ISSUE 7
Mbali Mashaba (Director of @Behindherlensvisuals) Page 5-10
COVER FEATURE Thandiwe Gula-Ndebele (Multidisciplinary Storyteller) Page 1120
Obakeng Molepe (Portraiture and Fashion Photographer) Page 21-26
Abongwe Booi (Visual Creator and Film Director) Page 27-31
Kamohelo Moloi (Director of Smoke Break, 1/4 Homie-Made Movies) Page 32-35
Felecia Solomons (Lens-based Artist) Page 36-40
2
EDITORS
s e t o N
I've always been fascinated by storytelling and film. More especially that I'm a writer and a photojournalist. Telling stories visually has led me to understanding different prospects of life and the purpose. With this issue, our intention is to scrutinise the basic principles of photography, storytelling, filmmaking and directing. In basic terms we scrutinize the
and visual treatment of what these creatives admire and enjoy using in their daily life. This is not only just a story but telling a story to the wider community. Traditionally those communities are considered in geographical terms but we are talking to the community of interest, music, culture, travel, sport or other leisure. Art cannot be said to have
enokeL estemeknO feihC ni rotidE
core principes underpinning the features
fulfilled its purpose unless it engages with its target audience.
Enjoy your festive and keep safe!
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E SR
O T S
E T L Y L R
"Storytelling reveals meaning without committing the error of defining it." --Hannah Arendt
November/December Issue
MBALI MASHABA Founder and Director of @Behindherlensvisuals
5
enasiD
ovuL & enokeL estemeknO yb weivretnI
November/December Issue
Mbali Mashaba is a managing
She has experience as a film
“In African literature,” says Mbali
director of Behind Her Lens
director, producer and editor
Mashaba, “we learn about the
Visuals and Reel to Reality
with 5 short films under her
festival, Filmmaker, Curator
belt, Ubuhle, The Revolutionary
and Content Creator. Her
Act, Ivangeli, Fowl Play and
passion for visual storytelling
Cartharsis, which have
led her to creating Behind Her
accumulated 10 local and
Lens Visuals, to spotlight
international film festivals
stories from the African
including The Cherry Film
has stories inside of
diaspora and curate cinema
Festival, The Human Rights
her which are inspired by those
watching experiences both
Festival, The UFA Youth Short
who came before her – stories
virtually and through film
Film Festival in Russia and
which she has to express, “I am a
festivals.
Zlaty Vo i in Prague and the
ć
New Generation Film Festival in Serbia.
concept called re-memory.” She describes this as the collective feelings and desires which are passed on to us from our ancestors; this, according to her, is our link to those ancestors. She believes that as a storyteller, she
body of people asking not to be forgotten,” she says. Mashaba lists Issa Rae, Micheala Coel, and Bong Joon Ho, as her biggest inspirations.
6
Behind Her Lens Visuals is a South African based creative agency with a mission to provide accessible stories to audiences on the continent and beyond, in order to bridge the gap between industry professionals, young storytellers and first time storytellers and audiences. It started as a microstreaming site for storytelling across the African diaspora aiming to introduce audiences to new and creative stories that reflect the past, present of storytelling through a central online space. It has since then branched into providing video production services through sourcing young skilled creatives to achieve audio visual services and providing curation beyond the digital realm through film festivals, screenings and talks.
November/December Issue
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Please expand on the quote, “I am a body of people asking not to be forgotten.” In African literature we learn about the concept called re-memory. It basically means
that
we
carry
the
collective
feelings and desires of our ancestors. It links us to them. My belief is that as a storyteller, I have stories inside of me inspired by those who came before me and I have been called up to tell them or share them, should I encounter them.
How has your upbringing as a child influenced your filmmaking process? I've
always
just
storytelling.
It
been
drawn
started
out
to with
literature and theatre space. I used to do prescribed poetry competitions as a child and enjoyed acting and role play.
I
used
to
recite
poems
for
my
grandmother, who would coach me on expression and gestures in addition to role
playing
oral
stories
she
knew.
I
became really good at it and would win awards every year in school. I've always
found
storytelling
to
be
an
amazing escape and always enjoyed entering meeting
these or
different
embodying
spaces
and
interesting
characters. This led me to a greater appreciation for story, and I fell in love with it even more as a student. As a director now, I value performance and world building alot.
As a University of Witwatersrand film and television honours graduate and University of Gothenburg alumni, what would you list as your top three toughest school challenges and how did you overcome them? The toughest challenge for me was finishing my final year academically and feeling connected to it or the work I was doing. I just started hating the hypocrisy of academia as a whole. I appreciate the way that it’s made me look at the world but its also very limiting and holds you to unrealistic standards of being and living and experiencing things. It can turn you into a pessimistic critic that only values elitism and this can make you really closed minded. So I struggled to even want to live up to that standard because I had found my voice, or atleast was trying to and that wasn't necessarily an academic one. I overcame it by just accepting academia for what it was and coming to the realisation that it no longer served me and just finishing all my tasks so I could move on to the next stage of my life. Another challenge was accepting that not all my projects will materialize into what I hope for them to be. Sometimes people will let you down in the creative process and sometimes you let yourself down too but its still all very much an important part of a larger process of finding yourself as an artist, nonetheless.
November/December Issue
8
What role is Behind Her Lens Visuals playing in the film and television industry, and where do you see the creative agency in five years?
What new project(s) are you working on?
We’re a creative agency aiming to spotlight
this
stories from the African diaspora through a
commercials all the time. In my spare
centralised virtual platform and accessible
time, I've been working on the script for
events.
and
my next film and Behind Her Lens Visuals
storytelling accessible above all else and to
events. Our next big event is the return
give visibility to stories that might not be in
of our annual film festival and Reel to
mainstream media and the filmmakers that
Reality festival.
Our
role
is
to
make
film
I
work
as
a
creative
researcher
for
a
TVC production company now and so means
I
work
on
different
name
in
In an Information Age saturated by content production, what is your strategy for your work to reach your desired audience?
events
in
Social media management really goes a
streaming
long way. Looking at trends and what
site to house some of the best Indie and
people genuinely want is also important
student films in the diaspora and to have
and
our own inhouse productions.
entities and individuals.
How was the documentary Ubuhle received by the targeted audience, and do you believe the film achieved its purpose? Also, what is the current state of the ‘politics of beauty’? It was overwhelmingly positively received. We really didn't expect it to do so well in its screenings or the film festivals that followed. It definitely achieved its purpose in sparking that larger conversation around the politics of beauty and reaching people from different walks of life too and have them actively introspect about their own prejudices and internalised bigotry. Things have changed since we released the film in 2018. We’ve seen representation really push boundaries across the board a lot more and people are more cognizant of how beauty is perceived and its politics contribute to our daily lives, with that being said, there’s still a long way to go in having that be the standard everywhere.
Which filmmakers, dead or alive, inspired your journey in this industry?
make them. Ultimately, we want to create an active culture of film watching and an active cinema culture too. Our aspirations are
to
curating different
become amazing social
a
household filmmaking
spaces,
for
our
aligning
yourself
to
like
minded
Issa Rae, Micheala Coel and Bong Joon Ho are my biggest inspirations.
What skills help you be an effective content creators? That's an interesting question because I don't think of us as content creators but content curators. We just curate content and stories that already exist and this often requires a lot of research about what
films
are
out
there
and
if
they
align with our goals. This research also extends
to
which
stories/content Thereafter creative
it's skills
spaces
can really like
be
a
these shared.
culmination
editing,
of
graphic
design, community media management and
events
planning
to
get
them
to
audiences.
9
Can you tell me more about your management style? So
I,
as
the
founder
and
managing director of Behind her Lens
Visuals
opportunities and
for
look
for
to
curate
us
collaborate
with
existing
Are there practical tips or challenges as a curator, when working with a collective, and managing multiple expectations?
How do you view the importance of communication in the successful completion of your job?
are
and
organisations. I also take on the
we
do
role
work. And collaborative work is
for
built
proactive
of
those
actually events
curating
feel,
what
look
and
is
really
and
collaborative
relies
on
operate together with branding
communication.
and overseeing our social media.
communicate very well to my
I'm really a shapeshifter. Yonela
team
Vakalisa
and
is
more
of
a
digital
about they
I
good
tasks
need
and
communicate
to
goals their
make
the
important
spaces
what
on
It's
creative
because
Constantly
everyone.
Do
sure
same not
that
page
ever
you with
assume
that people will get things done you,
just
try
about
to
be
every
more
part
curating.
Do curators have an ethical and / or social responsibility? We have the responsibility to
curator in that, she sources films
ideas with me. I need to know
share stories in ways that are
to
and
how
authentic to the
with
sponsors
feature
makes
and
those
showcase
connections
to
communicate and
with
audiences
to
of
artists/storytellers and not
the filmmakers who make them in
back some of our events and
misrepresent things. And to also
order for us to obtain the rights
they need to communicate in
share work that isn't harmful or
to
what capacity they can assist
intice violence or is blatantly
and
bigoted.
distribute
website, Reality right and
our
in
events
Festival.
hand
in
making
connections.
so
far
as
or
Reel
She's
really
our to my
decision
making
some
crucial
how.
It's
just
an
entire
.
communication chain
10
COVER FEATURE
THANDIWE GULA November/December Issue
11
Johannesburg based filmmaker Thandiwe Gula-Ndebele mentions that his upbringing is his greatest source of inspiration because it grounds him in everything he expresses. He further explains that it provides him with context that helps one to understand his motives and intentions behind the stories he tells. He explains that storytelling is a way to create space for understanding, for intimacy, connection, healing and release, it's a tangible way for himself and others to experience freedom because it externalises and brings into community what is usually felt inside or in isolation, and it gives language and visibility to experiences that otherwise feel difficult to share or translate. It is an important way to build worlds and reimagine ourselves, because of its power to influence people and perspectives, it is a sacred tool and means through which cultures have been preserved and evolved.
"My mother was a nurturing force who encouraged me to pursue any passion I had, while my father pushed me to learn and excel in many skills and artforms. From a young age my father taught me about the importance of freedom- in mind, body and spirit, my parents and grandparents anchored an appreciation for love and community within me that I consider to be the backbone of my work. Growing up, I spent a lot of time in my formative years with my grandmother who was a nurse. The people she worked with loved her, so much so that when she brought me to work with her, they were kind and generous to me. Being around that energy at an early age and seeing my mom and dad be pillars of their community and family instilled a deep desire to be a helpful and caring person. The work I do today is rooted in helping people in one way or another, but mostly in sharing the feelings of freedom, love and belonging" she says.
12
Walk us through how you established yourself as a brand. For as long as I can remember I've yearned for a sense of belonging and invested in ideas, connections and spaces that made me feel safe and seen, so even as I was starting out in the film and art industries, I focused on building relationships with people who I shared values with. I sought out to learn and play as much as possible, more so by doing than anything else. To develop my skills, I connected with classmates and friends who were eager to experiment and just make stuff for fun, and I did that as often as possible with whatever I had access to. During my university years, I made sure to utilise the access I had to film school equipment and made photo stories and music videos that ended up becoming a point of reference for my work, message and style. I was also an intern at a production company I had found and reached out to on twitter. I always stressed my interest in learning and helping out- and I think that helped me build good relationships in the industry. In my final year, I decided to focus on cinematography and was working on The Foxy Five, a web series that ultimately launched my film career. Being on that project cemented my understanding of the kind of work I wanted to be involved in and since then I have aligned myself with projects that I feel are meaningful and empower women and queer community. Through participating in workshops, talks and panel events I engaged with organisations and people with similar interests and eventually got more work aligned with my values. I also seeked mentorship from people whose skills and values I admired, which also opened a lot of doors for me. After a few years working primarily in films I started to focus more on photography and eventually went back into making collages- making films is expensive and I couldn't afford to tell the stories I wanted through film so I started focusing more on photography and digital collages. Over the years, I intuitively worked consistently with movement, colour (especially red) and vivid palettes which I believe established a recognisable style in my work. I think that a combination of my visual style, and consistency of following through with my message, intentions and visions have helped me establish myself as a brand, but most of all it is my focus on community building, connection and empowerment that has been a firm foundation to build from because I would be nowhere without all of the people who I learnt from and received the stepping stones of opportunity that got me where I am today.
November/December Issue 9
Name three things you want to change about the industry you're in and why. work,
As a creator what does storytelling mean to you and how do you make sure that the story of brand you are working with is told?
equipment and funding to be able to make
To me, storytelling is a way to create space
work really frustrate me because it creates
for understanding, for intimacy, connection,
unequal opportunity. I want to change that
healing and release, it's a tangible way for
so that more people can tell their stories,
myself
which
because
I
want
to
industry,
change
the
the
barriers
accessibility to
ultimately
of
accessing
creates
this
better
and it
others
to
experience
externalises
and
freedom
brings
into
representation and understanding. I want to
community what is usually felt inside or in
change systems of hierarchy because they
isolation, and it gives language and visibility
promote
people
to experiences that otherwise feel difficult
according to what they can do, how much
to share or translate. It is an important way
they earn and how much power they have.
to
I'd rather exist in spaces that value people
because of its power to influence people
for
and
a
who
culture
they
contribution
that
are
and
equallyI
values
value
am
everyone’s
also
eager
to
build
worlds
and
perspectives,
means
through
is
which
a
sacred
cultures
have
being enough based on how much they work
with
and
produce
past
I've
in
creative
experienced
unhealthy
mentality
industries. the
that
pain
had
me
the
to
been
sure that the story of a brand I am working learn
order
and
and mindset of people’s value and sense of
I
In
tool
preserved
told,
evolved.
ourselves,
change the toxic “never not working” culture
is
and
it
reimagine
make
intentions
and
In
the
background of the brand, so that I have an
of
an
understanding of its impact, its priorities and
feeling
its
culture,
these
three
aspects
are
what
inadequate whenever I was not working or
usually connect people, and my main aim in
creating.
storytelling is to bridge gaps and create a
This
is
a
pervasive
mindset
and
promoted culture rooted in capitalism that
sense
makes people feel like they are never doing
human connection, the things that make us
enough,
tap into our humanity are the things that
especially
when
they
do
not
of
each other. So I always keep a lookout for
only because of what they create and offer.
the way a brand enhances life experience
I
and
believe
healthier
that
more
people
relationship
themselves
and
exist,
will
with
have
a
their
work,
if
they
community
translates
as
an
us
to
not
they
help
down
they
because
or
comes
bring
valuable
together
that
produce work. I want people to believe that are
us
intimacy
understand
integral
part
of
people’s lives.
understand that they are worthy, and that they are enough no matter how much gets done.
This
believe
society
that
you’re
would
rather
wasting
time
have or
you
life
if
you’re not always working hard or producing work, but our moments of rest, stillness and nothingness
are
just
as
important
as
the
moments of activity.
November/December Issue 14
'Kudendere'
What creative work do you do in your own time? In my own time I dance, I paint and draw and generally go with the flow of creating in
intuitive
collages,video
wayspieces,
from to
making
photography,
writing, and working with my hands in any way, it's quite diverse. The work I do in my own time is a sort of roadmap and stencil for
my
current
future
self
or
experiences.
a
It
journal
is
of
initially
my
quite
abstract and reveals its meaning once I reflect on it or add on to it in some way. I listen to my desires and needs and create anything
from
that
space
of
a
genuine
urge to express and connect with myself and
my
becomes
ancestors. a
part
Sometimes
of
the
larger
this
work
body
of
artwork that I share with the world, other times
it
doesn't
leave
my
space,
but
ultimately I create what feels natural to express, and often learn something about myself, my journey, or my art through it. It's
Please tell us about your upcoming projects Right now, I am very excited to branch into a different medium of art and be paying homage
to
collective
who
freedom
Zimbabwe working
elders
back
on
this
in
contributed
and the
70s.
catharsis I
have
multidisciplinary
to in
been
archiving
project that celebrates and tells the story of a Zimbabwean Rock band that pushed messages of freedom and unity during the liberation
war.
The
work
has
been
in
progress for a year now and will make its public debut in the last quarter of 2022. Another project that I am extremely excited about is the second iteration of ‘In Flux’, an exhibition I co-curated as part of my work with Creative Avenue. The exhibition will be showing in Cape Town in November 2022 with
work
from
some
of
my
favourite
emerging artists from Zimbabwe and South Africa
often the work that I do in my own time that ends up inspiring or informing future projects and collaborations.
15
What are you most proud of in your professional experience? I am most proud of teaching my work to highschool and university students, and of the bridges of understanding that the projects I've worked on have created, as well as how far this work has reached, going beyond me to countries that I myself haven't been to. The honour of teaching workshops based on my artwork, being able to reference my friends and peers' work and spreading wisdom from Ndebele and Shona culture mean a lot to me. The work I have made has operated as a form of language, for me and others like me who resonate, to understand ourselves and see ourselves mirrored and affirmed beyond the constructs of what society expects us and tells us to be. To be black, transgender nonconforming and spiritually purposed is not easy in this world, and I believe that the work I have made and helped make has assisted in lightening some of the burden on ones like ua.
Do you think that your storytelling ability in a film gives you an edge in television? I believe it's not necessarily my storytelling ability in a film but it is my ability to tell a story in multiple mediums that gives me an edge. Television is advancing beyond traditional formats now, which I think is a great thing for creators like myself who work in different mediums because it means there's space to experiment and bend the norms, incorporating different
How do you define your work ethics as a multidisciplinary storyteller and how do you make sure you adhere to them? I am guided by compassion, and my ethics are defined by prioritizing the voices and experiences of those who are often erased, silenced and underrepresented. Within that, I believe I have a duty to treat everyone and everything I work with kindly, and as an equally integral part of the result of a creative process, which means that I honour the dignity, agency, and power of every being involved. I make sure that when I work with people, I engage them on how they want to be represented and open up conversation for them to have agency in the creative direction of their story or the story they are helping express. I prioritize well-being, ensuring that all those who are involved have capacity to carry out their role without compromising their physical, mental and spiritual health, this is done through check in’s, when I’m directing or assistant directing I often make time to check in on people and adjust set environment accordingly to create space for support and well-being. I also do not take on any work based on the fear of not earning, or of losing out on opportunities, I only do what feels aligned with my values and spirit.
aspects of film, photography, performance art,collage and visual art storytelling into the television format and production styles.
November/December Issue
16
Can you share an overview of your career strategy? What types of projects do you see yourself involved with in the future? My main strategy is to build community, to align myself with people and organisations who share the same intentions and values of community and empowerment as I do, so that the impact of my work transcends the mediums I work in. I spend time learning and advancing in different fields, from advocacy, to organising, herbalism, curating, teaching, film, photography etc, so that I have a diverse skillset to build a foundation from. I have always wanted to enrich people’s lives through what I can
share,
intend
to
whether follow
its
resources,
through
with
knowledge
that
or
intention
networks. and
I
create
platforms for young people to access opportunities to invest in their passions early. I want to share as much of what I have learnt
as
possible
and
create
sustainable
programs
and
enterprises that empower African youth to collaborate, create and express their ideas. I have to some degree been involved in projects that have allowed me to do this, and this is where I see myself investing my energy in the future, I want to work on multidisciplinary
projects
that
not
only
produce
art
that
is
consumed but are also multi-pronged initiatives that have an impact outside of the art world because of the spaces they create for growth, learning, collaboration and accessibility.
November/December Issue
17
Gallery
Ingilosi Iliqhawe: Amandla Avelaphi? Photomontage - Self Portrait Thandiwe Gula-Ndebele/Folozi Omnyama 2021 Ingilosi Iliqhawe is a meditation on the warrior's journey, a reflection on agency, what it means to be seen, known and to be powerful. This iteration explores the idea of personal power and where it comes from, suggesting that one’s greatest power lies in their ability to reimagine, and represent themselves, as well as in the lineage, protection and decrees of that lineage over one’s life and purpose.
18
Gallery
922 Digital Collage Thandiwe Gula-Ndebele/Folozi Omnyama 2021 922 is a reflection on the cyclic nature of life’s journeys, a celebration of the grace of renewal that comes from walking our purposed paths, it is a reminder to trust where the path we walk no matter how uncertain and unfinished it is, knowing that we have come from further than the beginning of our life, we are guided and protected by those who walked the path before us.
November/December Issue 19
Gallery
Kudendere, Photomontage Creative Direction by Thandiwe Gula-Ndebele/ Folozi Omnyama Photographed by Nubia Silver, 2020 Kudendere is a Shona word for ‘nest’, this image is an ode to a sense of home in an imagined ideal future, where all living beings exist in harmony, and every being plays their part in a well-being centered society that is abundant and never lacks anything required for beings seen and unseen to co-exist and thrive. Pictured is one of the society’s “Mhondoro” resting in their home, the Mhodoro work in tune with the land to guide inhabitants of this imagined society on when and how to cultivate food with the land.
November/December Issue 20
OBA
PE LE
M G N O E K
Born and raised in Kagiso, West of Johannesburg, Obakeng Molepe is mostly known for his portraiture, fashion photography and unique approach to documentary work. His work aims to challenge people’s predispositions and the many constructs that exist around us — whether it’s religion, love, time or masculinity, his aim is to tell the other side of the story.
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Tell us more about your collaboration with Phendu Kuta for one of SA's longest subculture, pantsula? Where did the idea come from for this compelling story? And why was it so important for you to collaborate with him? During
my
early
days
in
photography,
Phendu and I used to collaborate all the time and this is just one of those timeless pieces we managed to create. I think I did it because I thought Phendu was(still is) a beautiful human being to work with. She was trying to tell the kind of story I wanted to tell too, so it only made sense to merge heads and the rest is literally history.
What was the most important lesson you had to learn that has had a positive effect on your photograph? Authenticity, being true to myself… “the hardest thing to do is to be true to yourself, especially when everybody is watching.” Dave Chapelle
What is your work regime?
for a more consistent work flow. However, at
You're represented by two agencies, how do you juggle that up especially if you have projects that need to be done in time?
this point in my life I’ve discovered the beauty in
I am still young, so it’s not as heavy as it
the absence of it, as it has allowed for me to
sounds. I’ve always thought of myself as
be authentic and not get caught up in the
someone who thrives in a good team and I
clout.
was right, I am blessed to have
To be honest I don’t have a regime, I work intuitively. I know I will need one at some point
What, in your opinion, is the most important quality of a photographer?
Caroline(Red Hot Ops) and Neil(Hero) behind me. Also personal projects need
Confidence… I think photography is merely a
financing so working in commercials allows
skill that anyone passionate enough can learn,
me to fund those projects.
but believing in the stories you trying to tell and the direction you want to take is sometimes scary. So you have to be fully convinced in yourself, even if you have to start alone.
November/December Issue
22
Tell me more about your creative process You shot Ntate Sipho "Hotstix" Mabuse for GQ, how was it working with the maestro himself? Were you scared?
I don’t have control over my process, it’s innate and I plan to keep it this way til the end of my 20’s atleast. I feel like I am at
I was nervous as hell, I think it’s one thing to grow
the age where I am still learning a lot about
up in an environment where his music would play
myself, what kind of artist I want to be
in every house hold, it’s another thing to be
known as and what I have to offer to this
shooting the man in his home. I honestly don’t
world, but above be an artist, what kind of
have the words to describe my experience, all I
human being I want to be and so till I figure
can do is thank him for being kind enough to let
all this out, it will remain intuitive.
for giving our people music that allowed us to
What advice would you give to those hoping to pursue a career in photography?
rejoice regardless of the circumstances we were
Be yourself, Stay you. Your ‘strange’
in pre-1994, Thank you!
perspective is a power that will one day
us into his home, for being patient with me when I couldn’t figure out the shot and as a musician
open doors to bigger things.
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Gallery
November/December Issue
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Gallery
25
Gallery
November/December Issue
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Abongwe Booi is a visual creator who believes that it is difficult to separate photography and filmmaking. “Composition,” he says, “is the bases of powerful imagery and without an understanding of photography and the denotive aspects of composition in storytelling, filmmaking falls flat.” Personally he is a fan of aesthetic drama, explosions, blood, fights, kisses, and unrequited love; that’s where he feels his strengths lie the strongest, but he also believes that filmmaking would be nothing without photography.
Being a film director is a laborious job, and the vision of creating something beautiful which will possibly have an impact in society, even if that impact is one person, keeps Abongwe motivated. He goes on to say that being on set rejuvenates him, “even after a long, hard day, I find myself recharged with an energy that excites me for the next day. And seeing something that was in your mind come to life on screen the exact way you had planned it to be is a WIN of its own and that’s what keeps me going.” With 2021 quickly drawing to a close, Booi has achieved some professional goals, and also has not achieved some. He is currently busy working on a number of short films, and has a 5-part webseries on its way. 27
What is the earliest memory you have of becoming a visual creator? As a young child, I’ve always been drawn to stories and pictures. Growing up with an older brother, Bubele Booi, and twin sister, Aziwe Booi, we constantly found ourselves making songs and videos in our spare time, playing
Which medium do you prefer between filmmaking and photography? Why?
loudly on my dad’s guitar or using my mom’s
It’s difficult to separate one from the other.
laptop webcam to make stupid but
Composition is the bases of powerful imagery
interestingly elaborate skits, although those
and without an understand of photography
videos shall remain in the darkest corner of
and the denotive aspects of composition in
the archives never to be seen again! I remember the first time my Tata came home with a video camera, I would steal it while he was at work to make horror movies and YouTube videos with my friends every Friday after school. We don’t have to talk about when I would get caught and the hidings I
storytelling, filmmaking falls flat. I personally am a fan of aesthetic drama, explosions, blood, fights, kisses, unrequited love and that’s where I feel my strengths lie strongest, but my filmmaking would be nothing without photography!
How does your life look like outside being a visual creator?
would receive for these antics, but it was all
I have been raised in a household that firmly
worth it! And from that young age, I found
believe that education is the most powerful
myself falling more in love with storytelling
tool for any chance, in and outside visual
every moment.
creation. I have a passion of music that was
What major lessons did you learn while you were studying film and screen production at the University of Cape Town?
instilled in me in my upbringing, growing up in
Studying film and screen production at UCT was an incredible experience. Although the
an extremely musical home. I love learning music and instruments and I’m fortunate to be related to one of the greatest producers in South Africa right now, Bubele Booi, who has just come off major projects in LA and NYC working with the likes of Beyonce, Ami Faku,
assessments came very naturally to me
Will Linley, Manana and many more. I also
because of my extracurricular filmmaking
have a keen foothold in finance and
work over the years, I learnt so much about
investment and with the expansion of
the importance of a team and working with
investment potential and new forms of
people collaboratively. Collaboration is the
investment like cryptocurrency, blockchain
most fundamental and beautiful part of the filmmaking experience and I found myself having to learn how to go from being a one-
and NFT, it is very exciting to look at the financial landscape, understand it and see how it can be applied in the realisation of my visual creations.
man band to working side by side and trusting my classmates. I was so fortunate to be in a class with some of the most creative, kind and hilarious individuals that I have come across, which made class all the more an incredible experience. Paired with the enthusiasm of my lecturers, my experience at UCT was truly an exciting first step into my understanding of what the film industry had to offer.
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Why did you establish Artistic Intent, and how has it helped to grow your career in the film industry? I created Artistic Intent with my brother purely out of the understanding of the entrepreneurial space and my aspirations. I found myself feeling disheartened by constant rejection when applying to production companies for internships and learnership opportunities. So instead of asking for an opportunity, I decided to make my own, partnering with my talented friends and family to create beautiful stories that everyone could connect to in any space. As I neared the end of my university studied the company had developed into something I could fully invest into after studies. We went from shooting small company promotional clips to working with massive brands like Redbull and Hunters before even graduating which was so exciting.
How was the experience of shooting the recent KFC campaign? The recent KFC campaign was a complete shift in paradigm in many ways. Financially, organisationally and practically. All the tools I had learnt over the years would be so essential and amplified to a larger platform. I found my experience in pitching and graphic design became extremely beneficial in ensuring everyone in the team was on the same page and that we were going in the right direction that the client desired. I got to work with my producing collaborator, Calvin Hayward, who was so essential in making the campaign come to life in every way. I had to learn so much in such a short amount of time and if it weren’t for Calvin’s experience and expertise, the result wouldn’t nearly have been as fruitful as it was!
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What themes/subject matters do you pursue through your work? My passion as a storyteller is to authentically tell the unhear South African experience, reframing how the West has positions Africans in media and depicting OUR truth from OUR voice. My work is an expression of my inner thoughts, feelings and questions. I find my stories are very heavily rooted in love and loss because that is an experience I am navigating in my personal life as a black South African. I find it so freeing to be able to express and experiment with whatever feelings and thoughts I feel as I am writing especially as my work focuses mostly on people, understanding a person and why they reacted the way they did in that situation. It exciting to have projects that I can research and understand more and more about South African history, moments that I have never heard of as a South African, let alone the rest of the world. My stories are a pursuit of truth, whatever that means to the character.
Please share your working process from conceptualization to editing. I have a very busy mind, but I find that when I have an idea that sticks, nothing can make it disappear. It plagues me like a virus and that’s how I know I have to make it. I have a journal that I keep beside my bed that I keep close because some of my best ideas come from the depths of my dreams or randomly nje in the middle of the night. I also have a memo pad on my phone with some ideas that attack me when I’m out and about. From there, I love to make synopsis and backstories for each character and their situation to give me a better psychological understanding of the character. I make extensive story maps on whiteboards that help me with my structuring and breakdown the turning points and climactic incidence that define the story. From there, once I feel confident that I can tell the story from start to finish, I throw the idea into the back of my mind and just let it stew, some could say I run away from actually making it happen but hey that’s neither here nor there. Writing is the HARDEST part to do and most of all TO FINISH, so I have to find myself in silence and dive into the writing process. I send the drafts to my most trusted writing advisor, Danielle Champ, who ruthlessly critiques my structure and relentlessly insults my grammar. But after all the hurt and all the tears run out, we work on tightening it up and she always makes it SUBSTANTIALLY better than before. From here I work with my creative producer, Calvin into making it come to life creatively and financially. The shooting process depends on the project and finances, but I often shoot my own projects just because of my love for technical aspects and cinematography. Once we go into the editing process it’s a back and forth until we’ve made something beautiful. Steps in the process change and grow as my understanding of my own filmmaking process expand but these steps are what keep the idea alive.
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Filmmaking is a laborious job, what keeps you motivated? I am motivated by the prospect of making
With 2021 quickly drawing to a close, have you accomplished all your professional goals for this year?
something beautiful that can impact even just
I’ve achieved many, I’ve failed at many. Right
one person’s life for a moment. It is very laborious
now in the climate we’re in I am grateful to
but being on set rejuvenates me. Even after a
just be alive and to have survived all the
long, hard day, I find myself recharged with an
trauma that came with this year AND STILL
energy that excites me for the next day. And
managing to make the best out of it. This
seeing something that was in your mind come to
year has been more challenging than any
life on screen the exact way you had planned it
year before it and I’m proud of myself and
to be is a WIN of its own and that’s what keeps
thankful for just making it to the end, and
me going. Passion, love, excitement but mostly
anyone else should be too!
the chance to connect.
How important a role does editing play in making a film?
Please tell us about your upcoming projects? I have a number of short films, and a 5 part
The process of editing is the final moulding of the
webseries on its way but I think that’s all I’ll
film and in a lot of cases can be the make or
share for now but much more to come!
attention. Editing is the bases of storytelling, the
If you had an opportunity to remake a classic film, which one would you choose?
glue the brings every element in the story
Yoh. Tough question. I would say Taxi Driver
together. Directors are very often editors
by Martin Scorsese although I know I could
themselves as they have to be able to understand
never do it justice the way he did. I think what
how to cut the piece in order to make it come
makes these movies classics is how authentic
across the way they have envisioned the story.
and real to the storyteller they are. The
break of how a story captures the viewers
What are your views on the current state of the South African film industry?
streets of New York are not my experience or my culture the same way Scorsese wouldn’t
There are two sides to the South African film
be able to authentically make ‘District 9’ or
industry, one the is unfortunately exclusionary and
‘Tsotsi’.
voices. Because of the expansion of platforms,
What advice would you give to aspiring filmmakers?
mediums and financing to the South African film
The advice I would give to any young aspiring
industry, we’re beginning to see a more inclusive
filmmakers is that “there is always a way, no
space in front and behind the camera. The film
one way is the right was. If you try your
industry has a long way to go but I see young
hardest at every point, the door will open the
filmmakers all around me, telling their stories in
best way for you! Keep fighting, keep
their own unique voices and it makes me excited
creating!”
another that is populated with young inspired
about the future of the industry in South Africa. I believe the next bigger movies in the mainstream are going to come from South Africa because of all the incredible untold stories we have here waiting to be told!
November/December Issue
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Kamohelo Moloi
Born and raised in Katlehong, Kamohelo Moloi who is well known as Kinesis Grapho, draws his inspiration from his friends, where his from and life in general as he believes that people are interesting especially when they interact with each other. Kamohelo is 1/4 Homie-Made Movie's, a writer at first and a director because he's the only one who can execute what he envisions it to be like.
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Tell us more about your role for a Web Series, re: clout chasers? My role in “RE: clout chasers” was quite a lot actually, I was a co-creator, a writer,
If you were to shoot the film again, what would you do differently? Overall I think it’s a really good, short and sweet film, said what it needed to say. But
director and editor of 2 episodes, and I played the role of Kabelo, which wasn’t first choice but based on the time we had and how little short notice it was, I had to step
if I were to do it again, I would really like to make the robbery scene a little bit more intense and longer. To help capture what
in. It was actually the first project outside of
really goes down in the moment and the
school and I learned so much from it.
quick fire choices you have to make.
What about the film Robin Hoods, what
How do you think your upbringing has
was the idea behind it?
influenced your oeuvre as a whole?
The idea behind Robbin’ Hoods was just
Uhmm… my upbringing has influenced my
a story of a lot of people, only having
work in a lot of ways mainly as I get older.
one shot to graduate but having it taken
But just being where I’m from and then
away from you because of finances is
going to the primary I went to, which was
heart-breaking. So being from the hood
way out from where I was, it helped me
you have the ability to ask people
see the two sides of life and made me very
around to help you do a “bad” thing for
aware of myself and my surroundings. You
the right reasons. So the idea was just
just learn to observe how people move and
to get those concepts in a manner that
how people see you differently all the
isn’t to violate but more so to highlight
time. Navigating through those worlds can
the casual nature of how easy it is to
be tricky because you have to be sure of
get yourself in trouble despite you going
yourself even as you’re growing. I think my
to school. Just also how many hoops you
family helped a lot in that because they
have to get through to get a degree in
are very honest people and are always
this country when you’re from a
true to themselves, so you learn who you
disadvantaged background.
are quick. With that I try to be honest in the stories I tell even though they are fictional they come from a real place, which is me, a person who lives in a fantasy but is very aware of the real world.
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What was the hardest artistic choice you
What is your approach to delegation?
made in the making of this film, at any
I always try put people in positions
stage in production?
where I think they can succeed and just
Oh actually during the film, on the day of
asking if they are willing to do it. We
the shoot, the person I had cast play
work on a very small set so the better
Sifiso cancelled on me on the day so I
positioned people are, the much quicker
had to decide who could play the role
we can move and get good shots in too.
and Mbusi who hasn't done much acting
The script is most important to make a
before, I called him and asked him to pull
film. Do you think all filmmakers focus on
up and he came in the pitch and under
that?
the circumstances, he had a very good
I think all directors focus on the script,
performance. I don't think it’s an artistic
it’s just the matter of how in-depth they
choice but it was one of the most
are willing to go. The good ones try
difficult decisions I had to make on set.
focus on the deliverance but the great
What other directors, films or TV
ones focus on who the characters are
programs influenced this film?
on paper first. They have to understand
For a while now I think Atlanta inspire a
the reasons of all the characters, that
lot of my work because it makes so much
way it’s much easier to get it to the
sense to me. Jerusalema and a bit of
actors and make them see the
Zone14 was referenced in the film. In this
importance of each line. This isn’t a
one I wasn’t trying to reference a
quote but just how I see it and I want to
director. I just took the shots that I
be one of the greats.
needed, and I try my best to shoot my stuff in a manner where you’re just observing and not trying to interrupt, watching life as it happens. So I try to get the best of that but subconsciously I think I was referencing someone.
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How rigorously did you stick to the script while
Any advice you would like to give on
shooting?
cinematography?
I do not set out to rigorously stick to the script
I don’t have much advice on
fully, because actors are allowed to be
cinematography other than get a really
creative just as long as the message gets
good cinematographer. I’ve been lucky to
across. But with this film, both the actors
have such a dope one who has become a
Mbusiwabo Maseko and Songo Dukuza stuck
great one, Karabo Modise. I worked with
to the script so well, and their chemistry
him on Robbin’ Hoods and I plan to work
worked despite them meeting on the day.
with him on so many more projects. I’ve
What projects are you working on next?
also worked with Visuals who is brilliant
So far next year I’m planning on making the
and helped some of my ideas come off in
pilot for a series that I have been
Smoke Break. As a director just focus on
conceptualizing and writing for about 3 years
directing and other stuff trust your
called, K1: The Series, it’s about where I’m
cinematographers
from following the lives of 4 characters who are trying their best to get out the hood with the abilities they have and it’s in the future. I will only be making the pilot until we can get funding to make the show. I want this to be something that helps one to be able to pay for the services of all the young people I would love to work with. But in between then, Homie-Made Movies will be dropping more episodes of Smoke Break and other shows we have planned for people to see/watch.
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Felecia Solomons
Cape Town lens-based artist, Felecia Solomons creativity stems from an interest in imagination. Her storytelling behind the lens sparked from a curiosity of the world, which has led her to explore the wonders of what the eyes and ears of this world has to offer. She took this as an opportunity, to see what others see, bring a sense of what she sees and share the feelings of others. Her inspiration comes from everything. She feels as if our connections are seen and shared in everything the observer of the universe has created. Throughout her life, she has curated a series of different moments experienced from nature, film, music, and the stories shared.
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Please tell us what inspired you to enter into the world of photography? There is honestly so many fundamentals behind my curiosity which has led me to photography. I always found a sense of home, flipping through photographs, photo albums and photographic works of others. What transpired this fantasy into practice was when I came across photographer Vivian Maier, a street photographer, whose work was discovered after her death. Her story not only inspired me but pushed me to take a chance on myself and express myself behind the lens creatively, inviting others to walk this paths journey with me, knowing that I am allowing them to see me.
What is your photographic style? My photographic style is made of different styles. Portrait photography, photojournalism, street photography, conceptual and lifestyle photography. I really love film and cinematic motion. I therefore always apply a sense of this when photographing and editing imagery.
Was there a particular event or time that you recognized that photography is your way of telling stories? I had spent a couple of days in San Francisco. I recall, walking about the streets, exploring the city. I wanted to capture my experience in the city and wanted to share my feelings and experience with others. I fell in lust with the city, the streets, architecture, history, and people and felt a loving connection. After my vacation, once I sat down and went through my collection of photographs taken in San Francisco, was when I felt a sense of euphoria. I saw my sense of the city come across and translated in my photographs.
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Gallery
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Tell us more about your first exhibition with @throughthelenscollective, how was it? Were there any challenges? Mention them. Behind the process and making of my portrait – the flowering of she for the portrait show exhibition with throughthelenscollective; It was inspired from the compilation series of a women. The series, the flowering of she draws inspiration behind nature and the natural aesthetic a
What are you most proud of in your professional experience? As an artist, I feel I am still evolving, ever changing, growing, learning and have still so much yet to share with the eyes and ears of the world. With each moment that arises, every moment I get to create, share my feelings with others and inspire is a moment to be proud of. I just want to continue spreading love and light in all I do.
woman embodies. She. A unique flower designed in her very own freedom. She. Born from the earths’ dust, nurtured, delicate, free, and wild. As the sun greets you, with hopeful eyes that you will succeed in your days’, the rain, showers you with guidance of growth, the wind, pushes you to face any self-conflicted obstacles faced, and the night, bids you farewell sweetly in hope that you utilized this day. My journey with throughthelenscollective started in the year 2020. Throughthelenscollective had posted an online exhibition called “photographs are not facts.” I had never really submitted my
Do you intend for others to "see" and "feel" what you "see" and "feel" in your photography? In other words, do you want others to get what you're saying with your photography? Absolutely. Being a lens-based artist, I find myself showcasing parts of who I am as an individual in my work, which is equally scary and liberating. My aspirations to create photography, is to have intention. And I hope others will always see and feel a sense of what, I have to share.
work to any publications before. I then, decided
portraits for their show and it’s been a humbling
Can you share an overview of your career strategy? What types of project do you see yourself involved with in the future?
exciting journey thus far. Both Michelle Loukidis
My ultimate career strategy and projects I
and Michelle Harris, have openly offered words
would love to be involved in are as follows;
of advice and have given me motivational
exhibitions, solo exhibitions, a compilation
thoughts to apply to my personal body of work
over a period of ones’ body of work, a
and I mean, that is insane and so amazing!
photography journal/novel, sharing stories
to take on this opportunity and see. My portrait “skinny love" was selected as one of the online
behind the lens and in writing.
What was your drive behind the exhibition? My drive behind the exhibition is self. A moment of taking flight, expanding my horizons, and spreading my wings. With any opportunity that arises in life, nothing is guaranteed. I also believe that we will only truly know when we know, and when we know, we have already taken a step further into a direction that can only be beneficial to oneself.
What advice would you give to someone starting a career in photography? The advice I would offer greatly to any person starting a career in photography is essence. Just believe in yourself, trust your journey, and absorb photography. There is so many talented and amazing photographers out there whose work inspires on the daily. If you dwell in the light and love of this artistry, you will always rediscover and ultimately stay true to your essence of self. Take in all critical feedback. It will aid in the guidance you need, to continuously grow.
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Botaki Youth Magazine is a digital publication which focuses on the Youth who are pushing their craft yet their craft is not recognized. The magazine's objective is to instill in readers, the need to bring forth their individual perspectives in order to create a unique perception of the art Botaki Youth Magazine holds in it. Thank you to Botaki Team and everyone who helped make this issue possible. For any collaboration/advertising or any other enquiries please contact us at botakiyouthmagazine@gmail.com
Enjoy your festive season!
