I have the luck of Caesar 

his robe his crown and quest for immortality but soon this course

of blue and the way it bends  will have no need of me.

                        Death-fall    by Nick Makoha (Uganda)

Before Koni, before Museveni, before Obote’s second term, before now

there was me. We were in deep Shit! Bridges couldn’t be fixed with gaffer-tape.

America stopped lending plasticine to fill pot-holes. I quit playing refugee.

Who among you was going to pay our country’s light bill?  Well? You uninvited guests

like Rome, you will know where we put the bodies in their tunics and kangas. My sins,

both real and imagined, into the trap. To my brother my rival, when he comes

don’t let him tap the glass (idiots), devise his death. You stable-god,

a month’s worth of grain for the paratroop regiment won’t purge you. 

New wives and shoes and a move to State House while we live in huts.

Home will see your troubles cursed. By the way, your Chief of Police,

into the trap. You who believed in Churchill’s prophecy. You innocents

ruled by a spinning earth, your tears will quench the barns we set fire to.

You who call your guns She.You papiermâché martyrs with north Kiboko accents.

You shadow soldiers who dig dead men from their graves. You in the motion of battle.

You who search the airwaves for the British World Service, who stare

spirits in the face but can’t stand heights, the rules say, into the trap.

I will not forgive the clan who sheds blood for party politics. Your god might.

The one with his hands up as he waves, ask the firing squad to send him

with the widowers, orphans and motherless sons, into the trap.

All you disciples of empires.Mr Men ministers who paraphrase over PA systems,

into the trap. Wrecked after five days of being held under decree nineteen.

Why riffle through your Yellow pages in search of Heads-of-state? Into the trap.

The executioner who lets you watch his navel after bare-knuckle fights, into the trap.

 You who played The Bard on screen and stage, or quoted Aristotle, into the trap.

Your second tongue, into the trap. Lumino-boy with that Yankee

dialect, into the trap. It makes no difference to me, you sun worshiper.

Name your Icarus and fly, into the trap. You who abandon your wife’s thighs

for the cradle of a servant girl, into the trap. You at The Uganda Company Limited

(Trojans), because you gave us cotton but took our land, follow me with your horse mask,

into the trap. Those who offer me your skins as a fig leaf, let me carve a map

on your backs to Ithaca. You can hitchhike for all I care, into the trap. Take your stand

with the soothsayer in her snake dress. The ones who hesitate, into the trap.

**************************************************************

The #Babishai2015 poetry festival runs from26 to 28 August at The Uganda Museum in Kampala.
Tel: +256 751 703226
Email: bnpoetryaward@bnpoetryaward.co.ug

#babishaipoetricks Training of Trainers at Big Bear Kindergarten, Kampala

On 9th June, the first Training of Trainers of the #babishaipoetricks children’s adventure toolkit took place. Our hosts, Big Bear Kindergarten in Kampala, were absolutely thrilled at the opportunity. There were four trainees namely Teacher Joyce the proprietor, Teacher Rinju the Director, Teacher Nakiganda the Headmistress and Teacher Diana a teacher. The objectives of the training were to share skills from the toolkit on how to guide children into understanding and appreciating #babishaipoetricks. The Babishai Poetricks toolkit is an experience for children aged 4 to 11 years. In it are eleven adventures which aim to instill life-skills, sharpen observation skills, creatively engage a child to interact, listen, speak from the heart, use images to relate and become introspective. The training covered three of the eleven adventures.

In the first adventure, the trainees drew pictures of their faces, allowing others to describe what they saw. Through this, we are able to see ourselves in other people’s eyes and also analyse how we see ourselves. Children will most likely laugh at the funny shaped noses and mouths but the trainers should use that for children to appreciate their own looks. By doing that, the creative space opens up for them, along with their confidence. The pictures turned out hilarious but on a deeper level, reflected a lot about the personalities that day.

Next, we matched moods to colours. Interestingly, while black was considered sorrowful, it was also considered adventurous. You see, in this toolkit there is no wrong answer. Instead, children are encouraged to articulate, analyse and reflect. An adventure may either take 1 hour or 1 week, depending on the group dynamics. That is what #babishaioetricks is about. It’s an experience.

When it came to tackling the five senses, we had to end there because our 2 hours were up. There are many uses of the mouth and nose that many people are unaware of. It was a true life-changing training.

Testimonials

Teacher Rinju, Director of Big Bear Kindergarten:

“This training of training was extremely helpful, practical, very interactive and enables children to really think.”

Teacher Joyce, Proprietor of Big Bear Kindergarten:

“This is so important because it helps teachers to learn various adaptations to use in their classroom exercises. It is so much broader than what our teacher-centered system provides. It’s a true experience.

 

These are the first certified Babishai Poetricks trainers. We look forward to training more trainers.

Note:

Training of Trainers are currently taking place in Uganda, after which we will branch to Kenya, Nigeria, Rwanda and South Africa. In order to train from this toolkit, you must be certified. The Trainer fee is 50 USD per individual and takes from 2 to 3 hours. There are packages for schools as well. Join us and become certified.

FEW SNAPSHOTS OF WORLD POETRY DAY CELEBRATIONS IN KABALE

BEVERLEY NAMBOZO INTERVIEW IN GLOBAL PRESS JOURNAL

KAMPALA, UGANDA – Award-winning Ugandan poet Beverley Nambozo Nsengiyunva is dedicated to preserving and advancing Africa’s tradition of oral expression. In addition to writing her own poems, she established the BN Poetry Award to encourage African poets to emerge and flourish.

In an interview with Global Press Journal, Nambozo talks about how poetry empowers readers to transcend suffering, to deepen their capacity to love and to spark social change.

Apophia Agiresaasi: I understand you became interested in poetry early in life. Was there a poet in your family, community or in Uganda who inspired you to start writing poems?

Beverley Nambozo Nsengiyunva: I was actually a child when I became interested in poetry, or, to be more specific, interested in the musicality of words and the rhythmic ability of prose. There is no poet in my family, but my father was very artistic, being a diplomat who was very well-traveled, and he translated his explorations into the home, which influenced me. My mother and siblings also have creative gifts in various fields.

The schools I attended supported writing and reciting during assembly, in class and even in the dormitories. I often composed raps or poems for my dormitory or class and weaved them into dance routines.

Coincidentally, my husband too is an artist, and so are our children.

AA: Among the poems you have written, which one do you like the most and why?

BN: One of my favorite poems is “At The Graveyard,” first published in my chapbook collection, “Unjumping,” and also in The New Black Magazine. It is about my father’s passing and how his immediate family was affected by his death and started to act so lovingly towards his memories in the hope that he would be able to cherish and take part in their ritual of loss and love.

I read it because memory is what we have when people we love die, and we can re-create these memories to make the loss more bearable and to strengthen ourselves to live large and to love large while we are alive. The poem has taught me that love knows no bounds and the heart is disobedient to rules because, in my own life, I have loved and continue to love in the true belief that light trumps darkness.

AA: Your poetry speaks about a range of issues, from sexual harassment to motherhood. Do you see your poetry as a way of promoting social change?

BN: For me, that is the epitome of writing. If my poetry can inspire, sow a seed, change a thought, and point an idea towards social change, then I will say that I have lived and have left a legacy to my children. Poetry is sacred, and I still believe that it is the highest form of literary art. I highly respect all other forms of literature ­­‒ prose, short stories, plays and novels ‒ but poetry is loudest in its stillness and silence. Poetry takes us to our primal world and our highest intellectual form through its creation and understanding and impact.

I desire my poetry to create discourse that will elevate female prisoners from the bedrooms of their woes, from the homes of their estrangement where their creative expressions have been strangled by traditions that disallow them to speak boldly before their grandfathers and uncles. I want my poetry to teach women to dance until their belly buttons form into lips of praise.

“At the graveyard I sit on my father’s lap. Where we can talk. Of what could have been but was not. Here he has many friends, Even his mother-in-law brings him flowers. Now I understand why he has to write. It keeps him alive. We saved him by killing him. Because now he writes. He recited a poem for me And my mother discovered my frozen tears on my father’s stone ”

AA: Do you write your poetry for a particular audience?

BN: I usually have a handful of people in mind, but after I have performed it or it has been published, I come to the daunting realization that my audiences are as visible as my nose and as obscure as a revolution. They are the invisible power that makes me write. The more I write, the more I don’t know my audience. It is usually when I am not writing that I am conscious of an audience that I imagine is belittling my creative work.

AA: You have mentioned previously that Uganda’s culture is founded on oral expression and that poetry is a way of preserving morals, history and values. Why do you think poetry is a powerful form of oral expression to preserve culture in Uganda?

BN: The reason that poetry is a powerful form of oral expression in preserving culture in Uganda is because our lifestyles are created through the things we observe and the manner in which we speak. As we tell stories, share news and gossip, we are creating a Uganda that we live in, that we have lived in, and that we desire to see. Stories and songs are expressive ways of sharing our deepest knowledge and truths based on morals, celebrations of thanksgiving, mourning [the] death of a loved one and making announcements. It is these oral gifts that bring communities together, and we should never lose that.

We should never stop speaking of what we are because if we do, the mouth grabbers will steal our speeches and turn them into their own. I believe that oral forms, if they are strengthened, should blend and become hybrids. Let our words drift into other lands so that they can learn and love us, and let our words mingle with people from far away so that they can blend with theirs and become richer.

AA: You have said that poetry is essential to bind Ugandans together. Do you write poems in local languages to preserve the culture and promote unity among Ugandans?

BN: I write quite a lot of poetry in Luganda, which is my mother’s language. My father was a Mugisu. And traditionally, I come from Sironko in eastern Uganda. I desire to become a perfect wordsmith in Lumasaaba as well. In addition, I am learning to speak Runyankore and Kiswahili to make my poetry richer than it is through the fusion of local languages, whose abilities supersede certain phrases in the English language.

AA: How has poetry defined your life?

BN: The truth is, poetry has been a lifesaver for me. Yes. I have gone through ripples and storms through my interactions with people, and it is only poetry that has brought me calmness as I wallow and weep. Poetry absorbs the tears and turns my self-pity into sweetness. While people take alcohol to rid themselves of misery, I write or read.

The Bible is very poetic, especially the story of Hannah, who was mocked by her co-wife after failure to give birth, but when she did, hers was a child of promise. Her song of thanksgiving is one of my favorite spiritual poems.

We have all been in situations where we are treated so unfairly even though we have loved so dearly. And then the promise we have been waiting for comes its way. We are so filled with gratitude that we can’t even gloat but just rejoice.

AA: You started the BN Poetry Award to promote the genre in Uganda. What has been your most rewarding experience since you started the award?

BN: Being part of a growing revolution. Watching people like Lillian Aujo flourish into award-winning poets. Witnessing strong revolutionary voices like Sophie Alal and Sanyu Kisaka. Being part of a young poet’s dream like Susan Piwang and Rashida Namulondo.

I have also been extremely blessed to find firm friends in the poetry fraternity: well-wishers, literary organizations and international writers who want to be a part of BN. It’s incredible.

AA: What can other poets do to encourage other people to read and write poetry?

BN: We can invite them to our readings; organize reading clubs of poetry; conduct poetry workshops and poetry camps to instill a disciplined and persevering spirit of a poet who reads a lot; and supply them with all types of creative literature.

AA: Where do you see the Ugandan female poet 10 years from now?

BN: That is a lofty task. I hope that my vision is too limited for that. I hope that no one is able to see the Ugandan female poet in 10 years because they will be in a universe that has not yet been created. In 10 years, I am sure when you conduct a similar interview, you will agree.

- See more at: http://www.globalpressjournal.com/africa/uganda/ugandan-poet-preserves-oral-expression-and#sthash.anj8fsXm.dpuf