Bubblegum Club

Tag: South African culture

  • Darkie Fiction – Bringing back South African sounds

    Darkie Fiction – Bringing back South African sounds

    It’s been almost a year since the duo Darkie Fiction burst onto the scene with their nostalgic, feel good single ‘Selula’. Produced by Stiff Pap’s Jakinda, Darkie Fiction’s Katt Daddy and Yoza Mnyanda didn’t expect the track to have such an impact. “It was honestly just experimenting, trying, seeing what we could be if we came together.” recalls Yoza.

    The past year has seen the duo work hard in studio with like-minded producers to create their debut EP ‘Sobabini: A Mzantsi Evolution’. Meaning the two of us, the title is a reference to joining forces between rapper Katt Daddy and singer Yoza Mnyanda. Born out of frustration from hearing local music on commercial platforms that didn’t sound South African, the EP references a time when local sounds were dominating the airwaves. “We missed hearing Boom Shaka vibes and TKZee vibes. So we wanted to carry the baton from those kinds of people”. Yoza explains.

    Featuring productions by Fosta, Original Swimming Party, DJ Mdubulo, Thor Rixon, Albany Lore, as well as Maloon the Boom, the duo were looking for producers eager to experiment with them, but who also had their own style. “We want to take these producers out of the alternative/leftfield boxes and bring them into mainstream along with us. To change the perception of how people consume music and what people perceive as South African music.” says Katt Daddy of the duo’s decision in choosing the right producers for the EP.

    Stylistically the duo is similarly rooted in South African culture, with their photoshoots and videos referencing local culture heavily. The cover art for ‘Selula’ for example aims to portray the lives of Black South Africans during the 1970s & 80s that wasn’t documented or as Katt Daddy put it, “Black people were not seen in fancy houses with dinner tables and paintings on the wall.” Adds Yoza, “we wanted to say ‘hey, we grew up very nicely, [our parents] did their absolute best’”.

    Aiming for a shift in the local music industry, the duo believe that there is an appetite for local sounding music, but a lack of commercial support for it. “You play TKZee in the club now and people go crazy. But it’s access, it’s not circulating on radio, it’s not played on television. That’s what drives us to get back to be circulated again because we hope that our names are the names they speak of when the wave of the South African music industry shifted one day.” Yoza explains.

    Noting America’s dominance of media and culture, Katt Daddy also believes a major factor in the success of American sounding local music is due to an inferiority complex amongst black people thanks to apartheid’s legacy along with black South Africans admiration of black Americans who went through similar struggles during the Civil Rights Era. It is for this reason that Darkie Fiction is focusing on South African music for South Africans. “We’re not making music to be noticed in America and go to America, of course I’d like to be exposed to countries overseas, but it’s very important that we make music for South Africans as South Africans.” explains Katt Daddy.

    With the EP still fresh, the duo is currently working hard on promoting it and will be releasing a video for ‘My Ntliziyo’ next. “It’s focusing on the title of the EP, because we are also in a romantic relationship and lots of people ask if we are in one or not, so this video is going to say yes we are.” shares Yoza of the treatment for the video. They do have new songs in the pipeline, but are giving their EP some time to breathe first.

    Having played the likes of Design Indaba and Oppikoppi, the duo are no strangers to large stages and  feel more comfortable in that environment. “It’s actually the smaller stages we find more challenging. We performed at Kitcheners and that was the smallest stage we’ve ever performed on. It’s challenging, intimate, very different vibe, not to say that we don’t enjoy it but we conceptualise our performances on big spaces.” explains Katt Daddy. “We watch a lot of how Boom Shaka used to perform. We have a lot of grievances with the music industry at the moment. Sometimes we go to shows just to see how people perform and it’s so boring. So we decided to actually put on a show. We sweat! The visuals, the music, the performances it all has to tie in together and when you see Darkie Fiction on stage you say yes that makes sense. Quality is very important for us.” continues Yoza.

    Although Yoza and Katt Daddy aim to make music for South Africans they are acutely aware that in the current industry it is not sustainable as yet, still they believe artists shouldn’t be making music to be booked in certain places. “The ones that are making American sounding music are making the most money in South Africa and the ones that make South African music are the ones that get invited to Sweden or Switzerland to perform. It’s very funny. I think it’s possible and we as Darkie Fiction are advocating for that, that South Africans can be called to play overseas but you must not focus on making music so that you can perform overseas.” says Katt Daddy.

    Yoza continues, “…if you’re not being appreciated at home you should go where you’re appreciated. But I don’t think people deliberately don’t want to make it at home, it’s just the way it is. Hopefully it changes tho!”

    In the end Katt Daddy and Yoza want their listeners to take positivity from their music. “Be South African. Remember where you come from. Always stay positive in any situation. Just know that things will work out.” exclaims Katt Daddy. “Feel good. Katt & I both struggle from mental illness, so our music comes from there. It comes from when we’re feeling shit, we make music because it makes us feel better. And in turn when people listen to it they say they feel good. I think it’s not necessarily an intention that we’re going to make feel good music, but because of the place that it comes from for us then it ends up translating that way. Which is awesome.” adds Yoza.

  • The Evolution of The Sartists

    The Sartists – One of the first collective’s whose name imprinted onto my young mind when I situated myself within the man-made concrete mounds of the bitter-sweet creative city of Johannesburg. A very organic process considering that this group stood out as one of inimitable expression characterized by disruptive, radical thought and one of a kind fashion apparel. The multidisciplinary collective made up of Andile Buka, Kabelo Kungwane, Wanda Lephoto and Xzavier Zulu seek to challenge insular notions about blackness with a documentary approach to style and identity. Now four years since the inception of their creative brotherhood the auteurs of the ‘Sport Series’, the ‘Our Tribe’ Stüssy editorial and the Levi’s Customization project are in the midst of a transition.

    As time has passed so have the dynamics of creative production for The Sartists who are working more towards honing their practices individually outside of the collective. What is anticipated by the group for this year is a number of international exhibitions and a keener focus toward personal projects for the group as a whole.

    Individually Wanda’s fashion label, ‘Wanda Lephoto’, a ready-to-wear brand taking its inspiration from under-celebrated black culture, has a new collection in the works. With his focus marked on the new collection, Wanda will partake in his first South African Fashion Week. One of the goals he shares with us in conversation is to employ people for his label and to share skills, grow and participate in more events as an individual, and as a collective.

    The collective’s transition is one of singular focus looking inward as can be seen with a renewed focus on the Customization of denim project. A collaborative project between Wanda, Kabelo and a retail partner will bring forth a new denim capsule. Wanda explains that the design focus on denim can be attributed to their collective attempt at channelling earlier DIY forms of denim production for the group that took place in their homes.

    “I think there is a strong cultural significance about denim within our spaces. Jeans can last you 5-10 seasons depending on how well you treat them and how good the quality is. I like to make classic products that will outlive me and my time on earth. Denim is one of the key items I love to design because it embodies that,” Wanda explains.

    Wanda shares that he would like to use his first fashion show as a stepping stone to have his models’ opinions voiced beyond their aesthetic appeal. “I like to use people with substance that are giving back to the culture.”

    Kabelo has been working on projects in honour of his late father and launched a casual football brand in this year that speaks to South African culture. Football is of integral importance to him as it was one of the first sports that he played and the idea for the brand acts as a way of creating a football lifestyle.

    In October of last year Xzavier celebrated two years at adidas and expresses that “I am in a different space, the corporate guy in the group. I’m trying to balance that with who I was even outside of the collective.” He hopes to release two collections this year. As the collective works towards individual growth, he expresses that it will facilitate collective efforts and pinpoints it as an internal, mental and cultural shift.

    He elaborates on their current way of working by stating that the group assists one another in personal projects and makes time in their schedules to work towards projects for the collective. An example of this can be found in the 5OS (Five-O-Sartists) Levi’s project by Xzavier Zulu. Some might say that this mode of cultural production is the future of collaborative practice.

    Being a part of a collective is an incomparable support network within itself built on trust and respect, Xzavier expresses. He looks to his collective not only for advice and support but for truthfulness in his practice – to tell him when his work needs more, less or something different.

    “There is more of a community, a family. A respect and understanding of each other’s possible success. There is a very clear understanding that your efforts are as great as the next person’s and can only help the collective as a whole.”

    His advice for getting your first “in” with a brand is to be patient, work hard and surround yourself with others who share the same work ethic as you. He identifies the collective’s success as one that came about from years of customizing, thrifting and working hard. “Understand that you need to work even if you think you’ve made it. If you want that brief from that brand you need to think like that and be really mature.”

    Andile has been working in Japan frequently over the last 3 years and expresses that the city stimulates his personal projects. He explains that his constant return can be attributed to his interest in publishing and creating photo books in a city where publishing is more affordable.

    “I think I’ve done more that side than this side in terms of my personal work. It’s humbling to have that presence and support in a city that you are not from.”

    When probed as to why he remains a member of the collective he states, “You come to the realization that you can do things by yourself but when you do them as a collective it’s better, it’s bigger, it’s stronger.”

    With labels such as “Johannesburg’s best dressed crew” and perhaps a subculture within itself, The Sartists embody at present everything they set out to be; to be storytellers who celebrate black culture and subvert narrow minded views on blackness in modern society. The collective has left their imprint on South African youth culture and fashion resulting in other young people becoming stylists by thrifting and customization. As the brand has grown over time so has its members. The choice to focus on their practices individually has not resulted in a negative impact and instead they look to one another as family and as a support network to grow the collective through individualized growth and focus. What is of importance is “a greater consciousness” and advocating for change. As their website states, “IT’S NOT ABOUT US”.

  • AFROPUNK as a cross-continental meeting point

    Many Joburgers, like myself, know the exodus that the city experiences over the December holidays, with most people coming back just in time to unpack their bags before going back to work. For those who go on holiday, the coast is usually the first option. However, over the last holiday Johannesburg saw a slight shift in this migratory pattern that we make so many jokes about. The AFROPUNK festival saw South Africans from other cities choosing to travel to Johannesburg to spend the new year’s weekend rocking it out to local and international talent. In addition to this, a large number of international travelers came to the festival. This included fellow Africans as well as people from the Americas and Europe. From interviews with a few attendees, it became apparent that despite the main motivating factor for being in Johannesburg was the festival, it became a point of departure for other adventures in the city post AFROPUNK. The festival also brought people to Johannesburg because it was the first AFROPUNK held in Africa, which was particularly important for those from other African countries.

    “AFROPUNK is more than the lineup. It is culture, inspiration, force. Be yourself. Be free in your own personality or outfit,” expressed Brazilian blogger Maga Moura. Her colourful braids and sparkling full body overthrow caught the eye of many at the festival. Maga shared that she wanted to be the one who is able to represent her Brazilian followers. She attended all of the AFROPUNK festivals that took place throughout 2017, and was most excited to be in Johannesburg as was her first time in the city. She also extended her stay in the city so that she could record spaces and people who have knowledge about South African history. Maga passionately expressed to me her desire to make her trip more than taking photographs at the festival, but also an opportunity to show her followers more aspects of South African culture and history from the vantage point that Johannesburg offers.

    Miles Greenberg, who was also in South Africa for the first time, is Canadian born but now lives in France with his boyfriend. They were both in attendance, mainly due to Miles convincing his boyfriend that he needs to share this experience with him. Like most international attendees, Miles was in Johannesburg for the festival. “I have been looking for an excuse to come here for the longest time. For me it was a matter of just showing up. And for me this feels like an important time and an important place for this to be happening. It feels just and it feels on point,” Miles expressed. He also mentioned that his decision to be here was influenced by Nonku Phiri, who he met at a gig in Shanghai. This indicates an additional thread to this cross-continental pollination of people of colour at the festival.

    Toby and Adrian Gardner from London also confessed that they were mainly in Johannesburg for the festival, and that this was also their first time in the city. With Toby being half Ghanaian, half Nigerian and Adrian being Jamaican, their outfits communicated the connections they were trying to make with being on the continent. Toby wore an outfit that reminded her of kente cloth, while Adrian wore a traditional Nigerian shirt that was given to him by his brother-in-law who is from Nigeria. “We are here to enjoy all the beautiful people. I feel it [the festival] will be way more laid back. Less about image and more about family and people being together,” they expressed.

    Damola Owode, from South West Nigeria, although shy with his words, expressed that he was representing his Yoruba heritage through his outfit. His decision to be in Johannesburg was influenced by his friends wanting to attend and this being a place where he can openly share his traditional wear.

    Of course the festival meant that people from various platforms would be sent on assignment to cover specific angles of the festival. This was the case for Shan Wallace and Lawrence Burney from Baltimore. Lawrence is a music journalist and spent time interviewing South African artists, and teamed up with Shan who is a photographer. This was also a special moment for Shan, as it allowed her to share images of her photographs with people in Johannesburg. “I use photography as a form of activism, and a way to share black peoples’ experience.  It is also a way for us to connect,” she explains.

    Mariah Matthews shared a similar attitude to Shan, in that she wanted to be able to connect. From New Jersey, she spent a few months at UCT as an exchange student. Her experience at AFROPUNK was a parting gift to herself as she would be leaving South Africa in January. “I always wanted to come to South Africa because of the spirit of resistance that so much of the youth has here. I needed some of that fire sparked inside of me and some of the knowledge from movements such as Fees Must Fall.” For her, being at AFROPUNK solidifies all she has learnt throughout her time in Cape Town.

    Cynty, from the Caribbean, has also spent a few months in Cape Town at an internship that extends her studies in Tourism. She and a group of friends from different parts of the world came up to Johannesburg as a way to bring in the new year together because they are far away from their families.

    Njeri from Nairobi expressed to me that her decision to be at the festival was based on the fact that this was the first AFROPUNK held on the continent. She has always been drawn to AFROPUNK because of “the music and the movement. The arts element as well as the movement being about Black empowerment.” This was also a moment for her to reflect on the different cultures in Kenya, and bring elements of them to South Africa through her outfit.

    Mariette Immaculate is a designer from London. As someone who travels a lot, she shared with me that she documents culture and enjoys being able to represent these various place with the clothing that she wears. Being at AFROPUNK was an experience where she can thread together the places she has been and the new culture she experienced in Johannesburg.