Category: Community

  • Highlights from Yesterday’s “Classified” Premiere at The Zone

    The premiere of the new teen espionage drama, Classified, was a fun affair! Sprouted from the creative minds behind the acclaimed series Queen Sono (2020), Classified was inaugurated with an adorable red-carpet event and cocktail shindig. Guests were encouraged to dress in their best as they were treated to a screening of the first two episodes, pre-screening intro and post-screening Q&A at the Ster Kinekor cinema at the Zone in Rosebank.

    Airing exclusively on Netflix, Classified tells the story of 15-year-old Ella Gardner, played by Imani Pullum, known for her roles in Emancipation (2022), which stars Will Smith and the Seth McFarlane series, The Orville (2017-2022). Ella, a student in Oakland, California, faces unexpected challenges after being involved in a violent protest, leading to her arrest. Evading incarceration, Ella relocates to Johannesburg with her family where she attends a wealthy international school. 

    During the pre-screening, Lala Tuku, the Africa Rising International Film Festival (ARIFF) Chairperson shed light on festival initiatives that have brought thousands of children into the cinematic experience over the past six years. Further, she spoke on collaborations with Disney and acclaimed Nigerian-American filmmaker Walé Oyéjidé, even a masterclass with the likes of award-winning South African cinematographer, Mandla Dube, underlining the festival’s commitment to African storytelling for and by the people.

    Classified

    Classified

    Classified

    Produced by Diprente in collaboration with Skybound Entertainment, Classified is the brainchild of creator and showrunner Kagiso Lediga. Lediga, who sported one of his now signature colourful shirts, was seen mingling with his vibrant guests as the complimentary canapes and drinks were served. During the talk, he shared anecdotes about the production journey and was sure to emphasise the show’s Gen Z appeal, introducing the episodes and the cast present at the event. 

    Lediga explained that the freshness of the series’ premise was in its exploration of the world of espionage through the perspective of a teenage protagonist. A blend of espionage, drama, and local flavour, Classified was inspired by true accounts of diplomats who use international posts to infiltrate important circles through their children. The narrative is expected to start innocently and progressively get deeper and more complex.

    The director also noted that despite being one of his most significant projects to date, the show was independently produced. He said that they pre-sold different territories globally, with Africa and the United States being the initial sales. Sony, as the distributor, bridged the gap, signifying a blend of old-school and new-school values in the production process.

    Even though the host playfully questioned the lavish elements in the production, such as an array of expensive cars and a stunning wardrobe, suggesting they were beyond indie production limits, Lediga credited his team, who were able to mitigate budget constraints, through meticulous research and attention to detail.

    Classified

    Classified

    Classified is largely hinged on the allure of youth. The show’s role in introducing emerging talent to the filmmaking world was repeatedly emphasised throughout the event. While this new generation of actors starred alongside seasoned international and local veterans, including Christine Horn, Sule Rimi, Abena Ayivor, Lebo Mashile and Nat Ramabulana, it was clearly the younger cast members who were being celebrated on the red carpet. Watching their glittering fits and bright eyes, one couldn’t help but have a great sense of admiration for the fearless bravado of the young ensemble. 

    As the series unfolds, audiences will be part of the collaborative effort that determines these young stars’ fates. The performances, though green, will surely be dynamic and familiar and in that way, Classified is poised to make a significant contribution to the ongoing evolution of the great tradition of African storytelling. The potentially binge-worthy series premieres on Thursday, the 30th. Keep your eyes peeled!

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

    Classified

  • African Hair: Sometimes a Statement, Other Times a Celebration of Identity

    You probably recall the tension within schools in 2016, when a learner at Pretoria Girls High School was called out for her Afro hairstyle, and its supposed contravention of the school’s code of conduct. From what I can remember, it became a huge issue in schools that led to an uproar in student-organised protests. Not only did it raise concerns about the inclusivity of schools’ code of conduct, it also aided greater conversations about the repercussions of such regulation on identity. 

    Nowadays, African hair has become a wellspring of inspiration, igniting various forms of artistic expression across disciplines. An example of this is a series of artwork created by Visual Artist and Hair Stylist  Lebohang Motaung who creates informed conversations about the politics of Black women’s hair through her depictions of hairstyles, colours and varied use of art mediums. Motaung’s exposure to established artist mentorship, both locally and abroad, has played a pivotal role in shaping her artistic style.

    Her series of artwork titled ‘Hairoines’ is ultimately a celebration of identity. She aims to inspire women to embrace their true selves, urging them to remain unchanged and unshaken by societal judgments regarding their choices in hairstyling. As a Black woman, Lebohang draws from her personal experiences, navigating the complex landscape of Black hair politics.

    Something I noticed for the first time in the artwork is the use of literal synthetic hair as a medium. I think Moatung’s employment of synthetic hair as a medium symbolises the versatility and resilience of women, demonstrating that identity is not fixed but can be shaped and reshaped in dynamic ways- each creation tells a story of strength, individuality, and the beauty that arises from embracing one’s roots. It is not only aesthetically appealing but also relevant. 

    Whether it is in a local or international context, I love that the media nowadays reflects a deeper understanding of the traditions, bonds, conversations, and pressures that women, especially those of African descent, grapple with in relation to their hair.

    African Hair
    Lebohang Motaung, Hairoines , 2023, Acrylic paint, beads and synthetic air on canvas. 150 x 110cm, Lizamore & Associates

    For example, Beyonce’s different hair looks from the music videos of her sixth studio album, Lemonade truly underpins the versatility that is African hair. If you have watched the music video for “Sorry”, you’ll notice three different hairstyles, each epitomising African culture in some way. One particular hairstyle, inspired by traditional styles of the Congo Mangbetu women, was Beyonce’s braids shaped into Nefertiti’s crown. 

    In the music video of “Don’t Hurt Yourself” Beyonce shows out in tight cornrows, adorned with edges, which also happens to be the album cover. There were plenty of lyrical moments within the album that celebrated the identity and power of African hair, and its representation of culture. 

    And then, of course, there’s the 12th song on the album: “Formation”. Natural black hairstyles, afros, “nappy hair”, perms and cornrows are all depicted in the video, even the chores of the song pay homage to baby hair and afros. Such a portrayal of Black culture cannot be taken as anything less than a message of pride.

    In an article with Vogue, Anok Yai mentions that she would prefer to wear her hair in cornrows or as an Afro as opposed to straightening her natural hair due to the damage it caused. Seems like it did not affect her career in any way, as she closed Mugler’s SS24 runway show this year, in her natural hair no less. 

    From Motaung’s artwork to Beyonce’s album, each contributes to the conversation about the changing technologies of identity-making in our contemporary society. The logic of these artists’ choices in mediums is not only informed by the subject matter of their art but also reinforces the idea of shared experience- and I think African hair is a shared experience. 

    African Hair
    Image via Twitter
    African Hair
    Image via Pinterest
  • Caster Semenya, “The Race To Be Myself” 

    After years of remaining silent and never truly sharing herself, Caster Semenya was ready to tell her story, and boy did she leave it all on the page. Few memoirs can be called more than autobiographical, however, Caster has managed to tell her story with humour, raw honesty, and an admirable sense of confidence that starts from the first sentence, “I am Mogkadi Caster Semenya. I am one of the greatest track and field athletes to ever run the 800-m distance.” I know of no other athlete who has shared their story so authentically, and honestly before. 

    Caster’s memoir encompasses her childhood in rural Limpopo, the first moments she knew she would be special at the age of 8, an athletic career that made her one of the most famous athletes of her generation, meeting her beloved wife, and the painful moments she suffered at the hands of the IAAF. “The Race to Be Myself” is conversational, and no rock is left unturned in this emotionally moving and enlightening book

    Caster Semenya

    From an outside perspective, as someone who has only watched Caster run and talk in a few interviews over the years, it’s hard to think of her as someone who is larger than life. However, her personality comes off the page  as she synthesizes her past and present, in colourful and often humorous language, ” Seme looked like one of those cartoon characters where the eyes would roll with dollar signs or his face turned into one of those casino slot machines…” (The Race To Be Myself, pg 108) 

    Writing her story right from the beginning, and including her days climbing trees, hunting with her male cousins, and growing up amongst her sisters puts into perspective where Caster’s confidence stems from. What may sometimes come across as arrogance in her interviews, is actually the product of growing up in an environment where Caster was never othered or treated any differently, her parents brought a girl into this world, and Caster’s unwavering belief in who she is never faltered even as the world told her otherwise, because the people that mattered most to her allowed her to boldly be just Caster. 

    The book is laugh-out-loud funny at times, especially as Caster describes how she has zero tolerance for bullies and how she often settled those disputes with her fists as a child. This is a  belief that she has carried into adulthood, as she faces the IAAF and continues to fight for the human rights of other female athletes who have been the subject of gender testing. But as much as Caster’s light-hearted tone introduces humour to the story, it also breaks one’s heart as she recounts the times when her body and human rights were grossly violated. One of the most profound things about the book is that Caster never stops to pity herself, all that comes through every page is her determination, “I want to run. I want to win. That’s it.” 

    Caster Semenya

    In just 306 pages, Caster manages to cover a lifetime in vivid detail. No name is left off the page, and no detail is considered too small, she remembers and writes about small moments of kindness as much as the moments of cruelty that she faced at the hands of her fellow athletes. Even as Caster rightfully names and shames some people, the moments that truly mark her as the resilient and powerful person that we know and love, are the quiet moments often away from the track. For example, how she came to create her signature cobra sign that we are so familiar with or the meet-cute with her wife Violet,  all are the actual hallmarks of the book. Moments that we have only witnessed through the media, like her two-time Olympic wins, are given arresting detail in the book, so one not only sees Caster as one of the greatest living athletes of all time but also one of the most resilient and iconic women that have ever lived. 

    This is a book you inhale, simply because it is that gripping. Written in simple but clear language, Caster pours out her life and also takes the time to reflect on some of the moments that she lived through. There are many take-aways from the book, mostly, Caster’s absolute determination and discipline, and some the sheer cruelty and eugenics that still govern the athletics world. This is perhaps one of the most important memoirs to come out of South Africa, since President Nelson Mandela’s “Long Walk to Freedom”. 

    Caster Semenya

    Caster Semenya