Manthe Ribane is luminous and effervescent. Watch her share on spirituality and space in this behind the scenes video for Bubblegum Club’s first ever cover. The video was shot and edited by filmmakers Brendan C Campbell and Xolelwa Ollie Nhlabatsi.
Tag: youthculture
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Watch a behind the scenes video of our cover shoot with Manthe Ribane
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Millenial nostalgia: reincarnating legends and giving high-fives to the past
The paint on the door was quite chipped, but the black letters remained clear: “Nostalgia is one helluva drug” it said like an answer to a question.
And now, here in South Africa – specifically Johannesburg – we get through the day with our trusty dose of the good stuff.
Defined as “a wistful or excessively sentimental yearning for a return to or of some past period or irrecoverable condition.” In the spirit of the times, nostalgia’s favourite hashtag is #ThrowbackThursday. In our local context, the yen spins an orbit around the time loosely defined as post-94.
Most notably and obviously, the post-94 period represents South Africa’s technicolour transition from apartheid to democracy. The birth of democracy was potent and many nascent paths were forged spurred by the energy of the anomalous rainbow nation. For one, black people were free to express themselves without the fear of oppression. The new nation not only provided an opportunity for expression but a platform too. The national broadcaster, the SABC was restructured with the intended consequence being content that was reflective of, and responsive to, all of the people of the new South Africa. For the first time, the nation’s storytelling instrument reflected the full spectrum of the nation.
At the time, nostalgia was simply illogical, and the future although splashed in rainbow hues was at least historically, unchartered territory. The present was the only option and the sentiment during that period was reflective.
In turn, young South African creatives took advantage of the opportunity for expression and their pent-up creative energy birthed unmatched work that would later provide the fuel for current day nostalgia. The squiggly bright outline of “Hanging with Mr Cooper” said a lot about the 90s: there was a bright hue to everything.
The door found on Albertina Sisulu Road, close-to but not-quite Braamfontein was found next to a long abandoned general dealer decorated with heavy locks that moaned when the wind forced its way through the City of Gold.
For examples of the current manifestations of millennial nostalgia, you don’t have to look too far, only a bit more carefully.
Watch “Don’t Panic” by DJ Speedsta and Moozlie and witness the spirited reincarnation of Lebo Mathosa and Brenda Fassie embodied by Moozlie and DJ Doo Wap juxtapose with FaceTime conversations, Spice Girls’ chokers and Rihanna-inspired blue lippy.
The work of The Sartists – a Joburg-based creative collective – sings of the past in a manner that is evocative, even if misunderstood. Telling the Noted Man website of their infamous arrival at the 2014 Mercedes-Benz Fashion Week (MBFW) dressed in 1990s Bafana Bafana and Kaiser Chiefs soccer jerseys, bucket hats and baggy carpenter pants. The duo was met with suspicion by security guards and guests, despite their carefully considered intention to celebrate the golden victories of the two teams, along with the matchless style of their supporters. Sports in apartheid South Africa were – much like everything else – largely the reserve of white people, and so, the significance of supporting the successes of the majority-black football teams goes beyond sport. The Sartists note that at the same event, they were offered an undisclosed sum for the Chiefs jersey by Kaizer Motaung Jnr himself, thrifting is imbued with new meaning when seen as a way to reimagine and reclaim the past.
Okmalumkoolkat is another artist who blurs the divide between “what will be” and “what has been” simultaneously adopting the monikers “future mfana” and the “Zulu Michael Jackson”. Drawing cultural currency from 90s kwaito and hip hop, Okmalumkoolkat isn’t lying when he spits: “Back to the future and I’m chilling in the front seat” in his smash track, “Holy Oxygen”.
Collectively, the aesthetic and work of the above mentioned is an act of time travel: to take back what was promised. Part-nostalgic, part-futuristic. Part-passive, part-active. Consumers of the global village rooted in South Africa, the purveyors of millennial nostalgia are powerful reminders that the past echoes until it is heard.
Walking past the door, my friend noted that she had seen that very same quote on a sticker “somewhere in Berlin, I think” while she was waiting for the bus.
However, the sentiment of nostalgia is not isolated to South Africa – globally, it is most noticeable in the at-the-point-of-cliché hipster movement. Think flannels, artisan products, spectacles and a wartime haircut and on the surface you have the checklist for the “perfect hipster”, but upon further inspection – beyond the pretension – there is a real desire to return to what was, or more accurately what movies starring James Dean and the like, say “what was”.
With regard to South Africa, the nostalgia is for a lived, real experience often witnessed with the optimistic glow of childhood innocence. Globally, however, the hipster movement represents nostalgia for an idea, and perhaps that’s why it is so seductive: ideas can be perfect, memory by nature cannot.
Upon closer inspection, next to the door in small neat type, someone had written: “nostalgia kills happiness”.
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Vulcan Juwish is a New Label Making Playful Streetwear
Vulcan Juwish is a Johannesburg based fashion label started by two brothers, Thapelo and Kopano Maubane. The label launched its 3rd collection today via a series of candid portraits and lifestyle shots.
Although it may look like it at first glance Vulcan Juwish is not the usual streetwear-label-startup so common amongst young streetwear-enthusiasts based in and around Johannesburg. The labels odd combination of reference points which include N.W.A and Star Trek, infuse an unusual but refreshing playfulness and eccentricity into their clothes.
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Sun and self-love; For Black Girls Only
City life breeds cynicism, after attending event after event, countless nights in clubs, exhibits en masse and even the odd lecture, new events, alternative spaces and new movements can be received with skepticism. For Black Girls Only is a new and necessary addition to what is offered as fun in Johannesburg. It may not boast what jaded Joburgers may be accustomed to in terms of entertainment or alcohol availability, but it is revolutionary.
A public space, where black women can share in public what has only been conferred and experienced in private; Sisterhood. The Sunday sun blazed and brown skin beamed. All around and everywhere to be seen, was black woman, beautifully shaped and come to commune with her kin. Picnic baskets and brown children sprinkled the scene and there was some sensual music to be swayed to. A marvelous occasion unfettered by pettiness and pretence, providing a unique opportunity to share black femininity in a sweet setting. May there be more.
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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.
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.
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.
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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Urban Mosadi, A Purveyor of Pan African Luxury
In any metropolis, street style offers a reflection of the society at hand. The sartorial selections of the urbanites in question offer glimpses into their cultures and creativity. Urban Mosadi accessories are pan African pieces for the stylish and urbane. Tiisetso Molobi, the mother of UrbanMosadi, has imprinted part of her own personality on the pieces, they are unmistakable; her signature low-key luxury complimented by authentic African materials.
Knowledgeable on the rich history of the materials used in her designs, Tiisetso, reflects on how the stories contained in the Kente and mudcloth hold our heritage as Africans, she says, “Imagine all the wonderful stories that these textiles hold? How can one not want to show them off and share them with the world? But most importantly, with our peers across the rest of the continent? It’s a dope way to share identity.”
Urban Mosadi pieces offer a doorway into the history of Africa in a powerful, and beautiful way, her bags and camera straps can be found on the bodies of the talented and trendy the world over, she counts the likes of AKA and Trevor Stuurman amongst her clients. The Mudcloth lookbook profiles Tiisetso on a day in her life, her pieces peppered throughout the day as she works, skates and cycles through Cape Town. The laid back luxury of the collection is vivified in the video, each piece pulled together to portray a beautiful balance between fashion and function, work and play. It is sublime.
Connect with UrbanMosadi here
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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
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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.
