Tag: okzharp

  • Okzharp and Manthe Ribane’s Closer Apart is a Masterclass in Repetition

    Okzharp and Manthe Ribane’s Closer Apart is a Masterclass in Repetition

    Repetition is such a powerful tool. Through repetition, you can hypnotise someone, or wake them. Through repetition, you can numb the senses, or heighten them. Through repetition, you can create anxieties, or relieve them. Through repetition, you can express your deepest thoughts and desires, or bury them. Through repetition, you can say everything, or say nothing at all. It’s a bit ironic that repetition can be so diverse.

    Okzharp and Manthe Ribane’s Closer Apart is a masterclass in repetition as an artistic tool. Not only have I listened to it on repeat (it’s kinda the job), but every song folds in on itself and creates a time-travelling wormhole worth exploring over and over again. It’s a beautiful exploration of loops and lyrics that find new meaning each time they’re repeated.

    “Are you ready for the truth? Even if it hurts you?” Ribane repeatedly asks on ‘Make U Blue’, the second track of the album. She wants to confess, but she knows it will crush the priest in this particular booth. “Only the truth can hurt you.” It’s haunting in its simplicity and cuts deep, whilst also offering comfort. A common theme on the album.

    Plenty of snares and hi-hats punctuate Okzharp’s productions, but this isn’t Okzharp from LV fame. This a much calmer offering, with less focus on making you dance and more on creating a story with Manthe. ‘Zagga’ feels like it could have been a big trap track if they cranked it up but instead it feels unsettling, with lyrics that mimic and mock trap cliches.

    Closer Apart at times feels like it could be a soundtrack to a sci-fi space thriller. Especially songs like ‘Time Machine’ which has vocals that sound a bit like Hal-9000 meets autotune Kanye, and the closing track, ‘Treasure Erasure’, gave me flashbacks to running away from corporate cops across rooftops in the dystopian future of Mirror’s Edge.

    There’s so much going on with this album that it requires multiple listens to fully appreciate. It’s remarkably deep and rich with carefully crafted layers of repetition. Give it a listen. And then do it again. And again…

  • DJ Lag to release exclusive ‘Trip to New York’ EP to fans for free

    Gqom innovator, DJ Lag is about to strike again with his first, self-titled EP having only come out last year. DJ Lag is a pioneer who propelled the  Durban Gqom sound straight into the capitals of the international electronic music industry.

    DJ Lag has performed across the country, including at the Cape Town Electronic Music Festival, and has shared the stage with respected artists such as Skrillex and Euphonik at the Bridges For Music workshop in Kliptown, Soweto. He debuted in the international scene at the Unsound Festival in Poland and has since performed in a number of other cities.

    The King of Gqom, together with his management company Black Major, is dropping an exclusive EP to fans via WhatsApp for free on the 14th of July.

    DJ Lag’s Trip to New York EP is a 3 track EP with a remix of Khonkolo from Okzharp. The only way fans can get the EP, is by heading over to djlag.com and making sure they are on the send out list by 11am on the 14th. The EP will sent out to all those who have signed up in time.

    Fans who sign up for the EP will be the first to get exclusive links to future tracks.

     

  • My Urban moments of Silent Rupture: A weekend at the Red Bull Music Academy

    I fucking love Joburg but hell, the city is killing me! It’s a city at the epicenter of creative talent and cultural fusion screaming for recognition. It is here that Red bull music Academy (RBMA) decided to host one of its global music festivals at what for me is the heart of this amazing city of Gold.

    The festival would last for 4 days with various interactions and shows held around and within the city Centre. Though such caused my mouth to water and my legs to shake, it would be the longest party session since my varsity years.

    Felix Laband performs during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00713 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Felix Laband performs during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool.

    Day 1

    I started my Thursday evening on a calm footing.  The festivities would begin in Braamfontein. Parking turned out to be a nightmare as it was also First Thursday with galleries open and the food market in full swing. My car guard was especially chirpy that evening demanding that I first give him 20 Rands. He then negotiated down to 10 now and then 10 later once he saw that I wouldn’t budge. Business was booming that evening but he wouldn’t be getting any from me.

    The Kalashnikov Gallery on Smit Street would be hosting the haunting urban landscapes of Elsa Bleda. Her exhibition entitled ‘Nightscapes’ features the side shots of Central Joburg buildings.  The images of windows standing to attention in strict order with the walls under a silent evening glow. Washing lines drenched in laundry from lonely balconies.  The warm light streaming from the night soaked windows seek to remind us of those quiet moments of solitude that happen in the urban sprawl.

    Her photographs remind me of the quintessential Joburg buildings. On the outside effigies to a forgone history, that have lost their shine. But within the dense populous, individuals and intimate stories are at play. If we only just stopped and smelt the city fumes. These are ‘quiet moments’ I search for in the city.

    Jazzuelle ft The Lazarusman performs at Kitcheners during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00722 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Jazzuelle ft The Lazarusman performs at Kitcheners during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool.

    Day 2

    It’s Friday! I have clocked out from my day job and I’m desperate to officially start the weekend. I’m super armed. Loaded with my press pass and drink tickets, money would not be an issue.

    It was back to the city for me and I had dived into it on the deep end.  Braamfontein was even more packed than the night before. The streets were buzzing and Red bull signage showed who owned the streets for the night.

    I ended up in Great Dane hoping to catch Felix Leband live. I could barely get in the venue, thank God for my media Golden ticket. Sucked into the soothing electronic vibes the venue was the epitome of “happening”. You could barely see the walls. Leband was the conductor orchestrating a sea of heads. At this point there was no space for dancing, only the swaying limbs moving in time to the technic beat.

    Okzharp and Manthe Ribane prepare to go on stage during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 3rd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160904-00494 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Okzharp and Manthe Ribane prepare to go on stage during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 3rd, 2016 // Tyrone Bradley/Red Bull Content Pool.

    Day 3

    By the third night I am an absolute wreck. I was but a specter of my human self. The night before it was not I doing the drinking but rather the drinks that were consuming me. I had to move on because this had been the night everyone had been raving about and the highlight of my festival, Fat Freddy’s Drop, were in town. I had a responsibility to my readers to push through the hangover.

    The event would be hosted in what used to be the sheds that housed the electrics and services for the trams in the early 1900s. This would be the life blood to a budding Johannesburg. Then a mining town at the precipice of colonial forced “modernity”. Today this space has been repurposed to suite Joburg’s new developmental phase of Hipster Gentrification and all the fun and contradiction that comes with it.

    Whilst recovering from a major hang over, my new best friend was a can of Red bull classic, the pungent smell of the holly herb seeps through. Its strikes me as ironic that such would be consumed on such an unholy site. The Johannesburg police station was right next door in full view. For those who know this stations infamous history, they call it John Vorster Square. But hey, it was time to party and my favorite local artists were about to show us why ‘Local is just so lekker’.

    For me the best part of this all experience was getting to see Moonchild Sanelly in the sexy flesh. She is for me the next Brenda Fassie. A black woman unafraid of her gorgeous body, sexuality is her weapon of choice. It’s not enough to just buy her album (seriously go buy her album on ITunes now!) her high energy performance is the music. Her pop electronic is punchy as a mutha fucka but it’s her music’s deep hard base that keep her music grounded. A mixture of synth pop and kwaito, she keeps it raw on stage, unafraid to show you where the juice is.

    I experienced one of those ‘quiet’ city moments from the security guard at the front of the stage. He honestly had the best seats in the house being 1m from Moonchild Twerking bubble butt. He looked like some one’s dad sporting with the facial expression of having smelt something foul. Moonchild’s intensity, her exuberance seemed to be the cause of his offence. What a moment of silent disgust, while Moonchild did her thing and her fans screamed her lyrics in joyous delirium.

    For the Academy’s finale that evening Fat Freddy’s drop would be the band to release us into the final throws of the night. Having never heard this band before I can honestly say that they are the craziest and funkiest course in modern music theory I have ever experienced. The band, 7 oaks from New Zealand, who started their session with some reggae. They then threw themselves into a mellow dance hall track and then flung the audience into what can best be described as an intergalactic Disco fusion. A sort of meditative calling to an alien Diana Ross in the heavens.  I could not help but dance. My legs were pretty much adamant at this point that I do so.

    The ‘quiet’ moment of this evening was watching Toby Chang (aka Toby Laing) on an explosive trumpet medley, changing from slick cut suit to a fabulous pair of white shorts, white top and silver cape. I was in utter awe of his performance. He was in constant motion, his moves Juggernauting through the bands playing, his trumpet was just keeping up with the player. Man, was it a performance that I will never forget.

    The festival ended for me that night and would have to continue without me that following Sunday. At Soweto Zone 6 the festival would host its final day. The highlights would include Oskido, Vinny da Vinci and Black coffee. My soul was ready but body was weak and there was no way I could contend with the barrage festivities but somehow I survived and now live to tell the tale.

    The RBMA Weekender in Johannesburg was a testament to the great entertainment the city has to offer and is a must see for anyone in the city. It is also a reminder of its possibilities. It is not just a space for commerce but a space for creativity and the ultimate hustle for survival. The city of Gold is not for everyone and many do not make it through its relentless streets. As a young professional failing at ‘adulting’, I’ll be damned if I don’t get my piece of this incredible city!

    Uppercut performs at Great Dane during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00746 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Uppercut performs at Great Dane during the Red Bull Music Academy Weekender in Johannesburg, South Africa on September 2nd, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160903-00746 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Mashayabhuqe performs at the Kitchener during the Red Bull Music Academy Weekender in Braamfontein, Johannesburg, South Africa on September 2, 2016 // Wayne Reiche / Red Bull Content Pool // P-20160907-11815 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Mashayabhuqe performs at the Kitchener during the Red Bull Music Academy Weekender in Braamfontein, Johannesburg, South Africa on September 2, 2016 // Wayne Reiche / Red Bull Content Pool.
    Riky Rick performs at Zone 6 during the Red Bull Music Academy Weekender in Soweto, South Africa on September 4th, 2016 // Tyrone Bradley/Red Bull Content Pool // P-20160905-00156 // Usage for editorial use only // Please go to www.redbullcontentpool.com for further information. //
    Riky Rick performs at Zone 6 during the Red Bull Music Academy Weekender in Soweto, South Africa on September 4th, 2016 // Tyrone Bradley/Red Bull Content Pool.
  • Ghost Diamond – the Liminal Loop of Johannesburg

    Digital snow dissipates into industrial plumes of smoke foregrounded by a hazy sun-kissed grassland. Mounds of barren gold-dust emerge from the surface, translating into geometric layers of brick and mortar. A gritty aesthetic echoes the abrasive undertone of the urban landscape. Johannesburg. Articulated in a multiplicity of entangled narratives, the journey begins.

    Crystalline purple shimmers punctuate the features of a deep reverberating voice. The story of Ghost Kat (Manthe Ribane) is constructed through the spoken words of the narrator Bhubesi (Khaya Sibiya). Vernacular phrases are scattered in the otherwise English dialogue, locating the work in both a local and global context. The emotionally charged narrative, traces the pulsing undercurrents of city life through Ghost Kat’s semi-fictioned experience.

    The film intersects and draws parallels between Japanese and Zulu mythology, especially in relation to anthropomorphic identity. Initially inspired by Hagakure – a warrior code of the samurai –  which describes the cultural responsibilities associated with being entrusted with messages. London based musician, Okzharp equates it being, “custodians of other people’s dreams”. This notion materializes within the filmscape.

    Manthe’s inter-disciplinary and multi-faceted performance is seamlessly articulated. The journey of Ghost Kat, embedded in a surreal landscape resonated closely with her own experience. “Johannesburg is the mother of my dreams”. Through the collaborative process she began unearthing “more of the future, but the future is now”. In some ways this sentiment underpins the perception of Johannesburg as a liminal space in the midst of the “shivers of time”. A city which “reflects and relates on a constant loop”, but is rooted in the present moment.

    The fourth chapter of the episodic film is set to be released on the 1st of September as a music video for Sizzr – a collaborative piece by Okzharp ft Manthe. She describes her experience of the dance as “trancing into the music” while mesmeric movement takes hold. Ghost Kat appears clad in hypnotic silhouettes; black ridged garments emphasize every motion against a red-brick wall. This amplification of physicality is heightened by Okzharp’s musical mastery.

    His atmospheric soundtrack and the immersive experience of navigating the city, were the foundations of the visual album. The project spanned two and a half years, in which time the collaborative masterpiece was woven together. Director, Chris Saunders, recounted how the film was made almost, “entirely over the internet” as many of the contributor are peppered around the globe. In spite of this geographic difference, an incredible cohesion and nuance exists between the auditory and visual experience.

  • Bubblegum Club Vol 2 by Okzharp

    South African born, London based producer Okzharp recently wrapped up a euro tour in which he played his new EP “Duemla 113” live for the first time. We were fortunate to catch up with him during his tour and he even made an exclusive mix for us which you can listen to below.

    Can you tell us a bit about the BubblegumClub you’ve created for us?

    I was inspired after the recent Hyperdub party here in London, listening to Moleskin, Ikonika and Kode9. I played live with Manthe and Sondeza, so this mix is probably a homemade version of what I might’ve done if I’d djed on the night.

     

    You have quite a low-key presence on line, why is that?

    I’m not sure really, if I think about it my head caves in. I suppose it’s not wanting too much to get in the way of what I do. Manthe says she wants to make me a mask. I’m conflicted.

     

    Chris who you worked with on Ghost Diamond called Okzharp your reincarnation. Can you tell us how and why Okzharp was birthed? 

    I read that yes, thanks Chris… Okmalumkoolkat used the word in Dirty Paraffin music and we would say it all the time, used it to sign off emails and when I realised I wanted a name for what I was doing it just appeared and stuck.

     

    Besides it being you country of birth, what is it about South Africa and the people here, why is your practice so embed in this country?

    I think I’m figuring that one out. I work with a couple of people based in SA so I think that holds my focus to the place in a different way to just being an observer, more a kind of prosthetic participant. I feel a bit like that with London though too, obviously.

     

    When I met up with you in London last year you mentioned how GQOM had become a part of your sets. Can you remember the way the crowd reacted when you first played GQOM?

    Yes in 2012 there was a particular folder of tracks that dj ZharpZharp gave me that had Infinite Boys, Eduardo Paim, then there was ‘Mitsubishi Song’ by Menchess, I knew I was going to play that one. Then there was JBS, Lag, Julz, Lusiman, Emo Kid, Saybee, Thobzin, Citizen Boy, Rudeboyz, Cruel Boyz, and other boyz. I’ve only ever done one ‘gqom’ set though, which was for the Hyperdub 10 party at Corsica Studios, it was deep on the room 2 sound system with the smoke machine on blast. There’s also a night in Londoncalled Zhambeez, the dj ZharpZharp was there to headline the launch party and he slayed it with his gqomwave sound.

     

    You were exposed to GQOM early in its international trajectory. Can you recount the rise of this genre in London.

     The story is still writing itself really. There’s an amazing track on Kode9’s new album that has an almost-gqom-inspired-sounding glacial bulldozer bass, Neana and Moleskin are doing exciting things inspired by it, the virus is spreading. Lag’s EP for GoonClubAllstars is amazing. Big Space and I were joking about releasing a track we did together under the name ‘Appropriation Boyz’. At least I think we were joking. Also I hope the Zulu Compurar brings the gqomwave to life.

     

    Dumela 113 is quite the debut, congratulations… but now you know you have left us wondering whats next?

    Next is live performances with Manthe and Sondeza, Ghost Diamond film screenings and new music.

     

  • 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.

    Ghost Diamond Ep1

    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.

    Ghost Diamond Ep1 2

    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!

    Ghost Diamond Dear Ribane

     

  • 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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