IQHAWE ISSUE NO. 9 THE DIGITAL QUARANTINE by IQHAWE MAGAZINE

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ADVERTISING

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EDITOR-IN-CHIEF Pretty Renae Mangena COPY EDITORS

Q A

H W

T A

GRAPHIC DESIGNER Sizwe Shabalala

E M

Keamogetswe Mere Noni Silomo

COVER ILLUSTRATOR Onti Seoralo DESIGN & LAYOUT Katlego Modise HEAD OF SOCIAL MEDIA Anastatia Nkhuna CONTENT PRODUCER Ntokozo Mabuza

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EDITOR’S LETTER This letter was quite hard for me to write because I simply could not decide what exactly I should say. Do I talk about the fact that this is IQhawe Maga‐ zine’s first Anniversary Issue. Then go on to talk about the amazing journey it has been or maybe discuss the trials and tribulations that we have overcome. Or actually how about I talk about the recent global epidemic and how it literally pulled out the middle finger on all the yearly set out plans and goals. Or even give tips on how to survive the lockdown as a creative and give my two cents on how this has changed every aspect of our lives. So, after multiple drafts, I finally decided on some‐ thing. Gratitude is one of the most beautiful feelings in the world, it means you appreciate what you have and that you are grateful for what life affords you. A loving home, family that supports you, friends you can rely on and honestly life itself. It’s so im‐ portant that we take time to appreciate what we have instead of panicking about the uncertainty of the future. I know a lot of creatives are worried about how they are going to survive the next com‐ ing months or where their next pay cheque will come from. But have faith in the possibility of a greater purpose. Trust your ability to constantly re-innovate yourself and bring about an even bet‐ ter reality for yourself.

CONTRIBUTORS BRAND Ntando Ngwenya (XV) ORGANIZATION Shakirah Dramat (THAT Network) DIGITAL ARTISTS Zoya Nkosi Luyanda Zindela Ryan Musonza Kgothatso Moloi VISUAL ARTISTS

Once you have that faith and gratitude you learn from this experience and most importantly SAVE Money! Have plans from A-Z because you know how it feels like to live with uncertainty and no control over your next move.

Muofhe Manavhela

I am not going to give a summon because I am no life coach. Instead, I will leave you with the beauti‐ ful words by Amara Nwosu

Sanele Fufu

“Have faith- You are on a divine path and many things won’t make sense till later. We can only re‐ trace our steps looking back not forward.

Cow Mash Creative of the Month

DIGITAL EXHIBITION Mukondeleli Mashiana

Let life reveal its purpose to you. Soon it will all connect” -Amara Nwosu Until next time folks. Pretty Renae Mangena

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Content

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08 Creative of the Month - Sanele Matsolo

Digital exhibition Mukondeleli Mashiana

Funding for Creatives

Digital Quarantine by Ntokozo Mabuza

Visual Artists Cow Mash + Muofhe Manavhela

Main feature (digital Artists) Luyanda Zindela Zoya Nkosi Ryan Musonza Kgothatso Moloi

Organization (THAT Network ZA) Shakirah Dramat

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CREATIVE OF THE MONTH

Sanele Matsolo |

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anele atsol

I am a 24-year-old self-taught filmmaker and pho‐ tographer based in Johannesburg, Soweto. My career started in 2016, in branding and advertis‐ ing as a Graphic Designer and Art Director for my creative company called Alpha Digitals. In my work, I focus on telling authentic South African stories that are relatable and familiar.

I was born in Soweto Chiawelo in 1996, then grew up in one of the informal settlements of Soweto, attending school at Busisiwe Primary school, where I developed a love for drawing from artists such as Zapiro and Sizwe. My creativity grew from there when I attended Jabulani Technical High School, where I began to do paintings that were showcased at Soweto Theatre’s arts and craft event, resulting in me being interested in dif‐ ferent art forms, particularly photography. I began teaching myself designing vectors and il‐ lustrations in 2015, resulting in me starting my brand designing logos and posters the following year. I then decided to branch into photography, bought myself a camera (Canon 550D) and learnt how to take pictures through YouTube videos, later began shooting short films.

The understanding that every person has a story that is worth capturing has shaped my work. In‐ teracting with people through my lens gives me a new language through which to express my emo‐ tions- pain, joy, sadness and forgiveness - without having to necessarily articulate those emotions in words. I am drawn to unearthing the soulfulness in the stories I get an opportunity to tell. I love to create work that has a nostalgic feeling, relatable with a sense of newness and familiarity. I strive to create work that allows the viewer to relive moments they have shared with friends, loved ones, and their community. My main goal as a photographer is to see my work go far, making a name for myself. That is what I have been trying to achieve for the past few years and I feel as if I am getting somewhere by being recognized by other creatives who are influencing my growth. A feature on IQhawe mag‐ azine has also contributed greatly to my work. I consider it a blessing as I believe most artists, es‐ pecially without formal training, deserve a plat‐ form such as this to showcase their skills. To see more of my work, visit my Instagram page @SANELEMATSOLO.

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CREATIVE OF THE MONTH

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BRANDS

NTANDO XV Issue 9

WHERE TALENT, HARD WORK AND A BIT OF MAGIC COLLIDE

Where talent, hard work and a bit of magic collide.

Ntando Ngwenya is a self-taught fashion designer whose hard work and dedication has led to a budding career in fashion. Coming from a low income household didn't dictate how far this designer would come in the industry, Ntando is an example of how ‘surviving’ can turn to ‘thriving’ when talent, hard work and a little bit of magic collide.

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IQhawe Please tell us a bit more about who Ntando Ngwenya is and how your entrepreneurial journey began? XV I grew up in a township called Soshanguve in Pretoria, and I was fortunate enough to have parents who would let me express myself however I wanted, allowing me to discover my talents from an early age. That experience had allowed me to break boundaries I didnâ&#x20AC;&#x2122;t know existed. I have such gratitude towards my parents for that. IQhawe How did the brand come about and why was it important for you to start the brand? XV Growing up from a poor background, survival became my second nature. I was trained to take orders and use instructions from a working formula in order to manifest my career or dreams, but I think I was much too busy making a living through making and designing clothing. Fashion was a calling for me, and I had learned how to make clothes and get remunerated for doing what I loved from an early age. Fashion became a medium of expression that I used to generate recognition from key figures in order to build my brand, Ntando XV. In short, my talents became a business. IQhawe Did you receive any startup capital from an entity or was it self-funded? XV I like to think that it was Godâ&#x20AC;&#x2122;s grace but, my mentors, clients and partners have enabled me to materialize my potential in the business.

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IQhawe How do you go about deciding on different pricing models for different garments? Is there an industry standard that regulates pricing within the industry? XV I canâ&#x20AC;&#x2122;t dictate snuggery for what people deem as luxury, but I can take responsibility for aligning my product with high-end standards and manufacturing techniques. We use Fine and High-end fabrics on demand, and we do dilute some styles to make them affordable for certain clientele. Our pricing is measured by time, technique and material that goes into a product. I use a basic wholesale to retail model for my bigger clients but for bespoke clients I use a different model depending on specifics. I am currently supplying for a boutique and I believe that they understand the quality standards and the time it takes to produce the products that I design. IQhawe What are your thoughts on the South African fashion industry, is it where it needs to be or is there more that needs to be done? At an institutional level or at an individual level? XV The fashion industry hasn't changed in the past 300 years - we still use needle and thread to make clothes, we use still use media to market our product. However, I feel that the South African fashion scene is still primitive to the idea of introducing innovation, support and mass collaborations to build a sustainable production model for our industry.

IQhawe In your opinion, what would you say makes a successful fashion brand? XV Due diligence, sustainability and consistency. For me that’s a successful fashion brand. IQhawe For an aspiring designer looking to start their own clothing line, where should they start and how does one go about it? XV I have little faith in motivating anyone who is doubtful, but if there’s some advice I would give – it is to work hard. Do what feels right for you, build relationships, establish a market and stay true to yourself. Don’t ignore innovation, no matter how overdrawn your resources are. IQM: Prior to starting the brand did you go through any formal training or were you self-taught? And which do you think aspiring designers should follow? Formal training or teach themselves? XV I’m a self-taught designer and I wasn’t institutionalized in the right practices to realize my skills; however, I was fortunate enough to be around some key figures that have allowed me to reach my potential. Education is important, don’t let it go to waste. Allow yourself to learn before you rearrange it. IQhawe In the years that you have been running the brand, what have you learnt about yourself? XV I’ve learned a lot, but I would like to believe that.

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BRANDS

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The year 2020 came with vivid visual visions on how the year will go by; how more dreams will be achieved; more goals will be set and how bad energy will stay far away whenever we come out to play! Four months down the line, you realise you are on an episode of Coronavirus ‘You Got’ as you’re sitting at home practising…Social Distancing.

20/20 Vision on Lockdown.

Coronavirus (aka COVID-19) a flu-like illness, came our way and reminded humanity to lessen the swift and subtle spreading of germs by attentively washing our hands and consciously sneezing and coughing into our elbows or a tissue. Strung along msCovid are feelings of distress, alarm, and unease, for a vast majority of individuals and creatives at bay. With a lot of income generated from freelancing projects -PAY YOUR CREATORS!and projects that rely on people use (i.e. Models), with this global pandemic at bay, it has become physically impossible to produce creative content- unless we enter and express on a Digital Quarantine!

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Increasing digital footprint through stretching the amount of screen time spent scrolling on social media, calling to check in on friends and la Familia and making the effort to get dressed and make it to the collaboration or work web call, digital quarantining might just be the perfect introductory that the Fourth Industrial Revolution needed.

For creatives, this lockdown is far from being an issue in which one should restrict their creativity flow from moving in full fluidity. From Instagram Live “House parties”, to learning how to ‘Plan, Design and Code’ that website you’ve been putting aside, to even learning how to place complementary, primary, secondary and pastel colours together by colouring in a Devil’s Peak beer “King Blockhouse” poster- in retrospect, this semi 4th IR introduction (COVID-Quarantine) is only helping us help, well, ourselves. Amid all uncertainty set in this awkward and expansive pandemic, it is no surprise to

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anyone that this lockdown (and its extension counterpart) has and will continue to devastate creative communities and possible careersfrom start-ups to freelancers to creative industries as a whole. In response to the lockdown impending on income generation, the Government, more so the Department of Arts and Culture, has made efforts to relieve creatives of financial constraints with a R150 Million Relief Fund with recent applications for the COVID-19 Sports, Arts and Culture Relief Fund being accepted on the 6th of April 2020. This relief fund was applicable to individuals involved in; Project management, Event organisations, Producers, Freelancers (in all creative and cultural industries) Athletes, Coaches, and Technical Personals, to ease the economic impact on their livelihoods. What this fund does is that it will ease the economic impact of creatives’ livelihoods given that there is proof of event cancellation. All in all, what this currently means for creative careers, in this present moment, is that events and sports are put on hold with a subsidy payment to ease financial constraints.

DIGITAL QUARANTINE With all of that said, I wish to leave you with a friendly reminder: Stay away from M.E.N (mouth, eyes, and nose) and stay safe! By Ntokozo Mabuza

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If anything, apart from the financial restraints, my fellow South Africans, let us use this time spent in our homes as a period to engulf ourselves in enhancing our already useful skills, learning new ones, or even really, using this time to give ourselves a short yet muchneeded break in the spectrum of a worldwide outbreak.

‐ i g i D e r A l Ex‐ a t ibi‐ h ons ARE DIGITAL EXHIBITION THE FUTURE?

With everything else going digital it seems inevitable that we see art exhibitions and art viewings follow the same route. We interviewed Content creator Mukondeleli Mashiana who curated an all black female digital exhibition which featured artists such as Pu‐ leng Mogale, Muofhe Manavhela and Nombuso Dowelani.

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IQHAWE: So, you recently cu‐ rated a digital exhibition which featured visual artists, what ex‐ actly is a digital exhibition? What is its intention?

Mukondeleli Mushiana

MUKONDELELI: Mukondeleli Mushiana is a 19-year-old multi‐ faceted creative and student. I was born and raised in Soweto, Diepkloof, but I am originally from Limpopo, Tshakhuma. I write for a living and I would best describe my work as sim‐ ple and captivating.

MUKONDELELI: Digital Exhibi‐ tion is a platform established by Culture Club for black visual artists that are trying to break into the industry by exhibiting their artworks at well-known art galleries but haven’t gotten a chance to. Instead of showcas‐ ing their artworks traditionally, they do it digitally on our online publication. We wanted to break the cultural norms of visual artistry a bit and we were lucky that when we introduced this crazy idea to the public, we were starting to quarantine, so people would be able to view the exhibition without rushing. IQHAWE: The digital exhibition only featured black female artists, was this intentional? If so, why was this important? MUKONDELELI: Yes, I am one person that has dedicated their life to supporting and celebrat‐ ing black women that are cre‐ atives. I wanted people to see the talent that young black artists have, not that they do not know, it was just a reminder.

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IQHAWE: Please tell us about yourself, who is Mukondeleli, what does she do and what kind of work does she create?

IQHAWE: What kind of dis‐ course, if any, do you want to spark with the exhibition? MUKONDELELI: I would re‐ ally appreciate it if the exhi‐ bition could make people support black women that are in the visual artistry in‐ dustry and just women that are creatives more. That’s the conversation I want this exhibition to spark. IQHAWE: What was the cre‐ ative process behind curat‐ ing the artworks that made it to the exhibition? MUKONDELELI: There wasn’t a formal creative process, each of the artists chose their favourite and best artworks to showcase and I just lined them up ac‐ cordingly and made sure that everything looks aes‐ thetically pleasing to the viewers.

IQHAWE: How has the 21day lockdown affected your work? MUKONDELELI: The 21 days lockdown that now has an extension has not af‐ fected much of my work, be‐ cause I do everything tele‐ phonically. From writing, to controlling all Culture Club social media accounts to communicating with the rest of the Culture Club team.

IQHAWE: The COVID-19 pandemic left many artists and creatives at a disadvan‐ tage due to the economic ef‐ fects it has had, what do you think could be a possible so‐ lution to this problem and what do you think needs to be done at an institutional level or personal level? MUKONDELELI: Well, cre‐ atives are always at a disad‐ vantage whether there is a pandemic or not. One thing I try so hard to comprehend is that many people depend on arts and culture, mostly now during this pandemic and national lockdown, but no one wants to pay creatives. The only solution is to imple‐ ment a creatives funding like the small businesses fund‐ ing, there is not much of a difference between a cre‐ ative and SMEs.

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IQHAWE: Who are some of the young aspiring artists that you think we need to be on the lookout for? MUKONDELELI: The first one is quite obvious, Muofhe Manavhela is one artist you should definitely be on the lookout for and I am going to quote something Thando Simelane tweeted, “before I go, note Muofhe is deadly with the paintbrush” and yes she is very lethal with the paintbrush, no doubt about that. Other incredible artists you need to look out for are Puleng Mongale, Nombi Dowelani, Okhi (on Instagram) and Tshedza Mashamba. IQHAWE: Can we expect any other digital exhibitions post the pandemic? MUKONDELELI: Definitely, we are still trying to figure out how and when to do the next one. We received great reviews from the first one, so yes, the Digital Exhibition is here to stay.

Itâ&#x20AC;&#x2122;s titled â&#x20AC;&#x153;and then we wept; Madonna and child, without the child because she probably got killed by a South African man somewhere. Oil on canvas, 21cm x 29,7cm 2019 Issue 9

uMazikode Acrylic on canvas, 2019

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James 4:12 Embroidery

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Digital Print

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Exhibâ&#x20AC;? ited Work

DIGITAL EXHIBITION

Muofhe Manavhela Nombuso Dowelani Puleng Mongale

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STAY HOME, WASH YOUR HANDS & BE KIND

Funding for Creatives during the Covid 19 pandemic. UNESCO international fund for cultural diversity https://en.unesco.org/creativity/ BASA Artists Relief Fund https://www.basa.co.za/ Sports, Arts and Culture Relief Fund www.dac.gov.za Format Photographer Fund https://www.format.com Innovate Grants- Spring Call for Artists and Photographers innovateartistgrants.org

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The recent global pandemic has left many creatives in destitute and uncertain about what the next few months could possibly look like as people working in the creative industry. We understand how difficult this time is so we have together a list of entities that will be providing relief funding during this difficult time.

COVER

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DIGITAL ARTISTS Emerging digital artists you seriously need to know about The term digital arts first came to use in the 1980s. The term came about when computer engineers created a paint program designed to make large drawings on sheets of paper placed on the floor. The industry has massively evolved since then. Today digital artists are exploring with different forms of technology to break boundaries to take this art form even further. We got the opportunity to interview emerging digital artists Zoya Nkosi, Ryan Musonza and Luyanda Zindela to get to know more about their creative journeys and get to know more about the work they create.

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Luyanda Zindela

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IQHAWE:Please tell us a bit more about who you are, what you do and where you are from. LUYANDA: My name is Luyanda Zindela. I am a 28-year-old visual artist currently living and working in Durban, South Africa. I’ve been a practicing visual artist since 2009. My artistic practice began much like most black South African artists, with the production of portrait drawings of my friends and loved ones, using traditional art-making mediums like pens, pencils and charcoal. Over the years, I began to embrace and incorporate various forms of digital and new media into my work. I became increasingly interested in working with digital images, video as well as audio. My work now often jumps between various artistic mediums and disciplines, depending on the various themes and subjects I want to artistically explore. Despite the fluidity of my current art practice, drawing remains at the heart of everything I do. My creative practice also extends to art curation as well as working with Art for Humanity, a non-profit organization that conducts various visual arts related social projects in Durban.

IQHAWE: How would you describe the digital arts industry in South Africa, are there opportunities for young people ? LUYANDA: I am still relatively new to the digital arts industry, so my knowledge of it is honestly quite limited. I believe that it has similarities to most other creative industries in this country – in that it is seemingly complex, with many young and talented artists often vying for a limited number of opportunities and resources. The visual arts industry is generally difficult to get into and sustainably stay in, especially in a country

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that doesn’t always give emerging practicing visual artists, much less digital artists, the respect they deserve. There is still a pervasive false perception of the arts as hobbies or passions rather than serious and legitimate career choices. The internet and social media have played – and continue to play – a valuable role in breaking down barriers to entry for many young budding digital artists like myself. It has made many tools, platforms and creative communities more easily accessible, and it has made it possible for artists to connect with audiences and markets that they otherwise wouldn’t have had access to. Despite the challenges, the digital arts industry is an exciting, rapidly growing space that is often the forefront of pushing the boundaries of how we understand, interact with and experience art in today’s internet age.

IQHAWE;:Have you received any formal training at an institution and if so would you recommend formal training for other aspiring artists? LUYANDA: I studied visual art at the Durban University of Technology, completing my master’s degree in fine art in 2019. Whilst practical information and tutorials on visual art techniques are now easily available due to online platforms like YouTube, I believe that my formal art training was valuable because it trained me to think beyond the superficial questions of “what” art I was making. I learned to think of much broader and deeper questions around my art practice such as “how”, “why” and “for whom”. My formal training allowed me to see that thinking critically about art and art making, is often just as valuable as the making of art –

this is why I would recommend it to young aspiring artists. I do believe however that formal training isn’t the “be all and end all” of art education. Much like other ‘formal’ institutional spaces, formal training in the arts can be just as limiting and restrictive as it can be liberating. I believe that artistic training and learning is really down to the kind of teachers and mentors you have, as well as the understanding that not all of the lessons you will learn about the visual arts will come from ‘formal’, institutionalized training.

LUYANDA: When it comes to the pricing of my work, I typically establish a baseline fee, based on a combination of my labour as well as the cost of the materials/ mediums used to produce my work. I can charge a fee above the baseline fee, based on the complexity or labour intensity of a particular artwork, but I never charge anything below that baseline. The baseline allows for the pricing and overall quality of my work to remain mostly consistent. My baseline fee has very gradually increased as my artistic practice and career has gradually grown and evolved. I don’t currently make a sustainable living from making art alone. Like most young emerging artists, I too make the majority of

my living from various jobs and side hustles. I’ve recently discovered that I enjoy curating as well as working with others on visual arts based social projects, and so producing art on a fulltime basis isn’t something that I currently aspire to do. The various jobs I do allow me to have full autonomy over the amount of art I produce as well as the amount of time it takes to produce my art – I value this autonomy more than anything else.

IQHAWE: Is there any social or political commentary you would like to make with the work you create? LUYANDA: My work predominantly explores the theme of race, focusing on blackness and what it means to be black in a society and world that often reduces blackness, and black people, to a racially marginalized, and often

spectacularized form of ‘sub-human’ other. My work initially sought to overtly challenge the dominant notions of race that place individuals into socially constructed, hierarchal ‘racial’ groups. More recently I’ve become less concerned with ‘speaking out’ and more interested in ‘looking in’. Rather than speaking out against hierarchal notions of racial difference I am now interested in looking within at the ways in which racially marginalized individuals (myself included) and social groups practice the refusal of their socially constructed status as ‘less than human’ in their daily lives through the various familial or platonic relationships they form and maintain with one another. Rather than trying to (often exhaustively) declare black people, their bodies and their cultures as human, my work now more introspectively explores ways that black people like myself already declare and preserve their humanity in their everyday lives and relationships.

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IQHAWE: How do you go about pricing your work? And do you make a sustainable living from the work you create?

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IQHAWE: What in your option makes a successful digital artist? LUYANDA: I am still very new to the digital arts world and so I don’t think I’m in a place where I can speak definitively on this. I imagine that it is similar to how one finds success in other creative and artistic fields – through discipline, diligence and being able to be versatile, flexible and collaborative. The digital arts is a creative space that is in a constant state of flux, thus I believe that this space requires someone with an open mind and a willingness to work with and learn from others in order to survive and eventually thrive.

room and allows them to thrive and eventually redefine the room.

IQHAWE: Has the recent global pandemic affected you and if so in what way? LUYANDA: The recent global pandemic hasn’t seriously affected me yet because I’ve made it a habit to save and cover major expenses such as rent, months in advance. However, due to the general financial

insecurity that comes with working in the creative field, the longer this pandemic goes, the longer creatives like myself, who don’t have a significant online following, will be without work. The economic ramifications of this pandemic will be felt long after the pandemic itself is gone. This pandemic has unfortunately made me very anxious about my mid to long term future. The economic ramifications of this pandemic will very likely hit artists and creatives harder than anyone else in the long run.

IQHAWE: What are some of the solutions you have come up with to this? LUYANDA: I’ve mostly focused on using this time to reflect on my own artistic practice as well as produce new work. I’ve also begun to shift focus and direct my energy towards building my presence and the visibility of my work and artistic practice online, particularly on various social media platforms like Instagram and Twitter.

IQHAWE: What advice would you give to someone who wants to get into the industry? LUYANDA: My advice is going to sound very sterile and boring, but it is personally very important. Discipline and professionalism will often carry an artist/creative a lot further in the industry than talent or passion. So many young aspiring artists unwittingly shoot themselves in the foot by believing that their talent or passion will make up for a lack of discipline or professionalism. It almost never does. Talent and passion is often what will get an artist through the door, but discipline and professionalism is what keeps the artist in the Issue 9

IQHAWE: What software or tool do you use to create your work, and what tools do you recommend aspiring artists should use ? LUYANDA: With my digital artworks, I mostly start with producing drawings by hand and then scan and alter them on Photoshop. I work this way because I prefer that my digital artworks still have a ‘handmade’ look and feel to them. Honestly, I recommend that artists use whatever software and recourses they can get their hands on. We so often want to wait until we have the perfect tools in order to get started with artistic projects. I got started on GIMP, a free,

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open access image editing software that is readily available online. IQHAWE: Where do you draw inspiration from? LUYANDA: I now draw inspiration from my everyday lived experiences as well as the relationships that I have with those around me. My work has transitioned away from me commenting on the (greater) world around me, towards an interest in exploring and conveying how I, and those closest to me, navigate the world.

IQHAWE: Is there any project that you are currently working on? LUYANDA: I’ve actually gone back to my roots, back to portrait drawing. I am currently working on a new series of large scale portrait drawings, exploring my close personal friendships and how these friendships are spaces where I, and my friends, practice our refusal of the notion of (our) blackness, our bodies and our cultures as racially marginalized, spectacularized, subhuman other.

Rapid Fire Questions IQHAWE: Describe yourself in 3 words? LUYANDA: Would describe myself in 3 words as Inquisitive, Perceptive, Goofy. IQHAWE: Favorite artist or creative LUYANDA: My favourite artists are Billie Zangewa, Tony Gum and the iQhiya Collective. IQHAWE: 3 things that every artist should know. LUYANDA: Three things every artist should know are a) You must be a bit more responsible with your finances than most people are. b) Answering emails promptly, and professional practice in general goes such a long way in terms of opportunities. c) Art is genuinely a space where anything goes. “Bad” ideas or artworks are only good articulation, communication or presentation away from being “good” artworks or ideas. 3IQHAWE: most used Apps on your phone. LUYANDA: WhatsApp. Twitter. YouTube. IQHAWE: Your greatest achievement yet? LUYANDA: My greatest achievements so far are winning the merit award in the Absa L’atelier competition in 2014, Curating the Absa L’atelier Gerard Sekoto award winner’s exhibition in 2017 and winning second prize in the Sasol New Signatures art competition in 2019. Issue 9

Ryan Musonza

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IQHAWE: Pease tell us a bit more about who you are, what you do and where you are from? RYAN: My name is Ryan Musonza and I am from Harare, Zimbabwe. I am a BCom Honours Informatics student at the University of Pretoria with a deep love and passion for all forms of art. I just so happen to dabble in visual arts. IQHAWE : Whats a digital artist and what does a digital artist do? RYAN: A digital artist is someone that creates and expresses their artistic vision through technological means as opposed to the traditional means (painting, drawing, sculpting etc) IQHAWE: How would you describe the digital arts industry in South Africa, are there opportunities for young people? RYAN: The progression and growth of the digital arts industry has definitely gone hand in hand with the advancements in technology. As a lot more companies and industries have gone the digital route so has the demand and need for digital artists. IQHAWE; Have you received any formal training at an institution and if so, would you recommend formal training for other aspiring artists?

and impart the knowledge they have learnt and the skills they have developed onto others. IQHAWE: How do you go about pricing your work? And do you make a sustainable living from the work you create? RYAN: Itâ&#x20AC;&#x2122;s quite funny you should ask that. I have not officially made any of my work available for purchasing. I have put off working through logistics for the longest time - that, coupled with my fear of putting myself out there has stifled all progress there but I am determined to really go for it and get it right. IQHAWE: What in your opinion makes a successful digital artist? RYAN: I think the definition or rather the interpretation of success in this field/ avenue is very subjective. For quite a bit of time I tied my success to numbers the number of likes on a post, engagement statistics. It left me in a very vulnerable position when I didnâ&#x20AC;&#x2122;t meet these targets I had set for myself. I now view my success merely by being able to present my offerings to the world. If I have been honest in my creating and presenting of my art then that is success to me.

RYAN : I have not received any formal training. I learnt everything I know and am able to apply to my work from YouTube. Thatâ&#x20AC;&#x2122;s the beautiful thing about that community - so many people are eager to share

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IQHAWE: What advice would you give to someone who wants to get into the industry? RYAN: As someone who honestly has not been at it for a very long time, the best advice I can give to someone is do your best just to get started - get that first step or stride out. I had been a “closet” artist for about 10 months struggling getting past the obstacle and idea of putting my work out there for it to be at the mercy of others. The greatest liberation I experienced was when I got over that fear and finally posted my work. IQHAWE: Has the recent global pandemic affected you and if so, in what way? RYAN: It’s definitely affected me as a student and a bit more so as someone who had set out to enter and be a part of as many creative spaces as possible this year. Getting back to school was definitely the main goal this year and that has been hindered a bit by no longer having access to campus or campus resources. It has just put most of my plans on hold but I definitely will still achieve everything I have set out to achieve this year. IQHAWE: What are some of the solutions you have come up with to this?

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RYAN: It has given me an opportunity to reflect on my art and my journey, experiment, revisit a lot of things that I had pushed to the side or thought weren’t worth focusing on. To stimulate creative flow and just to help me get out of my shell, I challenged myself to post my artwork every day during the lockdown. I have now had

more time just to really dig in and look for inspiration on all platforms and to follow other artists on their journeys. I have digitally been able to connect with so many people and that has truly helped me grow. I am also reading a lot more now. IQHAWE: What software or tool do you use to create your work, and what tools do you recommend aspiring artists should use? RYAN: I mainly use Adobe Photoshop with a sprinkle of Adobe Illustrator and my Wacom drawing tablet. A drawing tablet is not a necessity but I can say that from personal experience, it has definitely helped enhance my work and workflow. I think any software that can allow you to create and edit visuals works. IQHAWE: You recently exhibited your work at Woke Arts, how was the experience like, and how were you able to get your work exhibited there? RYAN: It was such an amazing experience because that was my first time exhibiting my work for anyone outside of my family and friends. It really helped being in such a creative space and it did wonders for my confidence. I got the opportunity through one of the organisers who reached out to me on Twitter and asked if it would be something I’d be interested in. It was an immediate and obvious yes because the Woke Arts movement had been something I had been following and had been wanting to be a part of for quite a bit of time.

IQHAWE: Where do you draw inspiration from? RYAN: Honestly, everything, everywhere. Other artists, music, my experiences. They all help guide me in my creative process. Expressing myself through my art has really given me an outlet to be more in touch with my emotions and the things that I go through. IQHAWE: Is there any project you are currently working on? RYAN: I challenged myself to post every day during the initial lockdown and with the extension announced I hope to be able to go beyond it. So I guess you could say that is the project I’m currently working on.

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Rapid Fire Questions IQHAWE: Describe yourself in 3 words RYAN: Definitely the toughest question from the whole bunch. Fun, Empathetic, Artistic. IQHAWE: Favourite artist or creative RYAN: A brilliant multimedia artist by the name of Dâ&#x20AC;&#x2122;ana Nunez (@itscovl on Instagram and Twitter) IQHAWE: 3 things that every artist should know RYAN: There is no such thing as terrible art or failure Honest expression is the best and purest form of release You are amazing at what you do IQHAWE: 3 most used Apps on your phone RYAN: Instagram, Twitter and WhatsApp. IQHAWE: Your greatest achievement yet? RYAN: Iâ&#x20AC;&#x2122;d have to say exhibiting at Woke Arts and this here feature actually.

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Zoya Nkosi

ZOYA: I am Zoya "Lorde" Nkosi and I am a Graphic Designer by day and an Illustrator whenever I can find the time to draw. I've been drawing since I was kid and doing design for about five years. IQHAWE: How would you describe the digital arts industry in South Africa, are there opportunities for young people? ZOYA: I would describe it as a malnourished child. But there are always opportunities. IQHAWE: Have you received any formal training at an institution and if so would you recommend formal training for other aspiring artists? ZOYA: Unfortunately I've never been formally trained in art, however,I did study Graphic Design at Vegaâ&#x20AC;Ś although studying art is still one of my goals. IQHAWE: How do you go about pricing your work? And do you make a sustainable living from the work you create?

but it keeps me calm and I hope someone sees my work and it is recognized in any positive way.

ZOYA: I price my prints based on size. Beyond standard prints it's always down to a conversation. I don't yet make a living from my work; instead I use it as an escape from my day job. IQHAWE: Is there any social or political commentary you would like to make with the work you create? ZOYA: I draw my own idea of beauty for the sake of creating something beautiful. I don't think art needs to constantly say something or have some deeper meaning. Sometimes it can be exactly what you see... although I wouldn't be quick to give my work to a psychiatrist for analysis, ha!

IQHAWE: What software or tool do you use to create your work, and what tools do you recommend aspiring artists should use? IQHAWE: What, in your opinion, makes a successful digital artist? ZOYA: A successful one is one that survives off their work and a respectable one is one that can claim their work as their own. What advice would you give to someone who wants to get into the industry? If you love it do it. If you don't, it probably won't be worth the effort. IQHAWE: Has the recent global pandemic affected you and if so in what way? I'm illustrating for myself rather than for commissions. IQHAWE: What are some of the solutions you have come up with to this? I Keep sharing my work, it might not be financially beneficial

ZOYA: I mainly use pencil and photoshop to create my work. I always recommend using your hands, what we create with our hands is uniquely ours. So many "artists" replicate and steal from others, especially in digital art. IQHAWE: Where do you draw inspiration from? ZOYA: Mostly women because "She is God on earth". I am inspired by women on the street, women on social media, women in my head. Some of the women who inspire me are conventionally beautiful others are odd and some are alternative. Is there any project that you are currently working on? I am currently experimenting with embroidery as a medium for illustration... hopefully it works out.

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IQHAWE: Please tell us a bit more about who you are, what you do and how long you have been doing it for?

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Rapid Fire Questions

IQHAWE: Describe yourself in 3 words ZOYA: Romantic, Animated, Curious IQHAWE: Favorite artist or creative. ZOYA: The Pre-Raphaelite Brotherhood are my favourite old timers, especially Dante Rossetti. And a Digital Artist whose work I love is Manjit Thapp IQHAWE: 3 things that every artist should know. ZOYA: _ Which mug has coffee and which one has the paint water. _ The difference between appreciation and imitation. _ It doesn't matter if people think your work sucks, someone thinks your work is F***ing amazing (could be you, could be another human, either way it counts). IQHAWE: 3 most used Apps oln your phone. ZOYA: Instagram, MyDramalist and Spotify

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IQHAWE BEAUTY WRITER

S+AVA

ORGANIC SKIN & HAIR CARE

Ms Silava June Ogana is the Founder & Skintellectual at S+AVA Organics. S+AVA is a South African brand, which aims to produce organic sustainable products for all skin & hair types, that are free from pesticides, synthetic fertilizers, genetically modified organisms (GMOs), ionizing radiation, as well as antibiotics and growth hormones. The national and global lockdown has seen beauty and hair services temporarily shut down, encouraging the trend of DIY beauty self-care. Below are 3 products that are not only affordable but are the most effective unsung heroes within the mainstream beauty industry.

BENTONITE CLAY This multipurpose powder is made from volcanic ash that has been aged in prehistoric sea beds. Bentonite clay is rich in minerals, including silica, magnesium, calcium, sodium, copper, iron, and potassium. Face mask: BC draws out toxins and bacteria from clogged skin, deep cleansing the skin to prevent acne and blemishes. Hair Mask: BC acts as a scalp and hair cleanser of some sorts. It strips away product build up from conventional hair products, allowing for one to optimize the benefits gained from using future products. It also elevates fizziness and improves the curl pattern of afro hair. Armpit detox: Conventional deodorants are loaded with aluminium and other ingredients that prevent you from sweating. This interferes with one of your body's most natural detox mechanisms. BC helps pull some of these potentially harmful substances from your skin. BC bath and Foot soak: The heat boosts the circulatory system, and the clay draws toxins out of the body.

IRISH SEA MOSS Irish Sea moss is a type of red algae that grows in the coast near the sea line. It contains 92 minerals out of 102 minerals in the body, and 15 out of 18 essential nutrients that our body needs. Sea moss contains Vitamins A, D, E, F, K, Calcium, Potassium and Sulphur, just to name a few. Its high sulphur content means that it has antibacterial, antiviral and antimicrobial functions, believed to help with balancing the skin microbiome. Sea moss is also VERY alkalizing, meaning it is antiinflammatory and prevents pimples, blemishes and dark marks. It soothes eczema, psoriasis, dermatitis, burns, and has a myriad of anti-aging benefits. Irish Sea Moss Gel: R60 excl. delivery Available at meloseamoss.com

R49.95 Natureâ&#x20AC;&#x2122;s choice Bentonite Clay: Dis-Chem or your local pharmacy

SUNFLOWER SEED OIL Sunflower seed oil is a great source of vitamin E, and is rich in nutrients and antioxidants. It is effective for combatting skincare issues such as acne, inflammation, general redness and irritation of the skin. Sunflower seed oil also has anti-inflammatory properties that help lower skin redness and roughness. Sunflower seed oil is high in omega-6 (linoleic) fatty acid and vitamin E. Omega-6 acid helps decrease inflammation in the skin and enhances the development of new skin cells. Add a few drops to your convectional face cream for optimum results. R22 Woolworths Sunflower Oil R81 Truefoods Extra Virgin Cold Pressed Sunflower Oil. Available at faithfultonature.co.za

SILAVA J OGANA: The Skintellectual Beauty, Health and Lifestyle writer: IQHAWE Magazine

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ADVERTISING

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Instagram page; @alude_arts Contact Info: Email us at Aludearts@gmail.com Call us directly : 078 631 6789

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Black Representation in the hands of Black Women. If you have been reading IQhawe for a while you probably know we have an obsession with black female artists. Black women are constantly creating work that breaks boundaries and sparks conversation. Painter Muofhe Manavhala and visual artist Cow Mash are creating work that speaks to the nuances in the lived experiences of black women as it relates to how they negate different social-political experiences.

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Cow Mash |

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IQHAWE:l Pease tell us about yourself, who you are and what you do? COW: My name is Cow (selfgiven and valid name). I was born and raised in Limpopo in 1994, and I am currently based in Pretoria. I am an artist primarily a sculptor - but I work in other mediums too. I graduated in 2017 from Tshwane University of Technology (TUT) with a degree in Fine Arts, and I am currently completing my Masterâ&#x20AC;&#x2122;s in Fine arts while lecturing part-time in Sculpture and Fiber arts. IQHAWE:What has your journey as a visual artist been like since you started creating your work? COW: It has been about growth, learning, unlearning and healing. Honestly, it has also felt like a sci-fi movie (in my head), in the best possible way at times, and lowkey scary sometimes. It continues to be all of the above as well as a blessing (not even in disguise, just a real blessing). There is much symbolism and many cultural references in your work, please tell us a bit more about why this is important to you.

a variety of synthetic materials in my general art - making process to reflect on the transformation and evolution of culture. IQHAWE: What type of discourse do you want to spark with your work if any? COW: I think one of the conversations I would appreciate coming out of my work is how black women are navigating themselves within their cultures in todayâ&#x20AC;&#x2122;s world. In support of my healthy obsession with the cow, it would be nice if my work got people to speak about the cow and the woman in comparison, without mention of only the derogative traits, but all the magical associations too. IQHAWE: A lot of the work you create consists of the representation of the black female body, why is this important to you and what does it signify? COW: I exist in this world as that: a black female. I think it is important that I represent my existence from my own perspective.

My work is inspired by my selfgiven name: Cow. I claim the name understanding that this name can be seen as a derogatory term towards women, but knowing that in many cultures the cow is sacred, it is all providing and it is the bridge between the physical and spiritual world. Through cow metaphors, I try to situate myself between the Sepedi culture and the contemporary world. I create drawings on synthetic leather instead of real cow hide and use

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IQHAWE: Is there any social or political commentary you want to make about your work or want people to take away from the body of work you create? COW: I hope that people take in the pain-filled perspective of the stories that I’m telling through the cow metaphor. I think it is not yet uhuru for the black woman in the world that we exist, not all the work we make is going to be a happy story to represent us in a positive perspective. These stories come from a real place; they are carried with us from generations of women that existed before us. Our mother’s stories are sometimes filtered into the stories we tell of ourselves. It is a healing and a learning process that cannot always look as “beautiful “as the world sometimes expects a woman to be presented. I also hope that my work may inspire more black women to tell their own stories, be it the lived experiences or fictional. More perspectives of black women, by black women. IQHAWE: Please tell us about your very first exhibition, how was the experience? COW: My first exhibition was in 2015, a group show at the Art It Is gallery in Johannesburg. The small piece I exhibited sold, I think it was a cute start to encourage a young Cow to continue showing her creations to the public. IQHAWE; Would you say that Art fairs and exhibitions are beneficial to artists and if so, how exactly? COW:Yes, I think art fairs are great, a very convenient way to gallery hop without travelling to different locations. I think fairs are beneficial to artists (exhibiting or not) for communicating with people who are part of the industry. Fairs are a great space for networking with a community of people that will understand your victories and struggles. IQHAWE; How does an aspiring artist go about getting their work exhibited at a gallery or art fair ?

is no GPS route with step by step directions of how to get there. What helped me was being present in the industry, attending exhibitions when I was able to (this becomes like research of spaces and networking). Asking questions, speaking to my peers, entering competitions (I found that even if you are not winning someone is seeing you). When any opportunity comes, treat it like the biggest one you will ever get… take the bull by its horns. Hard work seriously pays off. IQHAWE: How has the recent global pandemic affected you? COW: For me, like a cow, I gain my energy (or material or inspiration) out on the field the whole day before coming back to the kraal. Being confined to the kraal is an adjustment. The cancellation and postponement of exhibitions and many places taking to virtual spaces is slightly restricting for me, and maybe artists like myself who create 3-dimensional works that are better experienced in real life as opposed to on a screen. However, everything is a learning curve, and something will come out of how this time is experienced. IQHAWE: Who are some of the artists or people that have influenced your work? COW: I think the biggest influence for my work are the women in my family lineage, their experiences and their teachings. My work is also influenced by the creativity observed in the family when the things created were not considered as “art”. We live in such a visually overloaded time, that I think we are influenced by so many things sometimes without knowing. What are you currently working on and what can we expect from you in the near future? I’m enthusiastically working on work for group exhibitions that we will hopefully have dates for after the lock down.

COW:I would think this part of the journey is different for every artist. There Issue 9

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Muofhe Manavhela

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IQHAWE: Please tell us about yourself, your work as an artist and your journey this far? MUOFHE: My name is Muofhe Manavhela, I am a 20-year-old artist and architecture student at the University of the Witwatersrand. My intentional journey began when I was about 16 years old. This was a very significant year for me in terms of finding my voice and discovering the ability I had to speak out on the issues that affected me. Simultaneously, I realized how much people wanted to hear the things that I had to say based on relating to collective trauma. Exposing myself to art through engaging with the subject in high school was the catalyst that released the part of me that merged my talent and my convictions into art. My work is heavily influenced by my daily experiences as a young black woman trying to navigate my search for identity in a world that constantly negates the placement of black women as significant beings in society. My pieces reflect a thought, a conviction, an emotion, and intrapersonal conflict. I use this as the foundation on which I narrate our collective traumas as black women in society. IQHAWE: What social-political discourse, if any, do you want to spark with your work? IMUOFHE: am in a way an urban creative guerilla. My idea of resistance has manifested itself into me challenging what we have accepted as the normal and acceptable way of life. Dogmas centered around themes of race, gender, and religion, that we in a way feel uneasy and uncomfortable about yet we go about accepting them as a normal and functioning system to abide by. I like drawing attention to those and challenging the way we think and see these things. This ranges across so many themes that are in my work but the most prominent is, the ideologies we have around black women in

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society, the consequences of patriarchy, abuse, and violence on these bodies and the discomfort and taboos centered around sexuality and beauty of these bodies. IQHAWE: The Black female body is quite prominent in your work, why is this important to you? MUOFHE: On the foundation of my art is about the things I experience while trying to navigate through life, my body has been a prominent aspect of my struggles with identity. Growing up in an environment that is visually insistent about conventionality is hard when you don’t physically embody what is considered as acceptable. There are different degrees to this game of social conventions ranging from colour, to body shapes. It becomes harder to navigate your way around this game when in every instance, you’re on the ‘wrong’ side of the spectrum. My body is such a prominent theme in my work because it is my first home, and in so many ways I have struggled with making it a healthy home and through my art, I am reclaiming everything I was told against it. The way you use art and architecture is very interesting, please tell us a bit more about that. The concept of the body being your first home is something I learned through studying architecture. I remember the very first task we did in first year was about bringing the body into being. Engaging with that brief as the start of my exposure to architecture made the environment comfortable for me to release the artist. I have made very conscious efforts to maintain the artist while honing the architect. Finding that balance between the two and knowing when one is more important the other is an intricate yet significant part of my creative process. Ultimately, the marriage between the two manifests itself in the conceptual process when I approach either one. With my architecture briefs, I make the effort to channel my automatic

inclination to be conceptual. and with my art, I’ve made conscious efforts to understand the body as a home and everything else in my art as intentional spaces. IQHAWE: What would you say is the biggest challenge faced by artists today? MUOFHE: I don’t think I can speak for everyone, but I know for black artists, myself the challenge of being yet another angry voiceless body manufacturing aesthetics is one that is always lurking before I present my work to the world. Especially considering the environment we, as people who engage with art, have created that strives off being visually oriented and this constant manufacturing of art. The challenge proves itself when your work takes its time and when it is built upon conceptualism over aesthetics. Cementing yourself in such a chaotic environment as an artist and even as creatives, is very challenging when the perception of being forgotten is always creeping about in our environments. IQHAWE: How has the recent global pandemic affected you? And your work?

IQHAWE: Have you commissioned your art? If yes, how was that process? MUOFHE: Yes. I hated it. I hate my artistic integrity being compromised. I am still very new to commissions and I think working with the constant thought that this is for someone else triggers my inclination to be a people pleaser. However, I take everything as a learning curve and working commissions forces me to dive headfirst into very tough but rewarding challenges in terms of finding myself in yet another way through my art. IQHAWE: Are you able to sustain yourself through the creative work that you do? MUOFHE: My greatest challenge right now is currently finding a balance between my degree and my work. So, in the context of my situation now, no I cannot. I will only get out as much as I put in and when I have the stresses of studying, I do not put in a lot. However, with the little time I have given towards my work, I can predict that I can potentially sustain myself financially with my creative work.

MUOFHE: For one, it has given me a lot of time to focus my energy on both my degree and my work simultaneously and I never take for granted any extra time I must work on my art. However, on a different scale, spending time at home without the simulation of my busy life everyday distracting me from my thoughts has created a very erratic yet productive environment for my creativity. Everything in my head is so intensified – my thoughts, my emotions and my dreams – and this so overwhelming for me emotionally and mentally yet it is brewing an ideal environment for my creativity. So creatively, the work I have going on now as a result of quarantine is simultaneously really dark yet truthful.

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MUOFHE: The conversation of turning art into monetary value is always so difficult for me on the basis that the general public, do not understand art on the same level that the artist intends to convey on, so automatically that means they are detached from conceptual art and as a result, they are more drawn to art that has aesthetic appeal. With this, to monetize art on a successful scale, the artist has to approach the creative process to place aesthetics above conceptualism on the hierarchy of creations. Ultimately, it depends on the convictions of the artist. I can never create for the fun of it, my creative process revolves around bringing myself into being with my art, and that isnâ&#x20AC;&#x2122;t always aesthetically appealing. IQHAWE: What projects are you currently working on, and are there any upcoming exhibitions we can expect?

VISUAL ARTISTS

IQHAWE: What are some of the ways in which artists can turn their work into monetary value in your opinion?

I MUOFHE: I have taken on two new largescale projects that have very strong themes of the body and I intend on working on these throughout the next year, the one is a film and the other an installation. However, my work is very spontaneous so I can never really tell what I am about to do next, ideas come to me the way my emotions and thoughts do throughout the day. As for exhibitions, I still have reluctancy towards putting myself out there simply because I feel like my work has a missing piece that life and experience still need to teach me, but I am very hopeful towards where my art will be within the next two years so an exhibition is definitely in the works.

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THAT Network Bridging the Gap: A comprehensive network for Creatives, their Careers and their Communities.

SHAKIRAH |

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In a time of uncertainty around the world, it is beneficial to understand that there are ways that creatives can get their content to reach the appropriate clients in order to realize their full potential and generate income - THAT is a network that provides the bridge between creator and receiver.

SHAKIRAH: THAT Network is a social enterprise which bridges the gap between South Africaâ&#x20AC;&#x2122;s creative community and the people, brands and companies who need their services. We also offer a range of training and development opportunities that empower creatives and assists them with turning their talents into careers. By housing an expansive Network of creatives, we give clients the opportunity of finding a multitude of creative services all in one place while simultaneously creating income opportunities for artists who would normally be excluded from accessing these clients due to social and economic factors. Iâ&#x20AC;&#x2122;m the Managing Director. IQHAWE: What are some of the biggest challenges faced by creatives today? SHAKIRAH: One of the biggest challenges is that creatives are misunderstood and misrepresented in South Africa. Our experience has taught us that both the government and the private sector recognise

the capabilities & potential of the creative industries but have been unable to fully tap into it. Mostly because of misconceptions around what the art community needs, the type of support required, and what they can offer society. We also lack comprehensive communication and engagement between these parties. Creative people by nature, operate and perceive the world differently to the rest of society. They need to be supported, and communicated with, in a way that plays to their strengths rather than forcing them into traditional boxes. Too often, creatives lose opportunities simply because those who want to work with creative individuals try to box them into preconceived ideas of how artists should act and what the creative process should look like. There are more logistical answers to this question, such as the fact that creatives need more access to resources, and a better understanding of how to get their work in front of customers, however; at the heart of many challenges faced by the Creative Community is the fact that we require more empathetic engagements from traditional stakeholders who are looking to work with creative professionals.

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IQHAWE: What does THAT Network do and what role do I play within the organisation?

THAT Network

IQHAWE: What needs to be done to address these challenges? SHAKIRAH: We need the arts to be fully ecognised, appreciated and valued with the same weight that we value other sectors such as finance, law and manufacturing. We also need institutions to understand that we cannot approach the arts in the same way that we approach more traditional services, there needs to be more room for grey areas, innovation and pushing the boundaries. In many instances, giving creatives a less structured and demanding work environment yields a better result. Then, the creative community needs to come together and be represented by individuals and organisations who understand them but can also speak to government and corporates in a way that makes sense to the economy. In order to do this, we need to collect data and formalise our structures. Our organisation was born out of this very need. The need to be able to translate between creatives and traditional business. IQHAWE: What is THAT Network doing to aIssist creatives in South Africa? SHAKIRAH: One of our biggest objectives is to create continuous growth opportunities for creative professionals. The main way we do this is by connecting them to clients and directly contributing to their income. We also contribute greatly to the knowledge economy for creatives in SA by creating localized educational content. About two months ago we launched our YouTube series titled The Creators Guide, which gets released every second Tuesday and gives creatives practical advice and tips on how to

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navigate their way through the business side of the creative industries. On the first Friday of lockdown, we also launched our WhatsApp events which are weekly discussions that take place in the form of a WhatsApp group from 7pm â&#x20AC;&#x201C; 8pm every Friday evening. We usually bring in a guest and they tackle issues such as Money Management, Personal Branding and the etiquette of Live Streaming. This format has been working really great as it gives individuals the opportunity to ask questions and get feedback that is personalized to their situation. Our blog is always being updated with informative content and before the lockdown we were hosting free and paid workshops for artists. IQHAWE: Will digital solutions become a norm in the future? SHAKIRAH: Most definitely. The world is changing, and itâ&#x20AC;&#x2122;s changing fast. The COVID-19 outbreak has fast-tracked South Africaâ&#x20AC;&#x2122;s move into the digital age. Before Corona Virus, employers and even schools, would have never been able to imagine a life where remote work and learning is so widely accepted, but now people are beginning to see its benefits. Similarly, artists and those who consume art, are not only responding to this crisis but are completely adapting and shifting their mindsets around the possibilities that come with digital innovation. A recent report in Europe predicted that music festivals and concerts will only be able to return back to its normal state of being after August 2021. This means that online concerts, exhibitions and more are going to become paramount to keeping people entertained and connected.

SHAKIRAH: I think that consumers are starting to realise the value of art and the role that the work of creatives play in their daily lives. This will undoubtedly affect the way that art is consumed moving forward, and could potentially mean more financial support long-term. We’ll also see more digitization of the arts. Creatives are being forced to find innovative ways to use the internet and this will bring new solutions to the fore. This will however create a massive digital divide in the short-term. Many creatives were relying on publicly accessible wifi to get online and to access clients. If we don’t see a response from the government on the issue of data and internet access being made more available, many creatives will be left out of the new-forming digital economy. IIQHAWE: Is enough being done at an institutional level? SHAKIRAH: Yes and no. While the South African arts industry has made major strides in the right direction, not enough is being done to assist and support creative individuals at a grassroots level. The digital divide is a perfect example of this. Art is a tool that gives voice to the voiceless, it creates safe spaces in communities, introduces people to new ways of thinking and can keep the most vulnerable in our societies from walking on the wrong path. These are the people that need to be supported. We require a government that values each artistic discipline equally and is willing to invest in them in the ways that make most sense for each specific discipline. Not a government that sees Art and Sports as sectors that can be combined.

IQHAWE: What Financial advice do you have for creatives currently dealing with loss of income SHAKIRAH: You have to be upskilling your digital knowledge and skills right now. Find unique ways to package your art in a way that benefits society and doesn’t just put your work in front of them. Think of the current crisis, and how you can help people get through it. If you do this, the money will follow. Take this time to adapt your thinking and shift your mindset around what the purpose of creating is. Then find a means of selling your core purpose to the world. Maybe through online classes, starting a Patreon or charging people subscription fees. Find a solution that makes sense for you. If you’re blessed enough to be making money during this pandemic, start saving – if possible. Take stock of your money and use this time to take control of your financial life. Make decisions now that will benefit you long-term. IQHAWE: How can artists get their work out there? SHAKIRAH: Find your (online) tribe. Don’t assume that Facebook, Instagram and Twitter are the platforms for you. Explore VSCO, Reddit, Pintrest, Snapchat and the hundreds of other platforms that exist to showcase your work. Connect with people via DM, Facebook & WhatsApp groups, and make the time to get acquainted with your audience. Find out how you can help them and add value to their lives, and then do it. People are more likely to support your work and buy your art if you can offer them something that enhances their lived experience.

IQHAWE: Tell us about your 21day challenge and how people can get involved? SHAKIRAH: Creators are full of innovative ideas but often struggle with self-accountability. Our #21daycreatorschallenge was designed help creatives complete that project that they’ve BEEN thinking about but just never get around to working on. We check in with them daily and make sure that they’re making progress, we give them advice and generally just cheer them on and give them an ear to bounce ideas off. By the end of lockdown, we’ll look at all the creatives who completed their personal goal and enter them into a random draw, where one person will win a Career Accelerators Package worth R10 000. The package includes services such as career consultation, a business plan, a portfolio shoot and social media strategy. People who are interested in entering can visit our website at www.that-network.com. IQHAWE: What can be expected from THAT Network in the near future and what are we currently working on? SHAKIRAH: We’re currently working on a brand refresh and new logo, which we’re extremely excited about! We’re kind of stepping into a new era and so a logo that represented the new “us” seemed fitting and necessary. Once that is completed, we’ll be doing a full new intake of Network Members, so anyone who would like to be represented by us or would like to work with us in any way should definitely reach out. And then of course, we’ll continue to create opportunities for growth by putting out tons more informative and educational content for creative professionals.

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IQHAWE: What do you believe are the long sting effects of the pandemic on the creative economy?

ADVERTISING Contact no. 0729071236 Email: helloamohelang@gmail.com Instagram: @artasculturepodcast and/or @avant_amo Poster design by Luyolo Madwe (@luyolomadwe)

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IQhawe Magazine is a digital publication aimed at merging the gap between aspiring creatives and their respective industries. We believe easy access to information through the growing digiâ&#x20AC;? talization of traditional forms to reach a wider audience which will then help eradicate the lack of resources/skills/knowledge and accessibility to the right channels faced by young aspiring creatives. Thank you to everyone who helped make this issue possible and the IQhawe Team. For marketing and advertising enquiries please contact us at iqhawemag@gmail.com Follow us @iqhawagazine on social media platforms.

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