Bubblegum Club

Tag: african futures

  • NOTHING GETS ORGANISED- Spaces of Freedom

    On the 28th March, the Nothing Gets Organised group  is opening a new project space in the Johannesburg CBD.  NGO – NOTHING GETS ORGANISED will highlight a wide program of visual arts against the unassuming background of a converted commercial property wedged in next to car repair shops.  The event spotlights a diverse range of multimedia work from South Africa and beyond. Included with the NGO collective, are the Brazilian artists Cinthia Marcelle and Tiago Mata Machado, along with  Pratchaya Phinthong, Nyakallo Maleke, Caner Aslan, Lerato Shadi and Donna Kukama (with Nadia Myburgh). The opening night also highlights a special performance of Donna Kukama’s work ‘To be announced’.

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    The Nothing Gets Organised project was founded by an original core of Johannesburg based curators and visual practioners. Dineo Seshee Bopape, Gabi Ngcobo and Sinethemba Twalo  have  all previously experimented with using unexpected spaces in the city as a platform for showing contemporary art.  This has involved taking art out of the white cube and gallery space, and into unexpected, sociologically potent settings.   Gabi Ngcobo was previously the curator of the now defunct Centre for Historical Reenactments, which  specialised in striking and original interventions into Johannesburg’s historically traumatised psyche.  For instance, PASS-AGES was staged at the site of a former Pass Office in Alfred Street, a space which had been used for the Apartheid state’s  surveillance and control of black people’s basic freedom of movement.

    The NGO project takes these interventions in a new direction, by focusing on creative a progressive aesthetic for the challenges of the present. NGO’s mission statement is an interest ‘  in un/conventional processes of self-organising – those that do not imply structure, tangibility, context or form. It is a space for (NON)SENSE where (NON)SENSE can profoundly gesticulate towards, dislodge, embrace, disavow, or exist as nothingness!’.

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    In recent times, Johannesburg has seen a lot of an attempts at the corporate regeneration of the inner city. But behind the rhetoric of upliftment, the reality has been the creation of securitised, exclusive spaces which often reinforce segregation and inequality. By contrast, NGO have taken it upon themselves to open creative spaces at a grassroots level. Over the last months, their Facebook page has shown their busy work on getting the venue ready, and the sheer joy of building a unique creative space in an often imposing and alienating city.

    NGO, 127 Albert street, 28 Nuggett Square, 2001, Johannesburg, South Africa

     

  • The girl without a sound: Buhle Ngaba’s call to action for a conscious generation

    Our story begins with a little girl, bright eyed and curious, in search of her place in the world. This is a story whose tale can be found in all of us yet whose journey resonates mostly with those who find themselves denied their place.

    This is the story told in the children’s book by Buhle Ngaba, beautifully titled, The Girl without a Sound.  Buhle describes herself as a Black female post apartheid storyteller whose exact moment and place is now, the South Africa context. She is an actress who seeks to find new ways to tell stories which for her has mostly been through her theatre background. Yet for her, writing this book could have only made sense using this medium, as this was her way of finding her voice.

    The protagonist loves to tell stories. She starts her journey in search of her voice. She is born special yet finds herself with a golden cocoon, where her voice should have been, unable to make a sound. She finds herself ignored with fewer people looking into her eyes and listening to her stories. It is here that her winged guide appears and introduces her to the stories of little girls that looked just like her who had so much courage. So begins her journey through books of magical places as she search for her voice.

    Buhle started writing this book as a letter to her Aunt, who features prominently in her life, whose birthday she had forgotten. Weaving this story was her action in response to that unfolding moment. She had a message for her Aunt but ended up sharing so much more. She had a story to tell.  Buhle would later post this message on social media using the tag #booksforblackgirls. At first it was called “a girl without a voice” but would later change it, at the instruction of her editor to make it more accessible, to the girl without a sound. This change would mark her move to a more visual representation of her work. The online response was incredible and it was here that she realized that she had actually written a story. She would begin shooting for the images for the book soon after.

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    A story of Language

    Imagery plays such a significant role in this book because of its ability to transcend the written word. In her recent visit to Colombia, Buhle would be reminded of its power in how her non-verbal performance was understood by non-English speakers, as they were able to relate to the injustices of an apartheid South Africa. For her the dialogue in the book would have to be minimal so that the readers would be able to insert themselves into the story.

    She finds that language can be very restrictive and looks for non-verbal ways to communicate. A child must also be able to hear the stories and so the intention was to make them draw the images in their own minds. They must be able to experience the story with the protagonist. The writer does this through the style of magical realism. She worked directly with the photographer, Neo Baepi, in directing the photography used for the book. She specifically wanted a background of a wall where she would be able to cut the illustrations onto the frame. These illustrations would later function as the visual guide for the reader as they follow the footsteps of the protagonist on every page.

    At the start of the story the reader is greeted with the words “for the one’s with moonlight in their skin.” Buhle explains that for her the moon represents the black woman, older and in particular our grandmothers. The image of the feminine is a constant throughout the book. The guide comes as a woman and we follow the journey of the girl. For her the moon represents a state of changing, ever present yet very mysterious. For Buhle Black women follow such characteristics as we too are made up of such extremes.

    As black woman we are elemental, we give birth to life. We are also made up of something strong as it takes so much to bring up children in a world that is anti-black. At the same time we too can be sad and vulnerable to the hardships we face. She felt that this book needed a dedication and this was her call to the reader. It was meant for those who feel such as she felt that these words would speak to their condition as Black woman.

    The story of Magic

    What affected Buhle to writing this book was her experience of going to the shops and finding no books for black children. Her Aunt’s child, who at school was reading Harry potter, would even ask why is it that only Jessica could be Harry and not her?  Buhle wants to tell the stories where black girls can see themselves within the pages.

    She argues that black girls are not expected to be queens and princesses. Yet we also cannot always be strong in response to such pressures. Black children should not have to be “strong” they are meant to be children but find themselves in a hostile space that can rob them of their opportunity for magic.

    Black life is one of violence. It is one where we are constantly reminded that we are deemed valueless in both our lack of representation in the books we read and the cultural content that is not made for us, surviving as a historically marginalized group. It is also one where we are constantly told that we should feel grateful for our current gains even though we live in pain and anger over our continued unjust conditions.

    The story of the little girl becomes one of having to find new stories about ourselves. The little girls reads stories of others who look just like her and have achieved so much even though they themselves have also lost their voices. It is here that she is encouraged to seek out her very own sound within the world. The little girl chases a glimmer in the distance, yet never finds its source. Instead she collects various treasures on her journey. For Buhle the journey is constant. You will never understand it unless you live it, taking with you the various experiences you gather on the way. It is such experiences that also drive her to speaking out declaring that she will no longer be silent in order to make others be more comfortable around her.

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    The story of a Call.

    Amidst the growing political protest with the student movements and calls to decolonize the university seems to permeate the realization that the education system has failed those it was meant to serve. Students no longer find value in the books and theories that speak to the challenges and material realities. There is the call redefine a curriculum that would exclude those from the production of knowledge that is meant to impact.

    Buhle’s book is apart of this story. Where most of the focus is on primary, secondary and tertiary education, she has decided to engage with the age group that easily left out of the discussion. Her book is apart of the movement to re-write the curriculum in the image of the young children it targets.

    Yet the journey in this fiction is not limited to children. Buhle makes the important point that we are all responsible for our own inner child. We must also look after her. Even now as adults the cocoons in our throats tighten up and even we need the tools to start thinking about how we can free our own sound. For her, as an artist, it is her responsibility to not ignore but to be responsive to this violent reality of ours. She wants to create a response that is both honest but also beautiful.

    Through her book she is able to create a world of magic in which one’s voice has been found. The world can be a dark and debilitating to the point where one is almost paralyzed in shock. In reaction to this she wanted to respond to such with hope and strength, a guide to finding the next baby step forward. This book creates a place where we as black girls can feel whole because there has to be a place where we can feel whole. As soon as we realize that such a place is ours then comes the call to action to make that place a reality. We are then called to transform the world.

    In the book it’s the image of the butterfly that escapes from the silenced voice. It functions to represent the transformative nature of being, but such is only possible through a willingness to change. The little girl must first do the work in the world and only then can we make it our own.

    Buhle explains that all the work she does to some extent tries to encourage others to tell their own stories. She runs workshops for children in whom she encourages them to tell their own stories and feels that too many children who, just, like young self, feel that the world constantly ignores them. Buhle argues that we need to let go of such complexes that say that we need to rely on others to do this task for us.

    Her book is available for download so share and answer its call to Action!

     

  • Noirwave; reflecting alternative black identities

    Noirwave is telling the story of black glory, of Africa, through art. The creative collective of Petite Noir and RhaRha Nembhard form the heart of Noirwave and their collaboration with Lina Viktor reveals the beauty and diversity of experience that is being African.

    While the immorality and brutality of imperialism perpetuates much pain and suffering on the continent, its people and geography are more than elements or victims of an imperial agenda, or beneficiaries of international aid. Africa, Africans and the African diaspora make incredible contributions to the world’s culture, colour and creativity. From the Americas to Europe and the islands through which black people are positioned, we make the music that the world dances and drones too. And while our images are often used against us, the beauty of black people, the potency that melanin projects is undeniable, despite the hegemonic mission to make mockery of it.

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    Blackness progressively makes strides, against the forces that oppress and divide us. And as black people continue claiming our right to be ourselves without apology, there are black artists working to create reflections of blackness and Africa that are based in a perspective that educates and empowers. Enter Noirwave, a movement and collective making strides  towards progressive representation and integration of black identities. Synthesizing politics, art, fashion and music to tell a story about the incredible beauty of Africa and the diversity of experience black people exist in on the continent and beyond.

    Noirwave breaks the boundaries between the stereotypes and archetypes of Africa, projecting images that are progressive and positive. Africanness and blackness are not monolithic constructions of colonialism but shifting, complex identities and cultures that are also subject to the influence of the internet and form an important part of the international community. All of the above should go without saying, but the hegemonic powers that determine what we see and hear and consume would erase this unalterable truth if they could.

    In 2015, Petite Noir, RhaRha Nembhard and Lina Viktor produced images and sounds that subverted the status quo and offered a view of blackness that reflected Africa, Europe, America and Asia, that vivified the experience of walking the world in black skin while being a global citizen, reflecting the progressive forces that are working to unify humanity, as well as the historic fact that Africa is the home of humanity.  The video for Best, touches on the striking and emotive themes encapsulated in La Vie est Belle, Petite Nior’s critically acclaimed debut album. The artwork and music video for the album are rooted in Africa and use influences from artists and cultures the world over to tell their story. Noirwave offers the world beautiful music and visuals to enjoy and admire from a creative consciousness that upholds black beauty and promotes black love. The importance of these ideals cannot be underestimated in a world that tries to erase and divide us. So the struggle continues with new sights and sounds to take us into a noir future.

  • Watch Fight Master, the surreal video from Agord Lean’s collaborative EP “WU”

    Agord Lean spent Feburary recording his upcoming EP in the Bubblegum Club project space at Workshop Newtown. He describes the residency as, “strenuous but fruitful” and provides insight into the creative process, emphasising the importance of, “making work and cultivating your own voice”. And realising the incredible scope of creative expression while embracing the changes that come from creating and collaborating.

    From an exhibition of zines and paintings, Lean has taken a creative journey through his residency in the space. Through collaboration with other creatives and a mindful, open attitude to art marking an EP, WU, has been produced. Fight Master is the first taste from WU and it is a glimpse into Lean’s esoteric and ethereal soundscape, reflecting space and time of this age and beyond.

    WU will be available online this month, it features production from Uncle Party Time, with some creative luminaries on the mic including Dokta Sypzee, Boogy and KillSmith. Lean was kind enough to let me jump on as well; my debut as a recording artist.

    Cava the tracklist below, WU drops later this month.

    1- Intro,in time (Ft Boogy x Viva)

    2- Iyanishiya Ft Dokta Spyzee x KillSmith

    3- Find me

    4- Illumination prod Uncle Party time

    5- Interlude

    6- Fight Master

    7- Outro

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  • The Tembisa fashion show at the forefront of fashion presentation

    Fashion 4 Sho an annual fashion show, now in its third years was held on Sunday the 14th of February in Tembisa, a large township situated in the north-east of Johannesburg. The event has little institutional recognition and no social currency within South African fashion industry circles. But despite being ignored by the mainstream its approach and presentation is actually far closer to the current innovation in international fashion presentation than the more famous South African events.

    The event had all the features that currently define an “industry shifting” approach towards fashion presentation. Through the event curation, the organisers and the designers engaged in topical fashion industry conversations such as Gender fluidity  and body positive casting, the democratisation of fashion transmission and the reimagining of the traditional runway show model.

    Mapungubwe street was blocked off for the event, with  two white twin-pole tents running about a hundred metres down the street. Green astroturf was draped over a low platform and flowed onto the runway. A red carpet was laid along the length of the runway and was flanked on either side by black plastic chairs. Where the chairs ended a row of centre-fold tables (also on either side of the runway) continued along the road marking out a second part of the runway intended for designers to exhibit and sell their show pieces directly after the shows when the event transformed into a pop up market.

    The British luxury fashion brand Burberry, which is at the vanguard of important shifts in the fashion industry has been experimenting with a similar model in recent years. Burberry  makes pieces from its collections available immediately after the runway show, in what they describe as “shop the runway”.

    Givenchy is another leading international fashion brand which has been taking similar bold steps, making moves which Women’s Wear Daily suggests “could dramatically change the fashion show system for the long haul”. Givenchy opened their September 11 2015 show to the public, showing an acknowledgement of the change in the way fashion is disseminated, shifting from a hierarchical model where collections are for insiders such as editors and buyers to a democratic model described by Vogue as “open-access entertainment”. For the most part fashion shows in South Africa have existed as a form of entertainment even though concerted efforts have been made by local fashion week organisers for them to reflect the Western commercial system.

    Fashion 4 Sho rejected this system outright, exploring further the concept of fashion presentation as  performance art. The show started with a sole performer dressed only in a pair of green and and blue color-blocked underpants, sitting  still on the platform at the top of the runway with a noose tied around his neck. Then another performer emerged on the opposite end of the runway, reciting a haunting poem as she made her way toward the platform. Behind them,  models who had been standing still in a caged trailer began banging on its sides as the recital progressed. Just as the poem reached its climax the models broke through the trailer doors gently spilling onto the platform and then lethargically disappearing down the runway. Where the poet left off the Master of Ceremonies continued with improvisational ad-libs delivered in a raspy rolling voice, adding a futher layer of the fantastic and mysticism to the fashion presentation.

    Models of all shapes and sizes were cast to walk the runway, and many of the labels on show presented gender fluid looks such as “Tangz” distressed genderless streetwear pieces, which were modelled by both men and women. At times the idea of gender was subverted altogether with “Yayaz Accessories” a predominantly female targeted jewellery collection shown on men. The New York times describes this as “fashion’s gender blur, the narrowing of the sexual divide” calling it a “seismic shift in fashion, a widening acceptance of a style with no boundaries”.

    In the South African fashion industry new practices and ideas are recognized or become legitimate only if they are channeled down from the overseas. It is through a more inclusive system where local fashion media and institutions begin to look at, and start taking the creative production developing outside of established and privileged spaces more seriously, that South Africa can become the place where the agenda is being set.

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  • Jongo, the new tv series broadening the representations of black South Africans

    Africa’s first live-action superhero show has arrived! BET will premiere ‘Jongo’ next week, on February 15th . The show is a monumental occasion for African broadcasting, and a reflection of the demand for positive and increased representations of people of colour in media and entertainment.

    Pacou Mutumbu, acts in the lead role of Eli King, who is transformed by alien crystals he comes into contact with at the Cradle of Humankind and subsequently begins a journey to avenge his father’s death and thwart a devastating prophecy. A classic tale of vengeance and violence along with an exceptional opportunity to be entertained without the standard tropes of the Caucasian sterring, and his Eurocentric agenda. Jongo’s debut is a landmark for Africans, and bodes very well for locally produced entertainment.

    The show will run for 8 episodes on BET from February 16th then air on E-tv from April 19th.

    Watch the trailer below.

     

  • On The Intersection of Cultures: A Conversation With Chris Saunders

    Chris Saunders is a filmmaker and photographer based in Johannesburg, his latest project; Ghost Diamond, is a film inspired by and shot in the Johannesburg while featuring creatives from near and far afield. Ghost Diamond is a collaboration between Saunders, Manthe Ribane and OkZharp. It is a meeting of music and mythology, reflecting on Joburg as an international space which balances Western imperialism and modernity with African migration, culture and creativity. Johannesburg provides a canvas and character for Saunders, as his work offers multi-faceted expressions of the city and the inspiration and challenges it offers its inhabitants. Ghost Diamond is currently being promoted in Europe by the trio of Saunders, Gordon and Ribane.

    Jamal Nxedlana, interviewed Saunders in Johannesburg just before the onset of the European tour; the nebulous, sometime dubious but most often inspirational character of the inner city is expounded upon and appreciated here.

    Ghost Diamond Landscape

    Why did you choose Johannesburg as the location for the film?

    Johannesburg plays a character in the film. More than just been a location for the shoot the city brings something that not many places in the world can bring to the equation. Manthe and myself are both based in Johannesburg so it made sense logistically to shoot here. In the short film I try to also capture a less literal Johannesburg, to feed off the cities energy and translate it into the general emotive output of the project. The project directly feeds off my inner vision of what Johannesburg feels like for me. Sometimes dark, other times optimistic most times incredibly exciting.

    You directed Sebenza in 2012 and in a way it captured the times. How do you feel Johannesburg has changed since then? 

    I think Johannesburg and especially the inner city has developed and stabilized in a sense since 2012. When I say stabilized I mean more in the sense that there is less rapid development happening downtown and it seems like the space has a more consistent identity at the moment. Back in 2012 the city was undergoing massive change with new developments cropping up on different sides of the city each week, we found ourselves hanging out in places that were previously abandoned or industrial, it was all very exciting and the new energy in the city implanted many images in my mind.

    What cultural production do you feel is defining the current moment?

    Things that I feel are relevant at the moment are not necessarily new or from new players, I feel attracted to things that have been around for a little while, that have managed to keep their identity and make a name in different arenas without compromising or changing but by improving.

    Okmalumkoolkat for example, has continued to make unique, lyrical music, he has mastered the balance between lyrics that appeal to people locally in SA but are well thought through and still sound catchy and attractive to other audiences. This is intelligent, good quality music and I think he is a brand, which will transcend in the next year into the international market even more while still maintaining support locally.

    I think Maxhosa by Laduma, is a clothing brand which also proves that by making a good quality product that people will wear it, not only because of its novelity but because it is a quality product. He has taken something that could have been pure novelty but instead created something that combines a strong identity with incredible workmanship.

    Lastly, I wanted to mention one more brand I love, Dokter & Misses, a family run business with new relevant design, well priced & well made in Johannesburg. Again, I love a product which can be from a place that is unexpected and still compete on a global scale. South African products are now more than ever becoming more obtainable, we should be focusing on export with our weaker currency, how to benefit both from our services and industries.

    What do you think makes the cultural production coming out of Johannesburg interesting to people abroad?

    As mentioned in the previous answer, some South African products are unique and good quality and if they were more available, I think could possibly compete on a global scale. We live in a place where innovation is necessary for survival, we live on the intersection culturally between western and diverse range of local cultures. All of this makes the aesthetic and ideas very interesting. If we can embrace the local industry internally as well as find new ways to export and find avenues to make things work internationally South African products and work will continue it’s appeal abroad.

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    Do you feel there is enough space/support in South Africa for cultural production with less commercial motivations and more exploratory ones?

    No, not really. I speak for myself of course… having had to recycle money from my commercial work personally to create new projects most of my career, I always think how many nice cars or if I would have managed to pay off my house by now if I hadn’t taken this approach but then I realize that my methodology also keeps me relevant because by keeping the balance between innovative and commercial practice, as well as sometimes innovating commercially the two will always feed off each other because the commercial world is always looking for new references and if you can provide that you stay relevant. But going back to the question, I don’t think there is enough support for new ways of thinking in South Africa and it’s now more than ever, important to stick together and form partnerships where we can find support and create better products and services as collectives.

    Having watched your career develop you seem to involved in longer term projects and working with a similar group of people – why is this?

    My newest projects needed the time. They firstly weren’t as simple as previous endeavors. They were longer, more in depth and had more meaning to me. I wanted to do them justice by giving them the attention they deserved. In a world where temporary and quick output are the norm, I feel that it’s important to give projects more attention and to be even more thorough than before. The projects that I have been working on have also mostly been self-funded, its taken time between projects to keep the ball rolling financially too. Again, the balance between completing something properly, finding the money to do it and making sure its still relevant are always hard work.

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    What is it about the people you worked with on the film, which made you want to work with them?

    Firstly Gervase Gordon aka OKZHARP. He is an incredible musician with foresight, talent and skill. We started the project together and without each other it would have never exsited. A true collaboration. It was also good to have two different global perspectives, Gervase been in Lodnon and myself in Johannesburg. The project is the output of those two elements.

    Secondly, Manthe Ribane, her performance in the film drives the visuals and gives the music so much more emphasis. I feel strongly connected to dance and how it enhances music. They are reciprocal art forms – music needs dance and dance needs music, otherwise they both don’t exist hence the reason I think they co-exist so well in this film.

    The other characters in the film, including Khaya Sibiya who narrates the project is someone I have worked with many times in the past and who was a surprising addition. He saved the day in many ways I cant mention here and ended up making the film more colourful and interesting.

    On the design side, working with Jamal Nxedlana on the clothing really gave the film its pizaz, clothing that I feel was inspired by the urban surrounding been put back into it, giving Manthe’s performance more character. Deon van Zyl our editor and cinematographer for some fo the shots worked longer hours than humanly possible and the vibe in the piece was translated so well into the pictures with his uncanny skill. All our other characters too, Zaki Ibrahim who helped us on our first shoot with styling as well as been a character in the project and a voice on the track in episode 5 in the film. I hope I have mentioned everyone, all amazing people, we are very lucky!

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  • Agord Lean is An Artist Making Introspective Synthpop

    Agord Lean is one of the most slept on artists in Johannesburg. Since dropping his first mixtape “The Ghost and The Machine in 2012 Lean has quietly but consistently released a series of independently produced projects including his debut album “Time Loopers Directory”, the “Space Impact” Ep and his latest offering, another Ep titled “The Flight of The WU”.

    The way Lean sees it, his projects so far have been “experiments”, which may be the reason why each track feels so introspective like a moment of truth and self discovery. On tracks like “The Gords Introduction”, “Experience in Falls” and “The Invite (Fire On The Mountain outro)” Lean flexes his talent for combining minimal drums with atmospheric soundscapes and visceral cries.

    The emotion Lean transmits through sound is just as powerful in his paintings, prints and videos. Even before he started making music he operated in a space between art and popular culture, between the physical and the spiritual. It is the elusive nature of his practice that is partly the reason why he has, rather than slotting in, had to boldly carve out a space in Johannesburg’s cultural landscape.

    Listen to Agord Leans latest EP “The Flight of The WU”

    https://soundcloud.com/agord-lean/sets/the-flight-of-the-wu

     

     

     

     

  • Batuk Release Stirring Visuals for Their New Single “Daniel”

    After months of teasers, Daniel is here. Supergroup, Batuk dropped the video and EP yesterday. The video was shot by Kent Andreasen in Mozambique and holds stirring visuals of the group along with featured vocalist Nandi Ndlovu. Batuk’s debut is a beautiful and modern expression of Africa without borders, reflecting a refined appreciation for dance, drums and performance. Tres excited for more music from this talented trio. Enjoy the video below, the Daniel EP can be purchased on Itunes.

  • The Multi-hyphenate Dancer-Model-Muse-Musician, Manthe Ribane, is Taking The World by Storm.

    Manthe is a vision, even on Skype. I see the muse and the magician in her. She is animated and open, ready to share. Her lips and nails are venetian red, a collection of tiny tattoos decorate the manicured hands she uses to enunciate and express herself. Effervescent and composed, Manthe’s eyes are bright and beautiful as she relays her journey from Johannesburg to the stages of the world. She is on tour in Europe, promoting her musical debut, Dumela 113 EP.  The EP is a collaboration with OKZharp, aka Gervase Gordon. And while this may be her first foray into music as a recording artist, Manthe is an established performer and creator; she performed for Nelson Mandela at the ripe age of 8, danced with the V.I.N.T.A.G.E cru and toured with Die Antwoord, so singing is a logical expansion for her talents.

    While Manthe is reared in performance, she is also a maven of the visual arts. The ongoing collaboration between her and the photographer and director Chris Saunders has produced incredible images intersecting, urbanity, fashion and beauty. The girl is gifted and grounded in her creative power, focused on making her voice heard and using art to tell stories about the self, and South Africa.

    I ask about her experience with Die Antwoord and I’m thrilled to hear that she manifested the opportunity by sheer will and appreciation of their art. From obsessing over them as style icons, she met them per chance at a listening party for Zaki Ibrahim. Die Antwoord were intrigued and enamoured by her and the rest is history. The power of art and aesthetics to connect people is vivified in the online relations and cross-border collaborations happening between artists globally.  Manthe went on to shoot a video and tour with them as a dancer. Now she sits somewhere in Switzerland promoting her music and regaling me with stories about her siblings and how dreams are manifested from surrounding oneself with love and like minds. I fumble around for an enlightened response, she sees me and says, “Sometimes it is okay not to be cool, and just focus on your craft and your loved ones.” The pressures of the entertainment industry are well documented and it is not every artist who survives the late nights and sycophancy to inspire others to dedicate themselves to art forsaking the ills of the business for what is truly important.

    As we’re about to sign off Manthe imparts some of her inspirations to me, she mentions Mary Sibande, Nonku Phiri, Busi Mhlongo and Grace Jones, women who subvert the established and homogenous attitudes around art and beauty through powerful and honest art works. Women like her; magicians and muses, dark skinned dream girls.

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  • Okmalumkoolkat Announces Australia Tour Dates

    10603460_1063572280327805_8463003275543686714_nFutureMfana is headed Down Under! The International Pantsula is on a roll, after a December tour of Europe, uMalume has just announced a quintuplet tour of Australia. The tour kicks of on January 15th and closes on January 24th at the Sydney Music Festival, where he will perform alongside another super talented South African; Black Coffee. OKMKK is joined on road by his frequent collaboraters, Cid Rim and the Clonius, who accompanied him on his Euro Tour as well. Listen to OKMKK’s most recent mixtape, 100kmacassette below.

  • British Council Commissions Bubblegum Club To Produce Visuals For Innovation ZA 2015

    A film about connections and their potential to stimulate innovation. Commissioned by British Council Connect ZA for the launch of InnovationZA 2015 at iThuba Arts Gallery in Braamfontein.