Bubblegum Club

Tag: writing

  • Discussions on survival as an independent artist in South Africa

    Discussions on survival as an independent artist in South Africa

    According to the World Economic Forum 15-20 million young Africans are expected to join the workforce every year for the next three decades —begging the question; what opportunities will exist to allow these young individuals meaningful work; work that is challenging, impactful and unexploitative.

    Surviving as an independent artist has always been a particularly difficult endeavour. In an increasingly difficult economy thronged with high levels of unemployment and competition, artists find themselves at wit’s end on how to survive while earnestly pursuing their work.

    The 2018 South African Wealth Report estimates the global top-end art market for African Art accounts for US$1 billion, of which US$450 million (R5.5 billion) is held in South Africa specifically. The report estimates that South African art prices have risen by 28% over the past 10 years (in dollar terms) far above the 12% rise in global fine art prices. However, the manner in which this creation of value is distributed remains skewed — with very few leading artists at the top; Irma Stern, Maggie Laubser, JH Pierneef, Alexis Preller, Gerard Sekoto, Hugo Naude, William Kentridge and John Meyer. It is unfortunate that the art world mirrors the rest of society in terms of how value is created and how the cake is divided.

    What are the tenets of a sustainable career in the arts? In which ways are artists at differing levels of experience and “success” sustaining their careers and their lives? Through engagement and conversations with artists across various mediums and platforms; from those who recently left art school to those with decades of experience in the art world, (specifically fine artists practicing in photography, filmmaking, painting, printmaking, performance art and writing), I fill in this context and my own observations.

    What instantly became clear is that pursuing a career in the arts and opting to remain independent requires dedication and commitment and should be inspected through the lens of entrepreneurship.

    The blended approach

    Many artists opt for the blended approach in terms of how they make money. They seek to work with a range of brands and corporates over and above passion and personal projects. Many are open to part-time work as well as other work outside of the industry as a strategy to supplement income; this ranges from tutoring, baby-sitting, retail and working for institutions and galleries.

    A stable source of income is seen as an important component to creating more spaciousness as they work on strategies for a more scalable income.

    “The secret to working part time is finding something that grows, teaches and inspires you. Outside of film my first career opportunities came from galleries to create performance artworks – specifically avant-garde Hollywood-genre immersive narratives.” – Emma Tollman (writer, singer/songwriter, actress).

    In the same light, some artists are able to fully fund their work and their lifestyles without needing to supplement with additional work.  Factors such as; length of time spent in the industry, visibility and a substantial portfolio contribute to where artists find themselves on the part-time/full time artist scale.

    “I try to balance freelance and corporate work. Corporate always pays better and on time, but it is often not the most exciting thing. Freelance is often great because you have the luxury to pick what you want to work on.” – Lidudumalingani Mqombothi (writer, filmmaker and photographer).

    Additional avenues which can provide a source of income include residencies, prizes and grants from art institutions as well as the government.

    Understanding the market

    Artists feel the pressure as they tug between making work that is commercial and work that is more honest, a constant negotiation between authenticity and relevance. Commercial work sometimes results in overproduction —prioritising sales over growth and experimentation.

    A key observation is that South African art buyers tend to be rigid in terms of what they’re looking for; there are very specific narratives and aesthetics that the market is interested in, making it very difficult for more conceptual and experimental artists to succeed financially.

    Brands and corporates are also less open to risk; they gravitate towards artists that already have a strong following and a certain level of visibility —a popularity trap that results in brands approaching the same “trendy artists”.

    “Usually those spaces are looking for trendy or cool people or work that is ‘accessible’ in ways that one can exploit the term. There’s a particular aesthetic that such commitments require.” – Nyakallo Maleke (multidisciplinary artist in installation, printmaking, sculpture and performance).

    It is difficult to conclude with certainty what factors exactly will result in success. Is it the quality of the work, social capital, seizing opportunities as they occur or merely an air of celebrity? However, we speculate that some level of awareness of industry dynamics and politics allow different artists the ability to navigate with agility and to plan around ways in which they can approach opportunities.

    “By grade 12, I was already selling designs and charging consultation fees, I started exhibiting my work in my second year — that became one stream of income. I think diversifying my practice has also helped financially.” – Banele Khoza (Visual artist).

    Administrative competence goes a long way in ensuring a more professional art practice, which often has a bearing on the type of work and clients artist work with. Quite simply, these include:

    1. the ability to price work fairly and appropriately
    2. client acquisition strategies
    3. securing a reliable support team
    4. sending quotes and invoices on time.

     

    Artwork by Banele Khoza

    Thinking for the future

    Sustaining an art practice requires investment through time, mentorship and training. A contested issue among artist is the idea of working for free — while some artists use this as a long-term strategy to build a considerable portfolio, others refuse on principle. A resistance towards the exploitative nature of brands, corporates and institutions.

    “Sometimes you need to weigh up your options and see what would be sustainable for you to gain; what would be beneficial as an opportunity in the long run. Sometimes you need to turn down a gig, especially if the client wants to underpay you or doesn’t see the value in what you do. It’s also okay to take a break to work a 9-5 so that you can plan further for your future and really focus on where you want to be after that.” – Nadia Myburgh (recent graduate and photographer).

    A key theme that emerges is the importance of saving; many of the artist we spoke to mention this is a key learning area in their journey. Saving allows greater freedom where a highly unpredictable and precarious income stream is a reality.

    “I’ve learnt along the way to always stay true to what I want to achieve and to let go of fear. I was afraid of how long it would take me to get on my feet without a 9-5 or how I would be able to sustain myself. Sometimes you’re held back by financial constraints as well as time constraints but also by fear. I’ve learnt that I need to be fearless and brave.” – Malebona Maphutse (Printmaker, photographer and filmmaker).

    Artwork by Malebona Maphutse

    Social Media to generate professional currency

    More and more artists are embracing social media as a way to enhance their marketability and reach. They continue to use social media (to varying degrees) as a way to make their work more accessible while drawing in new audiences. “Social media and galleries play an important role in exposing my works to potential buyers; both local and international.” – Themba Khumalo (Visual Artist).

    Social media is often the vessel through which many collaborative efforts are cultivated. Artists are pointing to the importance of learning and growing together whilst also alerting each other to opportunities that can be financially beneficial. They are pointing towards ideas of honing your skill and making yourself more marketable and thereby creating a competitive edge.

    “Collaboration creates space and a platform for people to share ideas and tackle difficulties. But I think it’s difficult when we are still obsessed with this myth of the genius, we idolise creatives and put them on a pedestal. I think that can be a hindrance to collaboration. You kind of [have] to do your own thing and benefit from it alone, monetary or otherwise, but there is something to be said for collaboration. You can create a bigger network in that way.” – Nikita Manyeula (Masters student at the University of Witwatersrand).

    Through this process of conversing with artist about the often, unnamed pains and joys of building a sustainable art practice, I was able to gain some insights into the different possibilities of navigation. Although there are no easy or guaranteed answers, keep in mind the key takeaways; be patient, save money, understand the dynamics of the industry and invest in the work. I am inspired by the idea of celebrating small victories as a way to sustain energy and passion – a simple concept that allows emotional and mental wellbeing.

    Artwork by Themba Khumalo
  • Azania Forest and her artistic expression

    Azania Forest and her artistic expression

    Azania was the alternative name proposed for post-apartheid South Africa. During the racial segregation and discrimination of the era, the name Azania manifested the idea of a people that were emancipated to move the rhythms of freedom, belonging and becoming. Clinging onto the essence of this name, Lesego Seoketsa has made it her own.

    Azania, Azania Forest, is the fashion savvy explorer that is a vessel for Lesego’s creative expression. Azania Forest was born in 2012. Uncertain of everything she undertook a hiatus which allowed her to centralise her vision, and in 2015 Azania started her blog where she shared her creative experiences and expressions. In 2016, Azania announced that she would be launching a magazine in February the following year. The hype was an ego-booster and a debilitating reminder of her deadline. Now in 2018, Azania magazine has not launched and is being reimagined.

    Azania expresses herself through photography, fashion design, styling and writing.  Her exploration and understanding of the experiences of Black Womxn have fuelled the subject of her work, especially her photography. Capturing captivating personal portraits became a crucial part of creative expression and in the time she was meant to be focusing on her magazine, she was consumed by the complexity of photography.

    Even though it began with the simple need to “just take pictures”, her photo series are deeply inspired. Azania’s series Woman with the Brown Eyes was inspired by Kees van Dongen’s Woman with Blue Eyes and aimed to counter and challenge European beauty standards. “A black girl with chubby cheeks and a wide nose and short hair is also a subject to be celebrated.”

    The muse for her series We Will Rise was the brilliant queer communist painter, Frida Khalo. This series celebrated the persistence of Khalo’s spirit and Azania’s journey of self-celebration and self-empowerment.

    Lastly, Mbona Lisa borrows its name and framing from Leonardo da Vinci’s Mona Lisa. This series spoke to the qualms about land in South Africa and how womxn need to reclaim their bodies from societal constraints for it is their personal land.

    Both Woman with the Brown Eyes and We Will Rise were exhibited in a traditional art gallery space and with the constant production of artistic expressions, Azania has been often referred to as an artist. Without any formal training in the fine arts, Azania is still battling with the acceptance of this label. However, from the belief that as a human being created in the likeness of a Creator that creatively expresses, Azania is an artist.

    Like a forest, Azania is a dense unpredictable space that manifests without manipulation and houses beautiful, mysterious and sometimes dangerous creations. A forest is where Azania moves towards her highest calling. To this young black curious creator, the climax is internal and with divine intervention she believes her celebratory creative expressions will continue to presents themselves as love and freedom.

  • Transdisciplinary conversations on the realities of urbanness // Dr Njoki Ngumi to take part in the African Mobilities’ Johannesburg Exchange

    Transdisciplinary conversations on the realities of urbanness // Dr Njoki Ngumi to take part in the African Mobilities’ Johannesburg Exchange

    Dr Njoki Ngumi wears many hats in roles that stretch across various fields. As a result the word she uses to describe herself is “maker”, emphasising that her work transcends genre and medium. Her background in healthcare has helped her to cultivate her curiosity and care for small details, and this has continued to be useful to her in the arts space.

    As a storyteller, she is currently obsessed with what can be obtained through collaboration and collective effort. “It’s been played to its tired cliché end on SO many mediocre TV programs, but truly? Groups of unlikely people achieving unlikely things is the whole entire wave. Nothing gimmicky – just mapping how people build bridges to each other and love and fight and love again, as they set large fires and take many names. I did an odd little thread once on Twitter that was about an elite cadre of femme/fem assassins, and a surprising number of people really loved it, and it was about just that – odd, fierce, unexpected togethernesses.”

    Her storytelling style is in constant evolution. She loves drama, distance and spectacle, but is also wary of how this can sometimes privilege the story over allowing audiences to engage. On the other hand, she also enjoys more intimate weavings that require the audience’s participation in some way, resulting in a new energy or story at the end. Through this reflection, Njoki tries to find the balance in her storytelling to invite audiences into the worlds she creates or mirrors.

    Another one of Njoki ‘s endeavors is her position as Head of Learning and Development at HEVA, an East African fund that invests in the transformative social and economic potential of the creative economy within the region. The development of HEVA Capital and HEVA Forum address the questions of how creative enterprises can get access to credit and how an enabling, progressive environment can be created for these businesses to grow. Within these two spaces, Njoki identifies knowledge gaps and interesting possibilities, and figures out ways in which creative enterprises can access them.

    Working across disciplines is an important part of how Njoki frames her practice. Therefore, co-founding the Nest Collective was a no-brainer. She did  this in collaboration with 11 other  members, namely Olivia Ambani, Hope Bii, Jim Chuchu, Sunny Dolat, George Gachara, Njeri Gitungo, Kendi Kamwambia, Noel Kasyoka, Akati Khasiani, Mars and Wakiuru Njuguna. As a collective they are “a making, building multidisciplinary arts squad based in Nairobi that drops cultural bombs and then wears overalls to sort through the debris.” The collective was formed in reaction to the fact that mainstream spaces did not have room for audiences who were craving an engagement with work that is risky, quirky and odd. Since its inception in 2012 the collective has made films, visual art, music, work in fashion and write books. Each member of the collective has their area of expertise, but together they have built a think tank and creative melting pot for themselves. Through their collective they explore modern identities, re-imagine their pasts and remix their futures. Connected to this is how they unpack what it means to be young, contemporary and urban, as well as the possibilities of casting away existing scripts and design new outcomes.

    Njoki has been invited to be one of the hosts for the Johannesburg Exchange under African Mobilities. This has an organic connection to the other projects and roles that she takes on. “AM [African Mobilities] is about transdisciplinary conversations, negotiating the vagaries and glories of urbanness and challenging realities with communities and collaboration, and this is already a huge part of the Nest’s – and my own – practice.” Her work fits so seamlessly into the agenda for the Johannesburg Exchange, and African Mobilities as a whole, that Njoki will be doing a public performance reading at the Exchange.

    Reflecting on the importance of African Mobilities and the Exchanges they have hosted in multiple cities, Njoki stated that, “One of the most magic things about it is its determination to break knowledge and data out of ivory towers and bring it out directly to the people. We’re at a time now when knowledge sharing is possible in new and unprecedented ways because of the internet, but in many ways guides and people to open out and explore and explain new things in new ways are still so essential. That’s what AM is building, together with prioritizing multiple African perspectives.”

    The Johannesburg Exchange is taking place from 22-24 February at Wits University and African Flavour Books in Braamfontein.

     

     

  • Nick Mulgrew on writing, publishing and unearthing literary gems

    Buckle up, we’re getting meta about writing here – this is an article where a writer writes about writing and the reality of being a writer, taking time to reflect on the state of the writing industry within South Africa. In an attempt to engage the issues that young writers, wanting to start their own publishing companies or wanting to self-publish, face, we turned to an individual who has been navigating the terrain for some time now.

    Nick Mulgrew is a writer, and due to feeling that “the publishing industry was failing both writers and readers” he began to initiate projects and form publishing avenues for others like himself. For, “how can I flourish if the publishing industry and our country’s reading culture aren’t?” These projects include Prufrock Magazine, where Nick is now the fiction editor and designer; uHlanga, an award-winning poetry press, where Nick is founder and publisher, and publishing the bestselling collection, ‘Collective Amnesia‘ by Koleka Putuma.

    The result of these endeavours has been to help unearth writers and launch their careers at Prufrock; writers such as Simone Haysom and Lidudumalingani, some of whose first literary work appeared in the magazine. uHlanga has managed to bring poetry into the mainstream again, bringing poetry into places where poetry usually hasn’t been considered of much importance. Koleka’s book, which was named one of City Press’s Books of the Year, was one of the main catalysts for that.

    In terms of managing both a business and a career as a writer, Nick offered some very practical advice, saying, “The secret is being productive, not busy. I divide my working day in two, roughly. In the morning, I work on one project, then I go to gym or have lunch or run my errands or whatever, and in the afternoon and evening I work on another.”

    An already accomplished author, Nick’s own writing has to do with “deconstructing and looking at South Africa’s dysfunctional society, especially in the ways it is riven by racism, sexism, homophobia and so on. That’s not to say my work is always serious in tone. ‘Stations‘ is a book that deals primarily with the everyday ways in which people make negative impacts on their lives and the lives of other people; ‘The First Law of Sadness‘ has to do with larger events: catastrophes, spectacle, grand moments. Some people might say those descriptions sound boring, which they are in contrast to the subjects I write about – like pornography, making biltong out of roadkill, tattoo removal – but those are the underlying mechanics that give life to the entertainment and the emotion.”

    Nick’s passion and commitment to his craft were immediately picked up through our correspondence. He sharpens his craft through practice. I quote: “If you want to get good at rapping, you rap. If you want to get good at painting, you paint. Writing is no different: I hone my writing by writing. I don’t take cues from other writers, but I’m always influenced by my reading.”

    Ending off, Nick had some words of wisdom for local emerging writers; “I wouldn’t say that they should just read, because what you read matters just as much as whether you read. You should read as much local writing as possible, because it’s impossible to make an impact on your literary community if you’re not listening to what artists around you are producing and engaging with.”