Barcoded magazine 18 single

January 2015

BLACK TWITTER DIGITAL ARTIST JIM CHUCHU SERIES: PAGANS THANDISWA MAZWAI: A CUSTODIAN OF AFRICAN ART

BANTU WAX NUBIAN SKIN-LINGERIE FOR WOMEN OF COLOUR BOW WOW VENTS ABOUT BLACK NEGATIVITY

SIFISO SELEME THE AFROPEAN MUSICAL SORCERER:

BALOJI

AFRICA REIMAGINED 1

Barcoded Magazine

CONTENT

The Booming African Creative Conference 7

LIFESTYLE AND CULTURE

UNCOVERED - THE BOOMING AFRICAN CREATIVE ECONOMY AND WHAT THIS MEANS FOR YOU CULTURE

13 OFFRAMP - BANTU WAX 14 NUBIAN SKIN

18 SOUNDBOOTH - WHAT YASIIN BEY (MOS DEF) THINKS OF SA HIP HOP

26 PIXELS - MOVIES 34 CREATIVE CHRONICLES - SIFISO SELEME

-SUCCESSFULLY TACKLING SOCIAL ILLS THROUGH ART

38 SPOT ON - ALBERT SILINDOKUHLE IBOKWE

KHOZA

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OPPORTUNITIES

CALL FOR SUBMISSIONS: B3 BIENNIAL OF THE MOVING IMAGE PURE ART

60 ARTIST FOCUS- CYRUS KABIRU 62 PURE ART SERIES - BOB MUKENDI 68 PURE ART REPORT - WHY ‘BLACK TWITTER’ WILL BE TRENDING FOR A LONG TIME BLACK TWITTER CONVERSATIONS

MULTIMEDIA

73 MULTIMEDIA - DIGITAL ARTIST JIM CHUCHU

SERIES: PAGANS

media EXCEEDING . BRAND . EXCELLENCE

Publisher n8Media Editor in Chief Phumzile Twala @PHUMIT Production Manager Mbuso Mafuyeka @youngbuu Sales Khethiwe Twala @misskittyred Baile Ramaisa Graphic Designer Mbuso Mafuyeka @youngbuu Contributing Writers Phumi Nyalunga @NYALUNGU1 Hazel Mphande @HazelSHUTTERBUG Phumzile Twala @PHUMIT

For general enquiries email info@barcodedmag.co.za For advertising enquries email sales@barcodedmag.co.za khethiwe@barcodedmag.co.za baile@barcodedmag.co.za 011 486- 9488 f : barcodedMag t: @BarcodedMag w: www.barcodedmag.co.za e: info@barcodedmag.co.za i : barcodedmag wechat: Barcoded Mag

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WORD “Our success educationally, industrially and politically is based upon the protection of a nation founded by ourselves. And the nation can be nowhere else but in Africa.”- Marcus Garvey.

These words uttered by the revolutionary figure were relevant then and still ring true even today. As nations across the African continent aim to rebuild themselves after being freed from the shackles of colonialism, the mental remnants of decades of subliminal messages of inferiority are still present today. With this edition of Barcoded Mag we aim to view Africa in a different light. We aim to illuminate the raw talents of the continent.

Considered ‘the dark continent’ for a long time, Africa’s changing creative landscape has illuminated the world to what the creative individuals on this continent have to showcase. From the ground breaking and inspirational story of Ethiopian painter Desta Hagos in the first few years of the 21st century to the innovative initiative undertaken by Kenyan artist Cyrus Kabiru, the African art and creative industries have been flourishing steadily for a number of years.

Urban regeneration projects in cities such as Johannesburg have slowly shifted entrepreneurial power into the hands of creatives and have drawn diverse markets back into the CBD. Concept stores have multiplied, providing employment to creative youth and creating spaces conducive for creativity.

Performance artists such as the likes of Sifiso Seleme have addressed South African social issues through Barcoded art, while Magazine the works of the likes of Zimbabwean

performance artist Michele Mathison are critically engaged both socially and politically.

The January ‘15 edition features a one-on-one with eclectic performance artist Albert Silindokuhle Ibokwe Khoza whose works have addressed three intersecting areas of his life which have influenced his work as an African artist: Christianity, sexuality and traditional beliefs. Barcoded Mag explores the dynamics of these areas and how they define him as a black man in Africa.

This issue also profiles 20-year-old emerging filmmaking prodigy Willem van den Heever, whose film will be premiering at Sundance in 2015.

Further afield, rising star and Congolese rapper Baloji, who was raised in Belgium continues to give a voice to the disdain with hegemony and raises awareness about the gems Africa possesses.

The boom in social media is also a reflection of changing attitudes and changing audiences on the continent. Barcoded Mag explores this phenomenon in an article titled “Why Black Twitter will be Trending for a long time” (Conversations on Black Twitter.)

We have this and a whole lot more in this edition.

Enjoy!

Signing out Phumi (@PHUMIT

Lifestyle + Culture

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Uncovered

THE BOOMING AFRICAN CREATIVE ECONOMY AND WHAT THIS MEANS FOR AND WHAT THIS MEANS FOR YOUTH CULTURE Statistics say there are 200 million people between the ages of 15 and 24 on the African continent. This means 200 million young people are either jobless or just entering the workforce across Africa.

An important question to ask is how many of these young people are going to continue the continent’s legacy of relying on natural resources for economic progress?

The emergence of the creative economy on the African continent is steadily gaining momentum. Although still in stages of infancy the rising African creative economy has the potential to tackle a number of social issues by simultaneously creating jobs, cultivating cultural industries, altering misconceptions about the continent and forging cross- regional artistic endeavours.

The United Nations Conference on Trade and Development’s Creative Report in 2008 defined the creative economy as “the interface between creativity, culture, economics and technology as expressed in the ability to create and circulate intellectual capital, with the potential to generate income, jobs and export earnings

while at the same time promoting social inclusion, cultural diversity and human development.”

The Report also identified 9 sectors which drive creative economies: Traditional cultural expressions; cultural sites; visual arts; publishing and printed media; design; performing arts; audio-visual; new media and creative services.

The African creative economy can grow exponentially with the right kind of support from governments.

Developed countries have been shown to have significant investment in cultural industries- a quality glaringly lacking in a number of developing nations on the continent. Untapped creative potential is often owed to misconceptions that the arts don’t create jobs. A few African countries have however recognised the need to diversify their economies. By making cultural industries an integral part of economic development African countries can transform the reliance on non-renewable natural resources. There has to be a shift in mind-sets from regarding the arts as a luxury towards embracing

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creative solutions.

Factors that have also hampered the growth of creative economies on the continent include lack of copyright and intellectual property rights legislation, censorship and excessive bureaucracy and limited broadband penetration. The latter is a factor that needs to be addressed urgently. Research suggests that by 2016, Africa is going to be the largest mobile market in the world. Broadband is a tool for dissemination of artistic talent and with the boom in video content as well as new media, African creatives are forging connections and sharing content at an aggressive rate.

At the 2014 Hello Ambassador Creative Conference recently held in the capital of South Africa, MTV Base Channel Director and Viacom Creative Director Tim Horwood commented to the artists and creatives present in the audience, “We need to define our own aesthetic and moral and creative space. It’s up to us. The shift is happening.”

Relaying a story about ‘bling’ and the aspirational elements it possesses on the continent, he said: “We tend to forget that this excess materialism that gets a lot of criticism is actually aspirational and inspirational

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to a lot of young people watching. To see an artist come from the ‘hood who now has money, who has a nice car, who has nice jewellery is something young people look at and say’ I can have that, I can get out of the ‘hood, I can make money through creativity.’ It doesn’t have to be through the conventional way. And we’ve seen a lot of parents’ attitudes shift as well. When they start seeing mainstream media and brands like MTV promoting that creativity, they start to see creative industries as career options for their kids. So, it’s amazing to see the stereotypes being challenged. I think it’s on all of us to do that. African creativity is influencing the world in the fashion space, in the music space etc, it really is starting to happen.”

Various cities are also establishing creative hubs, to facilitate cultural exchange and stimulate development.

Industries such as fashion, music and film are promoting consumption of African creative and cultural goods and services.

Owners of Capetonian fashion and design store ‘Kushn’ have bemoaned the way products from Africa are often marketed. Greer Valley has said in an interview, “Even though there is this amazing legacy and history behind material [production in African countries]…it’s being trivialized by these fake ‘African print fabrics’ that are so popular.”

She added, “There’s this need to look like you are being socially responsible and you’re helping Africa, but so many [products] are owned by white Europeans moving into these communities and punting so-called ‘ethical fashion’ and using this ‘help-the-downtrodden’ trope as a marketing tool. Unfortunately a lot of people look for those things because they want to help in some way, thus unwittingly supporting a business or a designer that simply uses ‘doing good’ to market themselves – without actually benefitting that community they supposedly help.”

Problems like this need to be acknowledged and changed so that the true custodians of African art and culture can contribute and benefit accordingly. Mainstream media also has a big role to play in reversing hegemonic principles applied to historic reporting about the African continent. The manner in which African art is represented is changing slowly- however most of it can be attributed to the growing blogging and photography culture by young people who are creating content versus reacting to content about them created by big media houses.

A significant contribution is made by the informal there is a lack of reliable

Barcoded Magazine creative sector.

Although

data, this cannot be ignored. The good news: between 2 and 4% of the GDP in South Africa can be attributed to creative industries. The bad news: Africa has been relatively poor in profiting from this industry. On 2010, Africa’s contribution to the world export of cultural goods was reported as amounting to less than 1%. A lot has changed since then, but more can be done to change obsolete policies and regulations as well as underinvestment in the industry. Governments have an immense role to play in implementing policies that will support creative forces.

There is no doubt that African creative economies are on the rise but it’s up to Africans to support the creative industry and to protect the works by artists and creatives.

Creating sustainable and innovative opportunities should be embraced by countries of the African Diaspora for the growth and continues success of Creative Economies.

By: Phumzile Twala

Entertainment

1:54 Art Fair Director Touria El:

“Our platform is a requirement based on the fact that there is so little representation of African artists in any international fairs. Our platform is attempting to rebalance things. Simply put, there is not enough African art presented in international exhibitions and international fairs.”

Danai Gurira, actress:

“Initially, it was just like I need something to perform that actually kind of speaks to my strengths and speaks to women I know of and stories I think are important to tell. Then it became something bigger than that. It became- there’s an absence of, there’s a dearth of stories that come from the complex- a lot of my plays are about Africans that come from that complex African portrayal and experience and mindset. I think that there’s something so interesting to say and see about us, and so I just wanted it to be seen and heard. I just thought; why not see these stories as much as we see everybody else’s?”

Lupita Nyong’o, first African actress to win an Academy Award:

“European standards of beauty are something that plague the entire world- the idea that darker skin is not beautiful, that light skin is the key to success and love. Africa is no exception.”

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BOW WOW VENTS ABOUT BLACK NEGATIVITY Following the news of their engagement after just six months of dating, Bow Wow and fiancée Erica Mena recently announced their wedding will be taking place in April 2015.

The rapper, actor and TV host posted a picture of Mena on Instagram and it wasn’t long before he received a number of negative responses. He took to his Facebook account to vent his frustrations.

“Funny how its only 1 race that hates the most on my relationship or anything I do. BLACK FOLKS. Says a lot about us. Exactly why folks think we can never elevate because we stay holding each other back with the bullshit and ignorance. Maybe we are just that. IGNORANT. FOH,” he wrote.

T.I.’s AHA! MOMENT Rapper T.I. recently shared his Aha! moment with Oprah, on her ‘Where are they now?’ series.

Born Clifford Harris Jr, the ‘No Mediocre’ hitmaker shared about his stint in prison, “Being in prison put things in perspective.

When I had already seen the error of my ways…that was when I was the most positive, that was my growth spurt.”

He added, “We don’t shy away from controversial subjects here in this house. If there’s a part of my life that, you know, I guess that I have learned a lesson from, but I am not allowing them to learn the same lesson from it, I think that’s doing the child a disservice.”

HOLLYWOOD ACTORS PRAISE RECOGNITION OF LBGT COMMUNITY IN FILM Actor Zachary Quinto recently praised the progression of LBGT stories in film. “Being gay is permeating the mainstream in this country in a way that even 10 years ago was kind of unfathomable,” the actor told THR. He and a host of fellow actors attended the OUT100 Awrds in New York City.

“That in and of itself is such staggering movement forward, coupled with all the political gains we’ve had- with some minor recent setbacks. But all that needs to happen is that people need to stand up and come out in whatever way they need to stand up and come out in whatever way they need to- whether that’s gay or straight- figure out what they believe in, and share it and honour it. It’s happening all around us and in a way that I know people in my generation couldn’t have imagined. It’s more commonplace from this younger crop of adventurers.”

Ingenue of the Year Award winner Samira Wiley (Orange is the new black actress) thanked her parents for accepting her wholly and shared, “It’s OK to be me, it’s OK to be you.”

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BANTU WAX Launched in 2008, South African brand ‘Bantu Wax’, a surf and beachwear label has recently expanded by launching a streetwear line (Logomania.)

Their bio reads, “Inspired by Africa’s transition from Dark Continent to Bearer of light, and a passion for surfing, Bantu was created by merging the rich history of African art and textiles with Africa’s deeply rooted surf culture.”

Creating real beachwear from the real Africa is what this brand is about.

They recently launched a collection of eight unisex Ethiopian made graphic t-shirts designed with lightweight textiles. Citing the breath-taking surfbreaks along Dakar and the Ivory Coast as inspiration.

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Image by : afropunk.com

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NUBIAN SKIN LINGERIE FOR WOMEN OF COLOUR Nubian Skin is a new lingerie line that aims to cater specifically for the various hues of black women worldwide.

Different shades of brown are used for the undergarment brand based in the UK. For decades the fashion industry has famously referred to ‘nude’ shades while referencing white women.

Images associated with ‘nude’ colours often come attached with white models- this leaves out a huge market of brown-skinned women. Nubian Skin is a range that features bras, panties, lingerie and hosiery in darker nude hues for sizes 30B through 36DD/E. A blog post from the company’s founder articulates the need for such a product: A nude bra, skin-tone hosiery – basics of every woman’s wardrobe. In theory…It’s the grand debate, what do I wear under a white or sheer blouse? What colour hosiery will go with these amazing shoes? Black just isn’t going to work. The simple answer is nude. But my nude isn’t the nude I see in shops. Despite the reality that women of colour have the same needs as all women when it comes to lingerie and hosiery (and spend the same of their hard-earned money), the industry simply doesn’t cater to us. So, I thought, it’s time to rethink the definition of nude. Thus, Nubian Skin was born.

So for you beautiful black and brown women, next time you need a nude pair of hold-ups or maybe a nude strapless bra to go under than stunning white halter dress, we’re only a few clicks away. Nubian Skin. A Different Kind of Nude.

Keep up with the company here: @nubianskin on Twitter or www.nubianskin.com

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THANDISWA MAZWAI: A CUSTODIAN OF AFRICAN ART Named “South Africa’s finest female contemporary singer” by The Guardian, Thandiswa Mazwai is one of the African continent’s most powerful musicians.

Fusing her vocal prowess with deeply political lyrics, her music transcends ordinary definition. With traces of umbaqanga, reggae, kwaito, funk, jazz and soul her compositions also include elements of Xhosa poetry and rhythms.

Barcoded Magazine Image by : www.thandiswa.com

Legendz

She has performed all over the world both as part of Bongo Maffin as well as a solo artist. Notable collaborations include two songs with US musician Meshell Ndegeocello on her Grammy nominated album. She is also the recipient of multiple awards for her music.

Known for being outspoken she has used the twitter platform to express her views and outrage at the treatment of women on the African continent and issues affecting the LBGT

She has also spoken of a personal need she has to preserve her tradition, her language and history.

She admitted, “There was a time when I felt alone, you know? I felt like I was the only one who seems to be thinking this way. But now there are so many more musicians that seem to be carrying the same message that I do.”

“I do see a lot more people being more accepting of…even little things like an African perspective to beauty.

There are a lot more people who are more accepting of their natural hair, their voluptuous beauty than they used to be.”

Describing her music-making process she has said, “I believe in making music instinctively; not being formulaic or pedantic bout how you make music. Just kind of relax and do what comes naturally, you know, going back to how children create.”

community. She recently extended her repertoire to performing with an all-female band.

A traditionalist, Mazwai has previously mentioned her preperformance ritual of burning incense. “I burn impepho (a herb) on stage to cleanse the space to allow my energy. I want to own that space.”

A notable fashion influencer, Mazwai has also often had to defend her eccentric hairstyles. She has silenced her critics by explaining, “My aesthetic is an African aesthetic,” adding, “for a black person to say my look is scary, they must look at themselves.”

Her smash hit single Ingoma featured a trumpet solo from legendary musician Hugh Masekela.

The abrupt ending of the song has left many wondering what the meaning behind it was. She explained to News24 that, “The reality for me in making the song was that as great as love is, sometimes it does come to an abrupt, unexplainable, painful ending.

And that’s the truth about love. And I didn’t want to lie about what love is.”

Focusing on work has been a mission of hers, as she uses her art as a diary of her life at the time. Side-stepping celebrity culture is something she has deliberately done. “My work is about getting my emotions out, about dealing with my life, and making sure I survive every day.”

Her music has undoubtedly influenced a new generation- evoking a variety of emotions while relaying the message of African consciousness and being accepting of being black and embracing one’s cultures. A true custodian of African music, Mazwai’s work continues to defy boundaries, set trends and transcend notions of African art.

By: Phumzile Twala

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WHAT YASIIN BEY (MOS DEF) THINKS OF SA HIP HOP It was in 2009 when Yasiin Bey (the artist formerly known as Mos Def) decided to live in Cape Town on a permanent basis. He now lives in the Mother City. Regarded as a legend among hip hop circles worldwide, the Brooklyn, New York born artist has shared his opinion on his impressions of the South African Hip Hop scene. Here’s what he’s had to say:

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On some S.A. artists being recognised more internationally than at home: Many people may believe the strongest market for hip hop is in America, but, from my experience at least, it’s much more diverse and open in Asia and Europe and in Africa.

On whether he thinks there’s a distinct South African sound: I find South Africa to be specifically diverse – I mean Dirty Paraffin and Blk Jks are worlds apart in terms of coming from the same sort of place. The sound is developing and maturing as much as the country is. That’s one of the more appealing aspects to life here, to our social reality. Everything is still in a stage of development; nothing is quite set in stone in a society that is redeveloping and re-establishing itself. When you see guys like Smiso from Dirty Paraffin rhyming in vernac or in their native languages, it’s very specific. But I think that’s the rule of good art – when you’re very specific, you end up being universal too. It takes courage to do that and confidence.

On local artists who stand out: People like Petit Noir, people like Driemanskap, people like Khanyi Mavi, people like Smiso (Okmalumkoolkat), names that I’m forgetting... So many young people. Ill Skillz. Designers. Graphic designers. Painters. Writers. Lebo Mashile. So many fantastic people in almost every area of endeavour.

On why African artists should be proud: I see the same dynamic people, many of them doubtful or fearful, or feeling like what they have to offer is beautiful only to them and not valued by the world, and that there’s not quite a place in the world for it. And I find it curious that all of this enthusiasm that all of the rest of the world has for Africa in general and South Africa in particular is not really shared as heartily by Africans themselves. I find that to be very, very, very curious. Because I’ve seen some beautiful places. I’ve been to Brazil numerous times, all throughout Asia, all throughout the best places in Europe, the best places in the States, even as far as some of Scandinavia.

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Amazing talent, amazing places. But nobody, excluding any place, is like Africa. Nobody. And that’s not a past-time or history, that’s today—the arts, the crafts, the thoughts, the concepts, the energy, the people that are coming out of this continent are unlike any other in the world. And that’s not something to trip on, or to take as a dose to the ego. But don’t trip, be aware. Be aware that you are in a special place at a very special and unique time in history.

His advice to young people: Be encouraged. Yes, it is crazy, but that’s OK. Hope has never been and will never be lost. The stakes are just too high for you to win. Hope is knowing that the odds are not in your favour and that things do not look positive. And that the sky on this day is black and bleak and the sun is not shining at this moment quite as brightly as you would like. But it is shining nonetheless. And that this great cloud must pass even if it’s hanging directly on your shoulders on this day. Do not be discouraged, do not be dismayed. You are a beautiful people with a beautiful history, a beautiful legacy. A message, an example for this world. Should you conquer the ills of the past, you can build a society that does not quite yet exist. You can be the change in the world that you want to see. You do not have to live in the drudgery of the past, of even your sins. We can all get better. Work to leave this world a little better than you encountered it, in whatever ways you can, using whatever talents that you have.

Never think that you’re dreaming too big. Failure is not failure. The only sin is having a low aim.

Aim high, even if you miss. The point is, what direction are you pointing in? Try to be pointed in a good direction, good for yourself, good for your neighbours, good for the world.

CAPE TOWN INTERNATIONAL JAZZ FESTIVAL 2015 SIZZLING LINE-UP REVEALED Rated one of the top 10 Jazz Festivals in the world, the Cape Town International Jazz Festival will be taking place on March 27th and 28th in 2015.

One of the headlining stars at the event, songstress Amel Larrieux (@amellarrieux) tweeted: “I’m so hyped by your response, SA! Its gon be #TURNT @CTJazzFest #CapeTown #SouthAfrica #music is #love”.

The star-studded line up will be featuring 40 local and international artists performing on five stages.

Larrieux, a founding member of the Groove Theory duo will share the stage with Basia Trzetrzelewska, UK jazz legend Courtney Pine, Sipho Hotstix Mabuse, Beatenberg, The Brother Moves On, Mahotella Queens, Zoe Modiga, Melanie Scholtz and more. A range of workshops and master classes for aspiring musicians will also be on offer. Some free events will also be happening around the city as part of the Festival.

Tickets are available via Computicket.

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bimba.co.za

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THE AFROPEAN MUSICAL SORCERER: BALOJI Often described as eclectic, with an electrifying stage presence, Baloji is an artist making a name for himself on the world stage. As a rapper acclaimed for his unconventional approach to hip hop and creativity, his own story reads like a movie.

Born to Congolese parents, he was given a name that means “sorcerer” in Swahili. “I was the product of a one-night stand,” he’s revealed. Brought up in Belgium with his father’s family, his life took on a turn for the worst when his father disappeared from his life when he was seven. “Every day I wondered where he was. He was my only link with my own blood.”

He eventually ended up giving up on his formal education at age 15 following a stint in a special school for delinquents run by nuns. His contradictory position of being an African in Europe moved beyond the rampant racism he had to deal with to nearly being deported at the age of 20. “When you’re at the airport, about to be deported, there’s no friendly cop to tell you you can phone your family. This happens in films, not in reality. I was crying, telling them I didn’t want to go. Congo is my country, but I’d been living in Belgium for 20 years. That was the moment I realised that strength of my connection to Europe.”

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Living above a record shop taught him about rock, soul and Latin music. “I heard everything…PiL, Kraftwerk, Queens of the Stone Age, the Smiths...” But it was hip hop which entranced him the most. He taught himself how to speak English by listening to rap with a dictionary nearby. This led him down the road towards Les Malfrats Linguistiques (‘The Linguistic Hustlers’) which later became acclaimed Belgian hip hop outfit Starflam. While part of the group, he supplemented his income through crime. “I…stole things.” The airport incident however, was life-changing. “I realised everything I was about to lose- to be sent somewhere I didn’t know anybody. I decided to change my life.”

His Congolese heritage came knocking at his door when he received a letter from his mother in 2007.

The letter served as inspiration to create an albumhis first solo offering called Hotel Impala. The album was a soundtrack to his life. He wanted the album to tell his mother what his life had been like over the past 20 years. Deciding to film the first video in his home country also concluded in a meeting with his mother, which he later described as ‘disastrous.’

“She was more or less waiting for the dowry she had never been given by my father.”

He came to realise how his African roots were still with him when a gesture he made caused him to realise the differences between Afro and Euro mentalities. He gave his mother the album.

“I realised it was the sort of gesture only a European would make. It meant nothing to her. She wanted me to support the whole family, but I wasn’t in a position to do that. People in Africa regard a child In Europe as a pension. The eldest child goes to university, gets a good job and supports the family. How could I explain to her that I didn’t finish school and had no qualifications?”

His sophomore album Kinshasa Succursale chronicles his discovery of his musical roots and how he embraced them. “I listened to a guy called Manu Dibango and I found out he worked with a lot of Congolese musicians- and that brought me back to Congolese music. And then I listened to all this late 60s/ early 70s music and I thought it was amazing.” This inspired him to record the album in Congo, recruiting and working with local musicians. Recording fifteen songs in seven days was a crazy experience for the artist. “We stayed there eight days. And nobody wanted to take the record. I sent it to all the cool labels and nobody took it. I decided that to make the

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vision more clear I would make videos.” These videos revealed the true extent of his creative power, drawing from his fascination with cinema and photography. The album’s content focused on condemning Europe for treating Africa as an exotic spectacle and yet also lambastes Africa for making so little progress since independence.

His music videos are clever expressions of his discontent with the status quo. While fusing his name’s meaning to the visuals of spiritual beings in his videos, the arrangements in his music deploy diverse Congolese sounds offset by funk, soul and reggae sounds while the accompanying lyrics reflect his experiences and reflections as a person confronted by the reality of being a black person in Europe.

“I’m an Afropean,”he’s said.

“I like being on the road, I like the mood that it brings you. Every day is a new experience, a new audience.”

Although he mostly resides in Belgium now, he has revealed that he could see himself moving back to Congo. “The big difference is that you don’t have Wifi. That’s the biggest difference. The internet, that’s it. Artistically speaking, that’s the difference between South Africa or Nigeria and other places in Africa.

They have Internet access so they can share ideas and vision with the rest of the world, and that means that the gap between these African countries and the rest of the world is shrinking.”

Born Baloji Tshiani in Lubumbashi Congo in 1978, Baloji is one of the most innovative rappers and video producers to have emerged from the African continent in recent years. “We as Africans also have an interesting heritage, which has richness and a diversity that is huge and under-exploited. We can also go deep into it and make it modern, celebrate its value, just like the Americans.”

His intention is clear: “I want to make music that is very African and very modern. You have to be proud of who you are.”

By: Phumzile Twala

DEJ LOAF ON REFUSING TO BE ‘BOXED IN.’ The latest buzzword in hip hop circles is DeJ Loaf.

An upcoming rapper and singer from Detroit, she is causing ripples in the industry, following endorsements from the likes of Drake, Kylie Jenner and Kevin Durant.

The 23 –year-old who has been writing rhymes since she was a kid quit her janitorial job a few months ago and had been trying to figure out her next move. Real name Deja Trimble, says of growing up, “I was the serious girl and everyone wondered, ‘Why she in the house? Why she never come out? Why she doesn’t come to the parties? Now they see me and they see I kind of saved myself from a lot of stuff I could have gotten into.”

She has also expressed her distaste at being solely recognised as a “female rapper.”

“Nowadays I feel like women rappers come into the game with the same mentality from way back. They think, ‘It’s hard to be a female in the industry.’ They come in using that and it gets them nowhere. My mentality is just to create. No rules. No old-school remedies. What’s next for me is to stamp my name everywhere and become one of the best to ever do it.”

AMY ADAMS SET TO STAR IN JANIS JOPLIN BIOPIC A biopic ten years in the making about the life of hardliving Rock ‘n Roll musician Janis Joplin is set to star Amy Adams in the lead role.

The project hasn’t been without controversy as in 2012 Lee Daniels boarded the project and before that Fernando Meirelles and Catherine Hardwicke were attached as directors.

The new call is for Jean-Marc Vallee to tackle the project in the second half of 2015.

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Black and White Starring Kevin Costner, Gillian Jacobs, Octavia Spencer, Jennifer Ehle, Anthony Mackie and Bill Burr, Black and White is a drama set for a January 30 release.

Elliot Anderson (Kevin Costner) is widowed after the car crash death of his wife. Elliot has raised his granddaughter Eloise since his daughter died in childbirth. As he struggles with his grief, Elliot’s world is turned upside-down when the child’s African American grandmother Rowena (Octavia Spencer) demands that Eloise be brought under the care of her father Reggie, a drug addict who Elliot blames for the negligence that led to the death of his own daughter.

Elliot finds himself deeply entrenched in a custody battle and will stop at nothing to keep his granddaughter from coming under the watch of his reckless son-in-law.

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Pixels- movies

Escobar: Paradise Lost Starring Benicio del Toro, Josh Hutcherson, Brady Corbet and Carlos Bardem Escobar: Paradise Lost premiered ate the Toronto International Film Festival in 2014.

The film chronicles the life of a surfer, who falls in love while visiting his brother in Colombia and finds out that the girl’s uncle is Colombian drug lord Pablo Escobar.

This Miramax Films romantic comedy is set for a January 16 release.

Written and directed by Jeremy Garelick, it stars Kevin Hart, Kaley Cuoco-Sweeting, Josh Gad and Olivia Thirlby.

Jimmy (Hart) provides best man services for socially challenged guys, who - for whatever reason - have no

One critic commented, “del Toro turns Escobar into a subdued terror whose ability to order murders with ease provides the movie with its chief source of dread.” The Colombian drug lord was killed in shoot out in 1993.

Escobar: Paradise Lost is slated for a January 16th release.

one close enough to agree to stand by them on the day of their wedding. Doug (Gad) a groom-to-be, has found himself in just such a situation, but, to make matters worse, he fabricates the names of not only a best man but nine groomsmen as well. When all else fails, Doug seeks out Jimmy’s services to carry out a charade designed to make Doug look his best, but threatens to destroy everything if it fails.

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AFRICAN FILM ‘TIMBUKTU’ DIRECTOR ON AIMS OF THE FILM Speaking to the New York Times earlier this year, “Timbuktu” film director Abderrahmane Sissako said he was inspired to make the film after reading about a young Malian couple stoned to death for having two children out of wedlock.

The 52-year-old director, who was born in Mauritania, raised in Mali and educated in Moscow, now lives in France. The film tackles Timbuktu’s recent takeover by Islamic fundamentalists.

“Timbuktu” depicts a city where sassy women, unaccustomed to covering their heads, talk back to the foreign Islamic police who enforce a ban on music and soccer even as they discuss highlights of championship matches and sneak the occasional banned cigarette.

He revealed that the hope was that, “The film, could help people understand- not to change anything, but to give an insight into these themes and issues.”

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Source: www.newyorktimes.com

‘BEYOND THE LIGHTS’ DIRECTOR ON THE DIFFICULTIES FACED SELLING THE IDEA TO MAJORS

Pixels news

Getting the romantic drama “Beyond The Lights” to the big screen was a mission for its director Gina PrinceBythewood (who also directed cult classic ‘Love & Basketball.’)

The film tells the story of a pop star (Noni), played by Gugu MbathaRaw, who is saved by a policeman, Nate Parker, after a suicide attempt.

Director PrinceBythewood said the idea came to her at an Alicia Keys concert.

She revealed that she drew from Judy Garland, Marilyn Monroe, Rihanna Beyoncé and others to create the character played by Mbatha-Raw, a pop star who feels she is being forced to take on a hypersexualized persona.

The film faced a lot of rejection from major studios, who objected to her desire to cast a man of colour as the male romantic lead.

When she pitched the film, executives loved the idea that Noni’s British biracial background made her a bit more complex than what we normally see, but they wanted to tweak her story and change her love interest to a white male.

The director told BuzzFeed News, ”I get scripts sent to me all the time, across the board — all types of stories, all different genres, all different actors. I can be working if I want to be working. So I don’t feel me, as a black female director, is discriminated against. But what I want to focus on are people of colour in my films, and specifically women. They’re

never an easy sell.”

She did not give up. Eventually she got backing from BET Networks and Relativity Studios.

The cause was to tell a black love story. And she felt a need for that in the community. [She was constantly asked,] ‘Is there a more mainstream, commercial guy or woman that would make the film quote-unquote more marketable?’ But she didn’t compromise the integrity of the vision.

“The challenge is maintaining your level of idealism.”

The film co-stars Danny Glover and Minnie Driver.

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DANAI GURIRA ON CONNECTING AFRICAN EXPERIENCES THROUGH HER WORK Zimbabwean- American The Walking Dead actress Danai Gurira who calls herself Zimerican, was born in the Midwest to Zimbabwean parents. The actress has also taught playwriting and acting in Liberia, Zimbabwe and South Africa.

She has commented, “Those formative years in forming my world perspective, my understanding of Zimbabwean people, forming my understanding of my own heritage, the post-colonial experience, the neo-colonial experience, how we navigate the world as people of African descent and also living here and understanding it from that perspective, definitely enriched who I am.

And I’m constantly thinking about and negotiating how to bridge the distance between the African and American and how to connect them. That’s my sort of thing, which is why I try to bring African stories to the American stage but in ways that are accessible.

I want that connection to be felt.”

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Image: Cannes.com

SA SCREENWRITER ON HER LSF EXPERIENCE Scriptwriting lecturer at AFDA Durban Janet van Eeden recently had the opportunity to attend the London Screenwriters Festival (LSF) 2014.

Upon return she shared her experiences of the Festival. She attended a Legal Clinic session where she discussed copyright issues commonly faced by filmmakers.

She explained, “There tends to be a lack of recognition of screenwriters within the film industry.”

“Directors are given full credit for making a film and the screenwriters are often not even mentioned.

I think this is remiss and those directors and producers who give credit to the writers usually have an incredible film as a result,” van Eeden added.

She also explained that at the London Screenwriters’ Festival, writers have just a few minutes at the Pitch Fest to convince high-ranking producers to take on their project.

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WILLEM VAN DEN HEEVER YOUNG FILMMAKER CHASING HIS DREAMS

20 year-old filmmaker Willem van den Heever, who is based in Pretoria, is a young creative with high ambitions. His film “Dropping In” has been selected for a premiere at the Sundance Festival in 2015.

As an independent filmmaker, freelance cinematographer and photographer he has made use of platforms such as Vimeo to showcase his work- making it easily accessible. He’s observed that, “a lot of adverts are focusing more on telling stories. This creates more opportunities for young filmmakers.”

As a believer of the notion that “money can’t buy success” he’s been vocal about his ideals when it comes to his artistry.

“Follow the passion, not the money.”

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Pixels article

BM: When did you know you wanted to be a filmmaker?

As a kid I always enjoyed messing around with the family camcorder, but I think it was somewhere at the beginning of high school that I saw Wes Anderson’s ‘The Life Aquatic’ and just knew this is what I wanted to do- I want to make films. A bit later that year I also saw “Bekind Rewind” which also added to the inspiration of film making.

BM: You’ve mentioned being able to produce films on a very tight budget. Would you say this is the norm currently in the SA film industry? Or are things changing?

I think it depends on the genre and style of film making and the reasons behind it. The Afrikaans commercial film industry is growing rapidly and I think, even though the budgets can’t nearly be compared with international budgets, it is still far better than filmmakers dealing with other genres and styles in South Africa. Luckily with the internet and crowd funding websites, funding issues can be resolved.

sion for the project I pulled it off. And a few weeks ago I got a mail saying I am one of the 5 winners.

As with every project I do I learned a lot, about our country, working with people and the big role producing and the logistic side behind film making plays.

BM: You’ve also mentioned being inspired by Sibs Shongwe La Mer. Which other young South African creatives inspire you?

Neill Blomkamp has played a role in my life as inspiration since his first film, District 9.

I recently met the very talented Mark Middlewick who made the very successful South African short film, ‘Security’ and is currently in production with his next film, which I am very excited about.

I am also very impressed with the female director Jolynn Minnaar and her first feature documentary ‘Unearthed.’ Guys like Louis Minnaar, Peach van Pletzen and Jaco van der Merwe form the group Bitterneinder also inspire me a lot creatively.

BM: Your film “Dropping In” will be premiering at Sundance next year. Tell us about the journey getting the film to this point?

BM: We’ve seen that the video medium is fast gaining popularity for African artists. How receptive do you think South Africans are to this?

After returning from the US with my first film, ‘Coffee,’ I heard about the Short Film Challenge Sundance was running. The deadline was quite tight, especially with all the other stuff I had going at the moment, but realised this is an amazing opportunity and I had to take it.

With all due respect, except for time, South Africa is a bit behind with everything compared to the rest of the world -especially the US, so I think our market/ viewers/audiences still have a lot to learn, catch up and be educated about.

The whole concept behind the competition was seeking inspiring and uplifiting stories. My first idea was to still keep it a fictional film, based on something, instead of the most common documentary way.

So I spoke to a few people and one day heard the story of guy on the coast who started a surf school for kids living on the streets and helping them focus their time on surfing instead of substance abuse.

So, because of the lack of funds and time I changed the surfing element into skateboarding and filmed it in and around Pretoria. I had a very tight three days of filming, but with everyone’s hard work and pas-

But nontheless the video medium is gaining more and more popularity and also the receptiveness of the local audiences/viewers. Slowly, but surely we are getting there.

A film student at The Open Window, Willem has just released his first short documentary based on Photojournalist Cornel van Heerden, which is available on Vimeo at: https://vimeo.com/111402865 He’s also currently in post- production with my latest film, ‘Lovepsych’ which will come out a bit later next year.

Follow him on Twitter @WillemDaFilm By: Phumzile Twala

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Creative chronicles

SIFISO SELEME MULTIDISCIPLINARY ARTIST SUCCESSFULLY TACKLING SOCIAL ILLS THROUGH ART

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Named as one of the Mail and Guardian’s 200 Young South Africans in 2013, multidisciplinary artist Sifiso Seleme has used his art to deliver powerful messages about a multitude of issues affecting society. Using art as a powerful form of social commentary has cemented the artist’s place as one of South Africa’s most exciting emerging artists.

A creative being by nature, growing up in Soweto a young Sifiso enjoyed sewing with his granny and dancing in the streets with other children. His talent has afforded him the opportunity to travel internationally as well as across the African continent.

His acclaimed project “Politics of this Country are like Fish and Chips” raised a number of issues, such as xenophobia, eTolls and the ills of the healthcare system in South Africa. He also embarked on a 75km walk from Soweto to Pretoria as a form of raising awareness.

comfortable performing?

SS:

Dancing,

movement

and

performance

is

definitely what I feel very comfortable with. But I also like designing clothes, photography and making sculptures. I am not sure if I can say which one I like most. I am still a confused soul, trying to find a voice.

BM: In your opinion, are South Africans receptive to performance art? For example, moving your work into public spaces such as taxi ranks and walking 75km is quite a huge feat. What sort of responses have you had from local audiences?

SS: My personal experience is that if your performance is visually strong or is saying something that local audiences can relate to, they are very receptive.

What I like so much about performing in public is that I am speaking directly to my compatriots, the normal people in the streets. Many people asked me questions and many of them said that they were

One gains a sense of responsibility embodied in his

proud of me raising the issue of the state of our health

work, which he has often lauded as a calling.

care system by walking from Baragwanath Hospital in

Here he is telling us about his inspiration, his perspective on African art and upcoming projects:

Soweto via Helen Joseph Hospital to Pretoria, Union Buildings. My family was also very supportive even though I scared them a bit after ending up in hospital myself for a check-up after the first walk, which took

BM: When did you know that you wanted to

15 hours from 5 o’clock in the morning.

pursue a career within the arts? What was your

BM: Through your travels across the African

defining moment?

continent, what has stood out the most to you

SS: Personally, I never really felt that the arts were a “career”. I always knew I had a calling for the arts

about the way African artists express themselves through art?

though. I guess it started at a very young age, when I

SS: Africa is a huge continent and sometimes it felt

learnt to sew clothes-taught by my granny.

like we were very divided.

BM: As a multidisciplinary artist, would you say there is a particular art form you feel most Barcoded Magazine

Unfortunately there is

also a lot of influence by the colonial heritage in the country, whether French, British or German.

Creative chronicles

BM: The Creative Economy is growing steadily in

SS: Yebo!! There are five of them at the same time.

Africa. How effective do you think African states

They might take me 8 - 10 years (laughs) One is

have been in realising the potential the creative

already done but I’m trying to find a platform to present

industry holds?

it. It is a dance piece I created during a residency

SS: I feel that for quite some time, people have realized that we need to be part of a global market.

For quite some time they have realized the need in a global market. But we are not working together

called “Extraordinary” about the role of women in our society. The other four projects are visual arts, titled “Madam & Baas”, “BM2630”, “Memorandum” and “Soweto, be careful, don’t be stupid!”

enough to make it happen.

By: Phumzile Twala

BM: You’ve used your work to convey powerful

social commentary. What inspires the choice of topics you tackle?

SS: The social issues that I have so far tried to raise are issues that have often come up in my personal life. For example the problems of our health care system became even more apparent to me after my mother had an incident and had to go to hospital. But the issues are often problems we all face. It is just that someone had to raise them and it happened to be me. But someone else could do it, too, I believe.

BM: What would you love to see changing in the way African art is portrayed worldwide?

SS: Africa is not a zoo and not everything in Africa is poor. There is not war everywhere in Africa and if there is, it is often not only caused by tribal Africans.

BM: You also have a clothing range called Africanism13. Tell us more about that?

SS: With my clothing range at the moment, I specialize in vintage wear, suits, evening dresses and shoes BM: What’s next for you? Do you have any exciting projects you’re working on at the moment?

static-squarespace-com 37

ALBERT SILINDOKUHLE IBOKWE KHOZA USING ART TO HEAL AND SHIFT PERCEPTIONS Barcoded Magazine

Image by : witsvuvuzela-com

Spot on

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Dancer and performance artist Albert Silindokuhle Ibokwe Khoza’s work has been performed to audiences locally and internationally. At times it has stoked areas which have left some feeling vulnerable. His art is undoubtedly moving and has initiated differing thought patterns.

As an artist in a world that continually attempts to confine people and minorities within certain boundaries he continues to defy being ‘boxed –in’ and uses his art as his mouth piece. He explains his experiences as well as his artistic endeavours: Reading about your work, I was intrigued by the symbolism of ‘Ibokwe’ in your work and your identity. Why ‘ibokwe’? What does it mean to you?

The name IBOKWE was given to me by my ancestors under circumstances I can’t mention. Funny enough after that Thandiswa Mazwai’s album Ibokwe was released so people thought that’s why I started calling myself Ibokwe. But to me Ibokwe is a goat used for many reasons among the African traditional practices and most of the time it is a sacrifice. I believe having been given the name I am Ibokwe- the sacrifice given unto the world to change something within the human race using my art and using my voice.

You identify as a “gay person, who is a Christian, and a traditionalist.” How much of an influence do these roles play in the type of art you produce?

Maybe scratch out Christianity because I don’t understand it fully to call myself one and I also have my own questions that scrutinise the religion as a whole and have my own views of it. I’m a believer that there is a God and his female face the Goddess because people also need to understand that black people prayed Barcoded Magazine

and knew there was a God before Western missionaries came to invade us and forced us to conform.

In terms of society I am a homosexual being and I am a traditionalist. And yes what sticks out is how my lifestyle orientation is seen as a taboo from both the religious and traditional aspect.

But I have gained an understanding of the two worlds, which I hate separating, but have to. I feel I should not be bounded by the social constructs of religion and tradition or culture. I’m also Umngoma (a healer) who’s about to finish his spiritual vocation to become isangoma. I am a healer and that’s what I try doing with my work. It’s to heal.

Do you think South African audiences relate well to performance art?

Yes I do believe so although we can’t reach the 100% mark in terms of positive responses.

That’s also fine; Mandela Bridge wasn’t built in a day. Some people come out from my shows disgusted and angry. Recently I did a show about hair and then I was called a racist.

At times as artists we put mirrors up and most of the time audiences don’t want to see their reflection so bluntly and with so much truth.

I have a following of critical thinkers who never miss my shows whose views I regard very highly and seriously. I’ve had good responses from people in the country and in other countries especially in Europe where I had a tour for the past two years.

For me if one person responds

positively to the work I know I have done my work as an artist.

You’ve said you want your work to “provoke a different way of thinking.” Have African audiences been receptive to your messages?

Yes they have because I know that I am a misfit and on a day to day basis I’ve chosen not to fall within the chorus of society and in that way I have made discoveries that we tend to become products of systems and institutions.

At times it’s good to start interrogating the self, the systems the news, the government, our country and what has been passed down to us from generation to generation. The above are things I mention in my work and some people do gravitate and understand them although they question them they end up questioning themselves.

That’s how I provoke different ways of thinking.

What are you currently working on?

I’m currently in the creative process for my new show called “Ndililolo ezweni lokhokho nomkhulu” which is posing a lot of questions to the African child who lives in this Urban Cosmopolitan world who isn’t aware that his or her ancestors can’t recognise them for many and different influences. I’m also preparing for my performance at the end of the year in France, Montepellier.

Can we expect more collaborations from you and other emerging and established artists in S.A?

love to work with Sifiso Seleme, Mamela Nyamza. Chuma Sopotela, Mandla Mbothwe and loads more. But nothing as yet. I’m still pushing myself because I think there’s a lot the self still has to say but yes there are people in the pipeline.

What parting shot would you like to give us? For those who are not yet familiar with your work, what would you like them to know about your artistry?

Remember that we are humans before anything in this world before race, age, gender, sexuality or social standings.

We are just humans. We don’t know what is expected of us in this life so live it like there is no other (there really is no other).

Remember that this life is more than the physical there’s still the spiritual realm and the spiritual life. My work, my art is my voice; it is who I am I am nothing without it. It’s not a hobby or something I do in my spare time. People think they know me through my art but they also need to be aware that I’m a being with many beings.

There’s me, Ibokwe, then there’s the artist, then traditionalist and believer and all the beings have to coexist which at times you can see in my work. My work doesn’t have the answers for everything but at times it creates a manual for trying to understand the grey area we are in of questioning and confusion.

Catch up with Albert on Twitter: @ ibokwe_albert By: Phumzile Twala

Ahhhhh yes! Hopefully soon. I’d 41

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Theatre

‘OUR LADY OF KIBERO’ EXTENDS OFF-BROADWAY Our Lady in Kibeho is a theatre show based on real events. Set in 1981, a village girl in Rwanda claims to see the Virgin Mary.

Ostracised by her schoolmates and labelled disturbed, everyone refuses to believe, until the impossible starts happening again and again. Scepticism gives way to fear, faith and fate, causing upheaval in the school community and beyond.

The cast includes Jade Eshete, Danaya Esperanza, Niles Fitch, Mandi Masden, Owisa Odera, Irungu Mutu and more. The show has been extended for an off-Broadway run until December 14th.

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28 DAYS LIVING IN A VIRTUAL REALITY Artist Mark Farid is trying to answer some burning questions through an ambitious project titled “Seeing I.” Questions such as ‘what impact does digital technology have on our psyches?’ and ‘When does reality stop and virtual reality start?’ are set to be explored by the artist.

Described as a ‘social-artistic-experiment’, “Seeing I” will see the artist living in a gallery Barcoded Magazine

space, sparsely furnished with a table, a bed, toilet and shower.

Farid plans to spend 28 days wearing a virtual reality headset streaming footage shot by another individual, “the Other,” who will record his life with camera-equipped glasses 27/7. Viewers will also be invited to look in on Farid as he inhabits his parallel existence.

Limits imposed on the artist include having no interaction with anyone except a psychologist who specialises in neuroscience, as well as the inability to make decisions, or interact with the environment he’s experiencing.

Exhibitions

UMLANDO UZWIWA NGE DONDOLO EXHIBITION The Absa Gallery in Johannesburg is currently hosting an exhibition by Bambo Sibiya, titled “Umlambo uzwiwa nge dondolo.”

forms his visual and conceptual compositions, conveying the message that despite the hardships facing families and their survival, women still manage to find ways to feed, nurture and protect their children.

Sibiya’s art portrays images of ‘Swenkas’ (working-class Zulu men who participated in amateur competitions that were part fashion show and part choreography, and showcased their inherent style and attitude.)

Through this exhibition, Sibiya explores various aspects of the township life with particular emphasis on single-parent households, which was a formative part of his life and that of migrant labourers coming to Johannesburg at the peak of The exhibition ends January 30th 2015. the apartheid era in the hope of finding work.

Sibiya’s respect for single mothers is what in-

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TRANSIT This exhibition of a selection of key works reflects what could be considered a new shock of the new for South Africa audiences.

There had been smaller shocks before, but the developments forged by innovative artists such as Cecil Skotnes, Sydney Kumalo, Ezrom Legae and Cecily Sash amongst others in the 1950s and 1960s would transit South Africa into the international art-world on an equal footing to its European and American peers with unique perspectives integrating both Western European and African influences in a innovative pictorial language that would continue to influence the South African art world well into the next millennium.

The history of South African art in the 1960s and 1970s remains to be re-assessed. Although South Af-

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rican artists still looked upon Europe and the United States as providing some form of direction and leadership there was simultaneously the development of a diversity of pictorial languages by a select number of artists which deserve to be assessed on their own terms in the context of the specific time and place.

Transit features works by the following artists: Sydney Kumalo, Cecil Skotnes, Ezrom Legae, Robert Hodgins, Cecily Sash, Anna Vorster The New Wall Gallery is located on the second floor of the Old Port Captain’s Building, a landmark and Cape Town heritage site (near the V & A Hotel, directly opposite Hildebrand and Den Anker Restaurants) Gallery hours: Monday – Saturday 10am – 6pm Exhibition ends 30 January 2015.

IN THE LAND OF THE DEAD, STEPPING ON THE TAIL OF RAINBOW

Exhibitions

In his latest exhibition, acclaimed artist Takashi Murakami tackles intimidating topics including historical and religious subjects. The exhibition also pays tribute to the works of Koons, Hirst and Warhol. Described by the New York Times as “generally very good at aggregating and packaging ideas from other artists and epochs,” Murakami has come up with quasi-spiritual installations and paintings.

Some of these installations mirror the likes of Koons’ inflatables.

The artist has worked with some interesting materials with these pieces.

The exhibition ends on January 17th at the Gagosian in New York, USA.

THE REFUSAL OF TIME The Johannesburg Art Gallery is showing the latest works by celebrated South African artist William Kentridge. In his latest exhibition, titled ‘The Refusal of Time’ Kentridge collaborates his talents with composer Philip Miller, projection designer and editor Catherine Meyburgh, choreographer and dancer Dada Masilo, Peter Galison, a scientist from the United States and machine makers, costume designers and set designers from many parts of the world.

The travelling exhibition has been seen in Japan, Italy, Australia, the United States, Brazil, Holland and Finland.

The project was made in a series of workshops over two years. It started as a series of conversations between William Kentridge and Peter Galison, looking at different theories of time from Newtown through to Einstein and black holes; in each case finding the metaphor for the science rather than trying to illustrate it. In the end the piece deals with the transformation of time into material objects, sound, images and mechanics. It consists of five video projections, a multi-dimensional soundscape created by Philip Miller, four megaphones and a large breathing machine. It has a running cycle of 30 minutes.

The exhibition will run until the 1st of February 2015

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Opportunities

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Opportunities

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L’ATELIER 2015 OPENS UP TO AFRICA The most prestigious South Africa art competition, L’Atelier is inviting young and emerging artists form Botswana, Zambia, Ghana and Kenya to enter the 2015 competition. This is an unprecedented move in the competition’s 30 year

prize at the Cité Internationale des Arts, sponsored

history. Formerly known as the Absa L’Atelier art

by The Alliance Française, the French Institute and

competition, it is now simply known as L’Atelier.

the French Embassy.

Renowned for its role in promoting young artists, the competition is a much- anticipated highlight on the arts calendar.

Artists aged between 21 and 35 residing in South Africa, Botswana, Ghana, Zambia and Kenya are invited to enter.

Online applications are open as from 15 January 2015 and close on 6 March 2015.

Once artists have completed their online entry form, artists can either personally deliver or courier their artworks to their nearest collection point. Collection points are open from 2 - 6 March 2015. All entry

Five coveted art residency prizes are awarded to the

points close at 16:00 on Friday, 6 March 2015 and no

winners, including a six month main prize at the Cité

late entries will be accepted.

Internationale des Arts, three merit residency award prizes and the Gerard Sekoto Award for the most promising artist which includes a three month main

For more information, artists can phone 011 350 3003 or visit www.absalatelier.co.za.

CALL FOR SUBMISSIONS:

of Art, Body and Communication.

B3 BIENNIAL OF THE MOVING IMAGE

The Biennial is seeking projects, films, games and

Launched in 2013, the B3 Biennial of the Moving Image will be hosted in Frankfurt in 2015. The aim of the festival is to create a broad alliance for the moving image.

Themed “Expanded Senses”, the 2015 edition will be held from 7-11 October.

Following an interdisciplinary and cross-genre approach, the Biennial offers an international platform for the discourse and networking of art, film, TV, games producers, directors, artists, designers,

videos for the 2015 event. Projects need to have been released in 2014 or 2015.

Works in the following fields will be considered: •

Art

•

Film

•

Games

•

Cross-/Transmedia

•

Science

scientists and any kind of media industry players.

Submission Deadline: 15 January 2015

The Biennial will also focus on the three large fields

Visit www.b3biennial.com/en for more details.

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SKATEISTAN SEEKS CREATIVE PARTNERS NGO, Skateistan is seeking partners for the construction of a safe, purpose-built facility in central Johannesburg, which will provide skateboarding and educational programmes to children ages 5 to 18.

Architects, designers, planners and engineers based in South Africa are invited to participate in this project.

Interest parties should email: info@skateistan.org for more info.

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Ground up

JAMLA SA TOUR MUSIC CONFERENCE 2014 HIP HOP FRATERNITY ATTENDS, PARTICIPATES AND LEARNS. Musicians, producers, activists and lovers of Hip Hop gathered at Museum Africa in Newtown, Johannesburg for the Jamla SA Tour Conference on 13 November 2014.

Urban Phenomenon Entertainment (UPE) brought US emcee Rhapsody and acclaimed producer 9th Wonder to the country for a tour. With performances lined up in Cape Town (at The Assembly) and Johannesburg (at Zone 6), the North Carolina native made a stop in Johannesburg first for the music conference.

The Conference also featured fellow panellists Osmic Menoe, DJ Kenzhero, Lerato Matsoso and SAMRO’s Eugene Golouw, who all gave insight into the nitty gritties of the notoriously fickle music industry.

MC Ramesh handled proceedings, kicking off with an educational look at the history of Hip Hop and its relation to South Africa.

The panellists fielded questions from the guests in the auditorium, who were selected on merit by UPE.

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A range of topics were covered, including production, piracy, clearing samples, radio airplay, building brands, management, free music releases, performance royalties, independent artists etc.

Speaking about the intricacies of radio and airplay (or lack thereof) of local artists, 9th Wonder explained the dynamics that influence today’s radio decisions.

“We need to get to a point where, we don’t let radio get to define what the culture is,” he said.

Daily Sun and Sunday Sun Entertainment Editor Lerato Matsoso expressed a common problem she identified with this topic: “What I’ve found is that there is one person who compiles music at radio stations.

Another important thing to consider is the format of the station.”

Delegates were treated to insightful advice and observations from the panel.

The management topic raised number of key points.

9th Wonder simply stated, “It’s not about having ‘Yes Men,’ it’s about Like Minds,” while Osmic’s comical response that “Artist managers are basically babysitters,” indirectly highlighted some skills local artists lack before pursuing a career in the music industry.

Kenzhero’s response was blunt, revealing that his observation is that a lot of upcoming artists have a sense of entitlement. “Channel your music to the right people. You have to fight for the platform,” he advised. His sentiments were echoed by Lerato Mat51

soso, who emphasised “You need to be able to sell yourself to the right market.”

Questioning why international artists get more support when they visit the country, rather than local artists, one delegate was informed that “That happens everywhere,” by 9th Wonder.

“I get more love here than I do in North Carolina. That happens everywhere. Nobody love you at home. We just have to learn to support one another no matter what. And stop depending on these mainstream vessels to give us what we need.”

“I think for me, the climate has changed so much, that you don’t really make money off albums. Albums, mixtapes, EPs are more for promotion so you can tour. That’s where you make most of your money.

With me, my main objective is not to make money. I feel like if you’re dope and you work hard the money will come by itself. My main objective is to inspire people and to get as many people as I can to listen to my music. And if I have to give it to them for free, then that’s what it is.”- Rapsody

Here are some other topics discussed:

“We have to earn peoples’ trust. We live in a time and period where music is so bad…And the best way to earn peoples’ trust is to give the music to the people for free.”- 9th Wonder

On working as a team:

On distinguishing yourself as an artist:

“If you have a label or even a crew, it’s not about having ‘Yes men’ it’s about having ‘Like minds. Because if you don’t have ‘Like minds’ you can’t move as a group.”- 9th Wonder.

“The great ones borrow. You’re always going to start out being influenced by someone, or your favourite person. But if you keep working t it, you’re going to end up morphing into your own sound. Some people will put you in a box because they don’t know what you are. If your music is good it will not be deniable, it has to be undeniable. You being from here is not an excuse. You can’t be ashamed of where you’re from You can tell stories that nobody can tell in the United States. You have to be able to do that and be proud to do it.”- 9th Wonder

On starting an independent label: “If you want to start an independent label you must be independent. It must just be you guys running everything. And everybody needs to understand their roles. You have to believe that it’s huge. You have to act like it’s huge and move like it’s huge. You have to move like it’s a movement already. If you do that, people will believe. And that’s how you have to do it.

You can’t hesitate at all.”- 9th Wonder On getting recognition as an upcoming artist: “It starts with work ethic. You have to work so hard and try to make it so undeniable that they can’t ignore you. If you don’t have a big budget pushing you, you have to create that push yourself. You have to create your own buzz. Work on your branding. One thing I remember from when I signed with 9th, is when he said ‘good music does not go unheard for so long.

If someone likes what you’re doing, they’re going to pass it around.’ You have to have faith in what you’re doing and really go at it. That’s where it starts. You don’t take ‘no’ for an answer.”- Rapsody “The first place you should be starting is at community radio stations. They’re always looking for content.

It’s also important to have a portfolio handy.”- Osmic On free music downloads:

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The conference ended on a high note following Amu “Amunishn” Tshawane’s tongue-lashing of young upcoming rappers. As one of the pioneers of the local industry, “The Principal” had a few wise words to share, encouraging artists to be bold and ferocious in their pursuit of a career as hip hop artists.

Follow @UPE_LIVE on Twitter.

By: PhumzileTwala

RAMESH’S GUIDE

TO RE-IMAGINING THE ROOTS OF SA HIP HOP The Jamla SA Tour Music Conference was led by South African Hip Hop Pioneer and activist Ramesh Masina who began the session by recalling the ideals of the likes of Marcus Garvey, Steve Bantu Biko, Bob Marley and Malcolm X. Masina who now spearheads Khulisani Foundation -which aims to change lives by targeting the development of the youth and to transform families in South Africa- led the discussion by tapping into the history of SA Hip Hop. Although for most delegates in attendance this history unfortunately only extends back to the 1980s.

Ramesh however took it all the way back to the era when African leader Bambatha was alive. The minihistory lesson ensconced within his presentation eventually led to the 1970s early rap era in the Bronx, New York when Hip Hop Pioneer and Legend Afrika Bambaataa emerged.

Drawing parallels of these dynamics based on the spread of the Black Consciousness Movement he pointed out that “The words of these revolutionaries found their way across the oceans.”

He went on to relay how his efforts at finding out how the American Bambaataa (who was part of a notorious gang while moonlighting as a writer) came to have bear this name, were fruitless.

He later found out that Bambaataa entered a writing competition, which he won.

“The prize was a cultural exchange, to experience a culture of a different people. He got to experience either physically or spiritually how the Zulu people were actually living. Their unity. Ubuntu. And he thought to himself, ‘Wow. So I’m from a place that is down-trodden. These people might not be much better off than me financially…’but there’s a certain virtue that they had that he related to, which resonated within him.”

“He went back to the Bronx with a changed attitude.”

“Hip Hop at that time in its rawest form was coming alive in the Bronx. The 4 basic elements of hip

hop were forming. Hip Hop was alive. But what Afrika Bambaataa did was that he breathed in a certain spirit to it. In other words, what does Hip Hop stand for? If the rap is not talking about the social ills and difficulties that you’re going through, then, what is it saying? Afrika Bambaataa found a gap and said ‘We could still do everything we’ve been doing, but nobody’s going to die.’ And the spirit of Hip Hop as we know it was born.”

Dissecting the meaning of the word ‘Zulu’ and its derivative ‘ukuzula’, he went on to conclude that “That is a consciousness that this man had, that has been missing. A consciousness that we should also know and embrace as not only the South African Hip Hop anthropologists.”

“Hip Hop in the form in which you know it today, is a direct African inspiration. You see it in the names that the people gave themselves. You cannot mistake a ‘Bambatha’ for any other place in the world except for South Africa. Always remember that what you are doing is something that is authentically ‘you.’ And the job that we have is simply to bridge the divide between those of us that are living it here and those of us who are living it on other continents. My wish for Hip Hop and what it should be in the future is to represent the kind of knowledge that makes the continent a better place. This gives content to what our emcees should be talking about. There is so much knowledge and so much input that African people have contributed to world civilisation but nobody ever cares to actually mention that.”

A highly thought-provoking discussion, Ramesh tackled it with fervour and made it easy for consumption by the young minds present on the day. Kudos to him for taking a step closer to his dream for the culture on the continent.

By: Phumzile Twala 53

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Pure art

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100% DAKAR: MORE THAN ART FILM SHOWS ANOTHER IMAGE OF CONTEMPORARY AFRICA Film 100% Dakar: More than Art ventures into the lives of a new generation of Dakar-based creative artists.

Directed and produced by Sandra Krampelhuber, the film portrays artists from a number of disciplines, including fashion, music, graffiti, photography, dance and art blogging.

The film prominently features artist interviews as well.

Veteran rapper Didier Awadi comments, “The city offers artists the freedom to create, critique and comment on anything.” Another rapper adds to this by claiming, “I’m a cultural soldier who wants to change things.”

The film successfully shows another image of contemporary Africa.

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PROJECT TRACES ORIGINS OF TRUE ‘HARLEM SHAKE’ A collaboration between Salome Asega, Chrybaby Cozie and Ali Rosa Salas will explore the true origins of the “Harlem Shake” dance. They will also look at how digital media platforms have played an integral role in not only launching dance movements but archiving them as well.

Titled Level Up: The Real Harlem Shake, the project will be featured at the New Museum.

The project will also focus on the perils faced by the urban arts community in regards to ownership and cultural appropriation.

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EVERY DAY ROBOTS Skrillex’s “Ragga Bomb” music video inspired artist Zwelethu Machepha to look at the lives of Jozi’s plastic recyclers differently. He recently created a series of paintings of the recyclers inspired by the music video personification of masked faces and bodies who define the 21st centuries’ inner city aesthetic.

The series, titled “Every Day Robots” depicts the raw, gritty urban lives as they drag plastic across the city, often into oncoming traffic or zig-zagging through the CBD. Machepha has also included pictures of their real lives and the work they do.

“The paintings are a way of understanding them as people, rather than aliens.”

“They play an important role in our society, and they live with a business philosophy that a lot of our busi-

ness people and government type should take note of. If you want an example of real socially orientated entrepreneur style business, this is it,” he says.

The Basotho collective befriended by the photographer gradually allowed him access into their lives. He was able to deduce that, “They collaborate financially and they make decent money, which they send home to Lesotho. They are all immigrants and they live a hard life, but it’s not the indigent street life people imagine. This is a viable business. New generations of Basotho move through this set up year on year- it’s one of the few opportunities to earn real cash rural people have.”

The artist has attempted getting funding for a planned exhibition, which unfortunately hasn’t quite gone according to plan. His observation is that, “Sometimes art people get uncomfortable with reality.”

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CYRUS KABIRU CREATING WEARABLE ART TO CHANGE WORLD VIEWS Barcoded Magazine

Artist focus

Kenyan artist Cyrus Kabiru is a self-taught painter and sculptor. He is better known for his C-Stunners, a range of sunglasses made from recycled materials.

A hybrid of fashion and wearable art, the sunglasses reflect a humorous portrayal of contemporary living within Kenya.

The story behind the inspiration to create the bifocals is a poignant one.

“I started making art when I was young to make things I wanted but wasn’t allowed. I was inspired by memories of my father’s childhood where he dropped his glasses by accident and a lorry ran over them, shattering them completely. It goes without saying that he received a very thorough beating from my grandfather. From that day on my father hated glasses. I admired them though, but wearing them was an impossibility because of my father’s attitude towards them and I thus decided that when I grew up I would pick up from where the lorry left off.”

The bifocals portray the aspiration of popular culture bling and reflect the ingenuity and resourcefulness of people. Karibu says of the appeal of working with found objects: “I like working with found and unfound materials because I can’t help seeing the inherent creativity in all things. I’m an artist who works with different mediums, mostly giving trash a second chance.”

The lenses provide a filter into the way the world views Africa. “The C-Stunners are about seeing the world in a different way. We always see the world through plastics (normal glasses) but by using different materials I am changing this view,” he’s said in an

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interview.

His works are characterised by rich social commentary. Some of the C-Stunners are made with spent bullets while others are made with bars, evoking the jails of Nairobi.

The visual artist adopts the role of a flaneur, the observer and explorer. Having grown up in a slum in Kenya, his surroundings heavily influenced his work.

He has also revealed that his inspiration often comes from taking long walks. “When I walk I also get the recycled materials like bolts, bottle tops, wire, so I get my inspiration through walking.”

His love of art showed itself at a very early age in his life. “Even when I was in high school it was hard for me to study because I started drawing at the back of my book instead of writing notes. I couldn’t go tell my father I wanted a new book, so I used to try to sell that piece I drew in order to buy another book. My father didn’t love art so I used to paint at night. I used to sleep just a few hours. They slept at 11. I woke up at 12. I’d pretend I was sleeping. Then I’d paint until 4 and then sleep and wake up for school at 6. Before I started my homework, I’d paint, make glasses with paper. I never did homework. My neighbour used to read and I used to copy her homework. I used to exchange my paintings for notes. So life was like that.”

One of his goals is to unite people of the Kikuyu and Luo tribes in Kenya using his art as a driving force.

For now though his philosophy is simple: “I am eating art, I am living art. I will live art. Just that.”

By: Phumzile Twala

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TALKING PHOTOGRAPHY SUBJECT#1: BOB MUKENDI IMAGES COUTERSY OF : BOB MUKENDI Barcoded Magazine

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Bob Mukendi is a 23-year- old up and coming photographer and graphic designer from Johannesburg. He’s always had a passion for the arts. Starting off with music and drawing, this eventually led his interests into photography. Bob studied graphic design for two years before taking a break and pursuing his passion for photography.

Bob focuses his eye on street photography due to its spontaneous nature. This also allows him to be alone which is usually the time when he is fully present.

Photography as a subject is really hard to define. One could easily call it image making but surely there is always more to something than what is on the surface. Looing at Bob’s work there is a lot more to him in these photographs than what one sees.

My interpretation of his work and of his persona remains consistent every time I look at his work: Bob is either looking for something or himself. He is mysterious and both oblivious and fully present (sometimes.)

I sat down with him to discuss his interest in photography and what it’s like being a photographer in Johannesburg right now.

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Why photography?

I’m not too sure to be honest. Photography wasn’t always something I was into. It kind of only came into play a year after I matriculated. I think it had to do with lasting memories. That’s how it started.

I became very intrigued the ability of making time stand still through photography. The ability to capture a moment and make it last forever. A camera for me is similar to a flying delorean (Time machine from back to the future). I could go back in time and relive any moment I captured and I became obsessed with that.

Describe your photography style.

I’m still trying to figure that one out, but at the moment I shoot a lot of black and white, street photography. The streets have a very spontaneous aspect to them and it’s very uncontrolled -which is something I really love. It’s almost like listening to free jazz or math rock - the tempo and rhythm changes so frequently and you never know when it’s going to take a sharp turn and transform into something completely different. You can always come out with something fresh on the streets I feel.

Apart from the streets I shoot some abstract stuff. Not sure why but the results can be quite interesting and fun.

What is your experience like as a photographer living in Joburg?

Besides getting mugged, I really enjoy shooting in Joburg. It can be very hard to get noticed, but yeah, you’ve just got to keep at it. I’ve also realized that there’s a major influx of photographers, raising the competition. So you’ve definitely got to bring that fire.

Portraits or landscapes? If you had to choose a single genre to photograph for the rest of your life what would it be and why?

Landscapes definitely. People scare me. I would probably stick to street photography. I mean, if I could get paid to do it for the rest of my life, and it allowed me to travel the world and what not, then yeah, street photography would be where it’s at for me.

What advice do you have for other photographers who are trying to break into this industry?

Don’t stop shooting, try different genres of photography to see which one you’re more comfortable with. Networking; talk to other photographers and see what you can learn from them, but ultimately don’t stop. Keep pushing.

By: Hazel Mphande Hazel “Hazey Jane” Mphande is a photographer currently studying the Advance Photography Program at the Market Photography workshop.

Her interests not only lie in photography but up and coming black photographers in South Africa and their influences. “I love photography and I love people, that’s pretty much it.” Follow her on Twitter @HazelSHUTTERBUG and visit her blog www.omghazeyjane.tumblr.com.

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Pure art report series

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WHY ‘BLACK TWITTER’ WILL BE TRENDING FOR A LONG TIME BLACK TWITTER CONVERSATIONS Few things are as entertaining as Black Twitter these days.

Discussions about topics ranging from art, to politics and social issues to entertainment are dragged out on Black Twitter streets shrouded in humour, activist ideals and just the right amount of candour to keep the social network abuzz with activity.

The phenomenon of “black twitter” is fast gaining momentum on the African continent. Research has found that Twitter’s growth has slowed over the past 12 months, but it also found that the number of South African users has soared to 6.6 million in 2014.

UCT Journalism lecturer and Media Yakwantu owner Unathi Kondile (@Unathikondile) has described the platform as “a free online platform where black voices can assert themselves and their views without editors or publishers deciding if their views matter.”

Black twitter in Africa is characterised by evolving trendy terminology uniquely peppered with African languages. (For example, it’s more common to find the use of the terms ‘kwa!’ or ‘tltltl’ instead of ‘LOL’ or ‘ROTFLMAO’ on black twitter.) Twitter users on the continent are increasingly using the platform to voice their feelings of approval or disapproval about social issues, politics and celebrity culture.

Kondile, who tweets exclusively in isiXhosa, has also remarked, “Black Twitter doesn’t take itself too seriously – one could say it is the tabloid version of Twitter.”

His sentiments are echoed by Blacktwitternews. blogspot.com founder @Spar_Letta- a blogger who has capitalized on what Black Twitter talks about. “I try to take anything that gets black twitter talking, especially topics that drag on for the whole day,” she explains.

She created the website after noticing that “people get lost in their timelines and find it hard to connect the dots, which leads to them getting everything wrong.”

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“So I thought, why not get them everything they need to know concerning a particular subject on a blog.

Also, for people who are hardly online, Black Twitter is there to keep them updated.”

Describing what she thinks makes South African Black Twitter special, she says, “The fact that we’re diverse but we can still maintain unity; and the humour is amazing. We laugh everything off.”

Black Twitter has also taken to the memes culture voraciously, using these moments to poke fun at politicians and social issues which Black Twitter can relate to. ‘Black Twitterville’ has also hosted some of the most heated debates related to race issues. In a new twist South African Politicians- both former ANC Youth Leaders- have also been known to start ‘twars.’

This year’s biggest ‘twar’ was arguably between EFF leader Julius Malema (@Julius_S_Malema) and South African Sports Minister Fikile Mbalula (@MbalulaFikile.) While the latter is known as a highly active and outspoken member on the social network as well as for popularizing terms such as “phola” (the vernacular equivalent of an instructionto relax or chill), the former is also known for taking to the social network to address print media outlets, journalists and other twitter users directly in reference to South African politics and controversial Parliament antics.

The narrative followed by mainstream media clearly doesn’t apply here.

Statistics point out that users are generally the black middle class, as many Africans cannot yet afford the high data costs that come with access to the internet on the continent. Research suggests that a measly 21 percent of South Africans have access to internet.

In the United States, Black Twitter users have taken to the platform to voice their anger and start revolutionary movements (such as the Ferguson outrage protests.) The movement has dedicated itself to everything from engaging academia, dictating musical trends, questioning the status quo, finding missing children to getting people fired.

Senzo.”-@GarethCliff.

The legion of Black Twitter users has been described as “ever-ready to kick ass, take names, Google addresses, send out drop squads and suffer no fools.”

A Huffington Post article noted, “You can observe its power and impact in the witty, sharply worded rebukes that haunt public figures when they do or say something stupid, especially if it’s racially insensitive.”

He adds, “These perceptions also play a part in why different races seem to follow their own kind more than being diverse. Terms like ‘Black Twitter’ perpetuate online racism even though it might not be overt. It creates a division in association.”

A now classic example of the power of Black Twitter proved itself when #HasJustineLandedYet (started on black twitter) trended worldwide following a reckless ignorant tweet by an InterActiveCorp PR executive Justine Sacco: “Going to Africa. Hope I don’t get AIDS. Just kidding. I’m white!”

The outrage expressed by Black Twitter users from South Africa (where Sacco was flying to before she hit the send button) along with the droves who contributed their opinions and disdain worldwide eventually led to her dismissal from her job within days.

Black Twitter, it seems, although at times unabashedly playful and ‘gossipy’, can also turn activist quickly.

In 2011 a twitter feud between South African opposition party leader Helen Zille and Afro Soul singer, and social activist Simphiwe Dana had black twitter folk up in arms. Zille’s controversial and cavalier response to perceived racism by black South Africans when in the city of Cape Town, was met with fury by numerous twitter users. Dana later tweeted back: “Helen Zille has managed to piss off black Twitter.

She can’t blame me for this one.”

More recently, Cliff Central founder, radio jock and Idols judge Gareth Cliff was met with a barrage of angry tweets from Black Twitter following his questioning of the burial costs of slain Bafana Bafana captain Senzo Meyiwa. He responded by blogging about his experiences in a piece called “On ‘Black Twitter’ and being called a racist.” He also tweeted “Well today reminded me that Twitter is alive and well and someone is always readier to be outraged than sad. Go well

Someone who questions the legitimacy of Black Twitter is Content Specialist Lerato Finiza (@LeratoFiniza) who has opposing views. “I really don’t think I’m on Black twitter and don’t actually believe in Black Twitter,” he says.

“I find the term stereotypical and I think it gives a bad image of black people on social media all because of the behaviour of some black people on social networks.”

This division in association can be exemplified by nuances unique to Black Twitter which seem to exclude anyone lacking an understanding of this online culture. Kimberly C. Ellis, an African-American scholar with a Doctorate in Africana Studies, who is studying the phenomenon of Black Twitter for a book she is writing called ‘The Bombastic Brilliance of Black Twitter’ was moved to begin educating people on the subject because others who had previously attempted to do so were getting it wrong. A particular article published by Slate in 2010, titled ‘How Black People use Twitter’ motivated her even more.

Her description of Black Twitter is: “You have to look at black culture first. You start to see the essential interests; it’s the language we use, it’s what we pay attention to, it’s how we express what we like, how we talk about what we like, it’s the friends we create, the businesses we form, the people we support, the music we listen to. Black Twitter is black culture on Twitter, and you have to have a clue as to what black culture is in order to recognize it and appreciate it.”

When considering Black Twitter, one can’t help but ponder the similarities and differences between the African version and the American version.

IndiStar Africa Consultant, Suede (@iamsuede) believes there are fundamental similarities and differences between Black Twitter users in the US and those in Africa.

His view is that Twitter is “the democratization of society and an augmented version of reality. I see it as a reflection of what we experience in the real world, only amplified.”

“The ghetto tweeps will be more ratchet, the armchair 69

activists more vocal, the intellectuals more wordy and the Black Curious overstep their boundaries even further and all are able to interact on our timelines,” he adds.

An important distinction he notes is that, “Now that Twitter allows us all to intermingle, we are able to see how much of what happens in America, becomes channelled into what is spoken about, embraced and copied in African Culture. From street style, to language, to business methods to Solange’s Wedding to Kim Kardashian’s ass. Africans are able to participate in a pop culture conversation which was once reserved for the first world population.”

He laments the ignorance by Africans in Africa of the cool things Pan African pop culture has to offer, often in favour of American popular culture.

“It’s disturbing that more people jumped on the ALS Ice Bucket Challenge than donated money to Malaria Nets or Clean Water or other organizations which exist on the continent.”

His view is that socio-economic issues filter into Africa and not the other way round. “Unfortunately not much of what happens in Africa makes it to America.” ”It’s unfortunate that Bob Geldof is catching grief for BANDAID30 but not as big a noise is being made that Patrice Motsepe donated a million to Guinea.”

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“I feel that there is a great opportunity being missed where Africans on Twitter, especially those who have 150-250K followers and up, can use their voice to #BreakTheInternet and lead conversations about Africa instead of following the same old US rhetoric and get caught up in ‘Ass conversations.’”

Leading conversations is something Black Twitter is becoming more adept at. Topics are discussed with the intent to get reactions and occasionally move people to action, especially concerning social issues.

Without a doubt, Black Twitter users are embracing the perks of the social network. One hopes to see more thorough use of opportunities presented by the conversations highlighting more African ideals and culture in the near future. With increased access to mobile technology on the continent, this community is set to expand even more in the next few years. The Black Twitter community is an important one which is difficult to ignore, set to initiate change and introduce many more trends. Observing its increased power and impact is something to look forward to.

By: Phumzile Twala (@PHUMIT)

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DIGITAL ARTIST JIM CHUCHU SERIES: PAGANS 73

Kenyan digital artist and filmmaker Jim Chuchu’s photographic series “Pagans” is a reconstruction of futurepast anonymous African deities, their devotees and forgotten religious rites.

In 2012, Chuchu co-founded the NEST, a multidisciplinary art space and collective in Nairobi, Kenya. The following year he shot his first short film Homecoming as part of the African Metropolis project.

Earlier this year, the “Pagans” series was featured in the 2014 edition of Dak’Art, the 11th Biennale of Contemporary African Art, as part of the Precious Imaging: Visibility and Media Surrounding African Queerness exhibition in Dakar, Senegal. The show was cancelled a day after its opening by Senegalese authorities, who ruled that future exhibitions addressing the issue of homosexuality must be closed or cancelled.

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images by : jimmychuchu.com

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