Sibahle Magazine | Launch issue

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The Art issue

- A p r i l/ / May 2015 -

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As a man thinketh, so is he.

COPYRIGHT © 2015 | SIBAHLE PRODUCTIONS (PTY) LTD

CONTENTS

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E di to r ’ s N ot E A n i n t ro d u c t i o n t o S i b a h l e b y f o u n d e r a n d e d i t o r i n c h i e f Ruramai ‘Rudo’ Musekiwa. ‘The genesis, the long-term vision and everything in between’.

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Msaki Zaneliza:

H o w T h e Wa t e r M o v e s

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LOYISO

mkize custodian of a neW a f r i c a n n a r r at i v e

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CONTENTS

contributors ruraMai ‘rudo’ MusekiWa Art Director | Editor in Chief vus ngxande Writing & Photography tseliso Monaheng Writing & Photography vuyiso tshabalala fashion Editorial

@ M W

info@sibahle.com +27 79 723 1715 www.sibahle.com

fACEBOOk TwITTER INSTAGRAm

Sibahle @sibahleafrica @sibahleafrica

Sibahle Magazine is published by SIBAHLE PRODUCTIONS (PTY) LTD. All Rights Reserved.

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CONTENTS

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body

BEAUTIfUL Nonzuzo Gxekwa p h o t o g r a p h y.

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ILLUS T R AT I O N Rendani Missblacdropp Dav Andrew Paul Shoniwa

48 f E M M E Exxagerated Feminism ANDILE BUkA & t u m i Sa n g j z i m ba

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52 aubrey ndiWeni re i m a g i n e s F r i d a K a h l o p o r t r a i t s t h ro u g h v i b r a n t , vivid stills.

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POETRY POETRY BY Kela Maswabi P h o t o g r a p h y : Vu s N g x a n d e

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fash ion F a s h i o n R e b e l s / / P TA

fa s h i o n e d i to r i a l by vuyiso tshabalala

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CONTENTS

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l Era MMoux Lerato Mmutle >> A L I T E R A RY E x P E R I E N C E

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SOLDIER mUSE P h o e n i x L e b o g a n g N ø rg a a rd

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kB mPOfU >> Photographic Statements

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come home to

the nest

the home for young african creatives

the nest is a continent-wide youth network of free thinkers, ideators, makers, creators, artists, musicians, storytellers, film makers, placemakers, designers, educators,scientists, students, entrepreneurs, leaders, writers, bloggers, art directors, creative directors, urbanists, instagrammers, photographers

+ you

join now www.creativenestlings.com

Sibahle | vol. 1 | aPril-may 2015

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H E L L O

EDITOR’S LETTER

EDITOR’S NOTE

hallo this letter is addressed to you. Wherever you are in life’s journey, whatever it is you are pursuing, this is for you... my name is ruramai musekiwa, a self-proclaimed ‘creative activist’ navigating her way through life’s maize. sibahle was born out of a marriage between passion and frustration at the daily reflections of a negative african narrative. it’s about time we redefine/deconstruct that narrative because our image has been painted with hues of shame, undertones of hopelessness, harsh strokes of oppression and subjugation. i do not by any means disregard a significant past that is mirrored in schools of thought, socio-economic remifications, a subconscious weight that most african people bare - i am however, convinced that we can shift that narrative by celebrating our beauty. Creating our own platforms, becoming a collective voice of positivity and power. “sibahle” means WE ARE BEAUTIFUL. i thought it fit to make the first issue “the art issue” as almost an ode to the creative space that inspired the creation of this magazine. Future issues will organically take shape, exploring spaces beyond South african borders, telling the stories of powerful african people, thought-leaders, celebrating african innovation and entrepreneurship, outreach and more... We are multi-dimensional and there is so much to explore and uncover!

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EDITOR’S NOTE

african women are at the helm of this movement and this is partly because of my semi-feminist stance. i am an african woman, i am also aware of the reality of patricrachy in our continent, thus it is important for women to be at the forefront of this movement, without the exclusion of our male counterparts. this issue has truly been a labour of love and it’s my hope that you experience the genuine passion and love behind this first offering... A collaborative, celebratory statement. i cannot conclude this letter without acknowledging the most high, the source of all inspiration, courage and creativity... the one who has made me the custodian of this simple message. i’m humbled to have the opportunity to express something that speaks to our power, our vibrance and beauty as a people. my humble gratitude to every contributor, every person that has shared in the weight of bringing this to life. it is my prayer that we continue looking inward to reflect on our sacredness, that we continue moving forward in solidarity and in the knowledge that we are beautiful, gifted and capable.

Words possess power... as we continue to reflect on this one word in its varying expressions through this movement, something magical is taking place... Sibahle.

blessings

founder // editor in chief: ruramai Musekiwa Sibahle | vol. 1 | aPril-may 2015

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custoM hand-crafted accessories

H AP P I N E S S I S H AN D M AD E .

http://w w w.facebook.com/hlubi.hlubie

|

+27 81 490 6147

m U S I C

MSAKI // A MuSIcAL jOuRnEy

I N T E R V I E W E D B Y: T S E L I S O M O N A H E N G

mUSIC

Msaki AsAndA MsAki MvAnA is A shApe-shifting Artist who plAys guitAr And writes reaffirMing songs exploring theMes such as refusing to succuMb to the fear inherent in ansWering one’s calling. in one, “blood, guns and revolutions”, she lays out a deck of cards by confronting the injustice Meted out against Miners in Marikana on one hand, and fires up thoughts about What she terMs as ‘coMplex relationship’ With hoW certain stories are told in south africa.

Photography & Words by Tseliso Monaheng

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mUSIC

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mUSIC

Msaki’s music is an amalgam of distinct genres which she refers to as afro-folk. She performs the songs with the conviction of one who means every word uttered. She’ll convince you that maybe -- just maybe – the angels who once roamed free in our childhoods can find urgency and re-birth in the form of song. regardless of the mood of the lyrics, the music is always rooted in the notion of hope - the harbouring thereof. her debut full length album zaneliza: how the Water moves was due for release on 21st march, Sharpeville Day -- or more commonly, human rights Day, in South africa. but following a relentless touring schedule in which the musician toured across the country in promotion of her debut eP nal’ithemba (released at the tail-end of 2013), the eastern london-based musician decided to settle with a listening session instead.

She’d played several dates in johannesburg and Cape town; a string of shows at the grahamstown national arts Festival 2014; and took detours which included a stop in Kimberly and a grassroots festival in hoedspruit, limpopo. She’d also just wrapped up a gruelling two-part recording schedule, the first taking place in johannesburg, and the second in her hometown, at a studio located in a building named after miriam makeba. the east london sessions happened at the beginning of 2015 and were headed by musicians nduduzo makhathini and Cobus van Wyk sharing co-production duties. msaki had hand-picked and assembled a group of musicians to come and interpret the music. indeed, the water moved; the earth inched towards a positive inclination and the heavens guested on every song. i was present during the entire process. our conversations covered a range of topics: her growing up in amalinda as a skater; the secret beach where she goes to gather her thoughts (and collect sea shells); and the ease with which all the people she’d gathered together got along. the conversation which follows happened during the second day of recording.

how did daY 1 go? i can’t really say that i could’ve imagined what actually went down on the first day that we recorded. it was followed by a day of rehearsals, so there was a hint that something special was definitely going to happen. but i don’t think anyone was really ready for what the songs wanted to do through us and how they actually wanted to presented themselves. i think we all just went home in a cloud of disbelief and gratitude after yesterday’s session. the other thing that makes me really worried sometimes is because i’ve been playing with all the people that i’ve brought here, and there’s quite a few of them, in different kinds of set-ups. For instance, thembinkosi mavimbela (bass) and gontse makhene (percussion), we play a lot as a trio in johannesburg. and then i’ve got Dave manship (bass) and germaine gamiet (piano) and t.K (drums), and then we play together this side, they’ve been working as my east london band.

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mUSIC

“

i find mYself in a reallY privileged position that i can’t quite fathom.

they’ve been incredible! asher gamedze (drums) and tim hutchinson (sax/guitar), we played in a different set-up that we used for grahamstown festival, and we’ve played together in Cape town. now, to bring them all together, you wonder what the synergy’s gonna be like; you don’t want to take a risk and put people uncomfortable situations, because you know them all differently. i think the first thing that i was grateful for is just to see that even when they’re playing with people that they haven’t been playing with for a while, there’s still this common thing that we’ve all been working on without knowing about.

You probablY alwaYs had some vision about how Your debut album would be. is this it?

Strangely enough, i always knew that my first album would be huge; it would have the whole village involved. it would end up being my biggest project in terms of humans. but i also still see a couple of projects with maybe an indigenous orchestra. Strangely enough, it was one of my prayers quite early on when i decided that i was going to be a musician…my prayer was quite simple: i wanna have a group of friends, that can become a family, that don’t mind spending time around each other to make music within a safe space. it [didn’t] have to be the most sought-after bassist; the heart is more important than the skill, [and] the skill we can all work on together. Strangely enough, i’ve been gifted with people with heart [who are] also incredibly talented and creative, beyond what i could’ve imagined when i was approaching them with that zeal like ‘i’m gonna go to that bassist because he’s really cool!’ Friendships have blossomed into working relationships, and working relationships have blossomed into friendships. So i find myself in a really privileged position that i can’t quite fathom.

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mUSIC

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Tseliso Monaheng Photography Sibahle | vol. 1 | aPril-may 2015

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L O Y I S O

mkize

c u S TO D I A n O f A n E w A f R I c A n n A R R AT I v E

T E L E p H O N I c I N T E R V I E W B Y: R U R A M A I M U S E K I WA

q&a

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q&a

what are your views on creatives being the custodians of a new african narrative?

For me personally, it’s a duty as opposed to something that you assume out of choice.

I think we are privileged enough to be custodians. Currently there seems to be a very keen interest by Africans towards the continent and its people and its cultures, which really is only natural. At the end of the day you fall in love with what you are familiar with or accustomed to, and once you’ve reached positions of influence, you have the responsibility to perpetuate our cultures in ways that are visionary, thus influencing popular culture. It really is intrinsic; expression of our Africanism becomes second nature once we tap into it. What’s great about it is that you don’t have to look outside of yourself to unlock that. We’ve begun to scratch the surface and the deeper we go, the more we reflect that to each other, the more weird and wonderful things we will discover. within your collection of artwork there is a prominence of powerful images of african women. what is it that inspires you so much about african women?

I could site a lot of influences but I think I have a fondness towards the fairer sex (laughs). But also, there’s a great vitality with African women which is quite a virtue. It’s something that is very evident in their presence. It fascinates, that with the predispostions our women have, they seem to not come undone. Maya Angelou speaks of “still I rise” and that is testament to black women’s strength and once you go deeper into that notion you realize that there are women that resemble that. In spite of the patriarchal world we live in, a lot of our cultures revere women and that is my take, to acknowledge women in their divinity. There is a very candid divinity about our women that we must portray and as a man, I feel the responsibility to do that in light of the ghastly social ills against women in today’s world. do you feel creative activism is relevant & that its impact is far-reaching?

Of course! Creative efforts morph society. Once you go about ideas/initiatives such as Sibahle, you spark a flame. You create a snowball effect and these messages that are put out gradually change people’s frame of reference. Only artists can dissect the human condition and our endeavors begin to create a collective effort to aid the ideals we create. A movement like Sibahle is one such model. All it takes is efforts, once you take action, you will be shocked on the ripple effects, it truly is a huge responsibility.

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q&a

kwezi, this amazing brainchild! we are such groupies for this concept. it really goes back to how young african children are socialized and what they subconsciously perceive as a model for greatness. this truly is a powerful statement in the face of conventional comics. take us through this journey...

It’s a journey of discovery for me. It came as an impulse in realizing that we have the tools, know-how, inclination and resources to make these things happen and to move beyond complaining about a lack of black representation in various spaces. These things were no longer anyone’s responsibility but mine with the tools available to me to do so. I have a five year old son and I wanted him to grow with a frame of reference that there is a super hero that looks like me, speaks like me, that I can relate to, and he’s cool! I have t-shirts, bedding - there’s an entire lifestyle and identity to this character, and that is the vision... To make Kwezi a fully- entrenched house-hold name.

In the stories, I’d like to reinforce knowledge of our cultures, of self in an educational and entertaining way. That’s the power of creativity, being clever with these concepts and creating something novel. There’s a generational aspect that we need to have and it’s a huge undertaking, it means deconstructing and constructing new things, there is so much that still needs to be done. We need to develop a sense of urgency about the ideas we have. There are innovators in our generation and there are so many people that could potentially be responsible for the rise of the continent. It’s time, we need to go beyond complacency, creating a legacy for those coming after us.

a beauty pageant question, but we’ll ask anyway (chuckles)… what is your ultimate hope for africa?

It comes closer into context once you’re a parent when you realize the generation that you are influencing. I think we need to self actualize. I wish we knew how powerful we really are as a people. It’s uncanny that we are able to do the things that we weren’t economically, socially able to do. I’d love to see us seize and embrace our identity and embrace it. I feel that will influence everything! Once you know yourself, your history, your people, your language, that influences the way you walk, the way you relate to other people. You relate differently to people because you meet them on a level ground.

We’ve always been looking up at people (subservience). I have a vivid and lucid vision, something you see in people that are owning and actualizing their africanism. I’d like to see an awakening, us seeing ourselves, each other and future. One knowing themselves is enough to change everything.

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B O D Y B E A U T I f U L

nOnZuZO GXEKwA // PHOTO SERIES

PHOTOGRAPHY

nonzuzo gxekWa iS a SelF-taught PhotograPher With a DeliCate anD DISTINCTIvE PHOTOGRAPHIC SIGNATURE. HER CURRENT AND ONGOING BODY Of wORk TITLED “BODY BEAUTIfUL” IS A POwERfUL STATEmENT IN THE fACE Of SUPERfICIAL BEAUTY STANDARDS. wHEN ASkED ABOUT THE INSPIRATION behinD thiS SerieS, She retorteD:

Body Beautiful is work celebrating the black female body, celebrating our different shapes and sizes and hopefully inspiring confidence to embrace our bodies as they are .Look at our bodies and think I AM BEAUTIFUL. Hopefully viewers will reflect and find traces of themselves in the images. Body Beautiful will be an ongoing series.

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Model: Noncedo Mqibisa Sibahle | vol. 1 | aPril-may 2015

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Model: Duduzile Mathebula

PHOTOGRAPHY

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Model: Andiswa Biyana Sibahle | vol. 1 | aPril-may 2015

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I L L U S T R A T I O N

M I S S b L A c D R O P P // D Av A n D R E w // PA u L M A K AyA

ILLUSTRATION

mISS

rendani neMakhavhani IS A GIfTED CREATIvE wHO PAYS HOmAGE TO the CruDe, buStling, SenSory exPloSion that iS johanneSburg. her illuStrationS tell StorieS oF everyDay jo’burg, inSPireD by taxi riDeS AND SNAPSHOTS, SHE mAkES USE Of POINTILISm TO CREATE UNIqUE, RAw ARTwORk THAT BARES AN EvIDENT AfRICAN AESTHETIC.

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w H AT I N S P I R E S m E ? apart from johannesburg’s CbD, i’m inspired by people. People of colour in particular, and a lot of the time this becomes misinterpreted. it’s read in the context of race rather than in the context of black pride. People of colour are a beautiful inspiration, and i think that Sibahle is doing a phenomenal job at reiterating this message. With all that said… my name is rendani nemakhavhani , also known as missblacdropp . i am a communication designer, visual problem solver and i love johannesburg’s Central business District. i was born in gauteng, raised in both Soweto and the Southern suburbs of gauteng. i am the eldest of three and i illustrate. almost everywhere i go people want to know what the name missblacdropp means. i always have a back-story for this, but no, i’m going to simplify it. missblacdropp is a symbol of me embracing my dark skin. to embrace it is a position i was never meant to ever be put in to begin with, but because of what we’re exposed to and the portrayal of dark skin within society it exists. being dark is a large part of my life. So to shun it would be a blasphemous act against myself. my work is often inspired by the CbD and the subcultures that come with it. i am inspired by it’s people. i make use of women’s silhouettes in many parts of my work, this isn’t me trying to say anything in particular. i guess it’s all an unconscious response to something. i was in Cape town in February showcasing as part of Design indaba’s emerging Creatives for 2015. i was showing a set of illustrations that i had translated into prints that then turned into cushions. this was a success. it was a great learning experience. and when i got back to jhb i had to jump straight into 30 days & a city. this is a collaborative project that i had curated as an online project in 2014, and so in 2015 it turned into an actual exhibition. i worked with nine other collaborates, ten including myself. the collaborates are andile buka (photographer), lerato mbangeni (journalist), nozuko mapoma (musician), jeffrey rikhotso (photographer), Sharp-lee mthimkulu (illustrator), hazel mpande (photographer), Sindiso nyoni (multi-disciplinary artist), kevin makonga (multimedia designer) and Dali gaga (illustrator). 30 days & a City partnered up with Studio x johannesburg, and this is where we held the exhibition, which took place on 13th march ’15. this was very well received, i’m glad it was! this entire project was based on my frustrations with where i was in my life at the time as well as how various communities of people always have a negative thing to say about johannesburg. i think the one thing that i need to make clear is that, i’m not saying that johannesburg is perfect, but we need to give it credit where credit is due and celebrate the people and tings that need to be celebrated about this city, but also, we need to break misconceptions in portraying the truth about the ugly things that do happen in the city. through this particular project one of the things that has become important to me is that we tell the personal narrative. each body of work encompasses this. if anything, we need more of these personal narratives. there’s so much happening with us, as joburg people, as South africans and on even larger scale, as africans. We don’t need anymore narratives written for us from a tourist’s perspective.

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Missblacdropp

ILLUSTRATION

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ILLUSTRATION

Missblacdropp Sibahle | vol. 1 | aPril-may 2015

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DAV

ANDREW illustrator | cartoonist

i’M dav andreW, 25 year old designer/ illustrator/cartoonist and currently junior art director .

i’m a big believer in self expression and that we should be proud of who we are as young africans as well as what we’re building and the future we envision . i’m always reading up on african history and issues that we face as young africans on our respective journeys to self discovery. i’m happy and grateful that i could be a small part of sibahle movement, and to me it really stands out as one of the movements that promote the essence of african beauty. this movement reinforces the message that this is our time to shine. i think this is the same reason why i prefer working on projects that project positivity and growth amongst africans within the continent. Whatever shade you wear - let’s help each other create a positive society in which everyone can thrive. my background is in graffiti, tattoo design apprentice and caricatures. i’m also a amateur K1 fighter and have a brief amateur boxing background.

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ILLUSTRATION

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over time by: Paul Makaya

overtime |ˈəʊvətʌɪm| noun [ mass noun ]

(Full Definition 1: time in excess of a set limit: As. a: working time in excess of a standard day or week.)

Description: the proverbs 31 woman... It’s all about celebrating their beauty, how they love without limitation, how they are concerned about everyone else except themselves and how they give up on their dreams to make the dreams of their children come true .these are the true unsung heroines that live in a constant state of sacrifice... our mothers, sisters and wives .

Photo reFerenCe: nana KoFi

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A N D I L E

B U k A

f E M M E // I n c O L L A b O R AT I O n w I T H T u M I S A n G Z I M b A

PHOTOGRAPHY

S h o t o n | M o d e l : Tu m i s a n g Z i m b a

“Femme” What we really wanted to portray with this series was a woman’s vulnerabilities and her stoic surrender. it’s difficult to imagine that even in today’s world women need permission from themselves to be in juxtapose to stereotypes about sexuality and sensuality.

So it will no longer be enough to say ‘Love me, desire me, revere me, celebrate and accept me’ to an external source.

The plea turns inward. in africa women aren’t always part of the sexuality standard nor are they pre occupied with sensuality as it’s depicted in the West; they’re almost always having to set their own standard while constantly redefining what sexuality means. there are taboos associated with provocative african women, but these are often a sort of post colonial fascination with the ‘forbidden fruit’.

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PHOTOGRAPHY

S h o t o n | M o d e l : Tu m i s a n g Z i m b a

‘Femme’ is a sort of (permanent) guest appearance to this sensual feminist movement. it’s to say to women that sensuality and sexuality looks as you do, and that its reflected in your insecurities, discomforts and fears. that’s perfect, it’s honest.

We didn’t want to escape into the idealized version of the perfect female image, because that’s an embodiment of the western view of sensuality. We searched and felt through the darkness to an imperfect reality that echoes that an ‘exaggerated’ western version of sexuality and femininity doesn’t quench all thirsts. there are a multitude of voices by women who struggle with kinky hair, have no stylist and meander through body issues and cultural expectations. these images and stories sing with more honesty because they demand women to look more inward than outward, to define their own sexuality instead of consuming an existing idea. this is what we hope ‘Femme’ will be. a brave acceptance of unconventional beauty and the re definition of sexuality - A true exaggeration of feminism.

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A U B R E Y N D I w E N I

REIMAGInInG fRIDA KAHLO ART

PHOTOGRAPHY

- REImAGINED CaPe toWn baSeD PhotograPher/Creative aubrey ndiWeni IS CURRENTLY ONE Of THE mOST NOTABLE YOUNG PHOTOGRAPHERS IN SOUTH AfRICA. HIS iconic WoMen series BOASTS REImAGINED PORTRAITS Of BEAUTIfUL, ICONIC wOmEN IN HISTORY... AmONGST OTHERS, HE reinterPretS FriDa Kahlo PortraitS With the gorgeouS anD talenteD ziPho ‘tony’ GUm CHANNELING fRIDA IN HER qUIET CHARm, INTENSITY AND BEAUTY. AUBREY NDIwENI’S imaginative, vibrant anD ConCePtual PhotograPhy PaireD With ziPho’S unDeniable PRESENCE IN fRONT Of A CAmERA CREATES INTRIGUING PIECES.

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PHOTOGRAPHY

This was part of a bigger series where I asked Zipho (Tony) Gum to portray/play powerful women of past times. The first was Miriam Makeba, the second, the iconic “You can do it� pin up girl, thirdly our take on a Zulu cleopatra and the lastly Frida Kahlo, or our interpretation which is Happy Frida (because as we know, Frida Kahlo is rarely, if ever depicted as happy. We wanted reimagine Frida in our space, to see her light up with joy.

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Model: Tony Gum

PHOTOGRAPHY

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Model: Tony Gum Sibahle | vol. 1 | aPril-may 2015

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v U S

THE fALLAcy Of EvE

I L L U S T R AT I O N B Y: R U R A M A I ‘ R U D O ’ M U S E K I WA

PERSPEC TIvES

Th e Fallacy oF eve The Myth of The Perfect Woman

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PERSPEC TIvES

Disclaimer: Dear Feminists, I come in peace.

Contained below are thoughts and reflections of ONE guy on his experiences with women he has encountered directly or through others. It is not ALL men judging or dictating how ALL women should be. When I say “Men”, I mean those I know personally, have observed or read about; same goes for my use of “Women”.

many said they’ve done it before and ‘never again’ will they be that woman. “When their shit picks up they start cheating or they leave you”, one said. my question to her was, “were you ‘That Woman’ to him because that is who you are or because that is what the relationship required you to be?”.

the problem eve faces here is that she doesn’t i want to talk about the concept of ‘The Perfect believe that she changes, she adapts, she grows, Woman’ in the context of relationships as she learns. She assumes that she has been the experienced by a man. let’s call this Perfect same ‘good person’ since once upon a time…

Woman, “eve”. Why eve? She is the only grown woman who got into a relationship based on no in a new relationship, eve is deeply conflicted by previous experience. one could say that in the the hurts from her past one. She knew how to be absence of relative comparison, eve probably a ‘good woman’ to adam. She knew how to be in believed she was the perfect woman (adam tune with her ‘goodness’ and how to love herself probably thought the same of himself... Story for in the context of that relationship. another time). now, there’s Skhumba. Skhumba is not adam outside the context of fairytales and the and eve realises that relationships work on a supposed notion of a good woman being a basis of duality, a perpetual balancing of ever church going lass, it is difficult to figure out evolving good and bad situations. She was not who eve actually is. First let’s start with self- “perfect” at being in a relationship with adam perception, how does eve see or define herself, simply because she was eve, but also because of in the context of relationships? Well, for one, eve whom Adam was. most probably sees herself as a good woman to her partner. She, like many women, sees herself Skhumba doesn’t want the eve who was with as a ‘good catch’. Why? because she doesn’t do adam, he is not adam, Skhumba wants the eve he met when he missed the train to his interview that ‘stuff’ that ‘those women’ do. and she quipped about how broken he looked, i once had a chat with a few female friends about he told her she’s crazy and they both laughed. whether or not they would date a ‘hustler’ – a guy adam wouldn’t have laughed, he didn’t think who is currently broke but ‘getting somewhere’. she’s crazy.

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pErSpEc TIvES

Here’s a little test: ask as many of your female friends how many of them believe that they are usually the cause of failed relationships.

Many, many women do not believe that they are the cause when things go south in relationships. If it is the guy’s fault, this fact will undoubtedly be well publicised under #MenAreDogs. If the woman is at fault, well…something something something. You’ll hear bizarre things like “it was a mutual breakup”.

The challenge that Eve faces is that she is not comfortable with her flaws, she has given in to societal rhetoric and absolved herself from blame because… life. When a woman wrongs a man, some say he probably deserved it or, “men do it all the time, so what that one woman did it”.

Eve’s perception of herself makes her believe that she can do no wrong, not really. Eve has been told by society that women who do bad things lurk in the dark woods waiting to snatch wayward men.

Or that the pain she has endured at the hands of men allows her to commit mistakes that should be overlooked. When Skhumba came along, Eve told him that things didn’t work out with Adam because he ate some fruit and got them into trouble with God. She’s not lying, but she’s not telling the whole truth either. The problem that Skhumba, who clearly has issues with keeping time because of his chilled out nature, finds it difficult to be with Eve because she wants the two of them to have what she had with Adam.

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She wants Skhumba to help her maintain the image of Eve because that is what she tied her entire identity on. Eve wants, no, Eve expects Skhumba to be perfect. Eve expects herself to be the same person to Skhumba that she was to Adam because that is the foundation on which she formed an understanding of what it is to be a good person.

Eve is struggling with defining herself within and outside of the context of relationships. Her challenge is that she wants to keep believing that she is perfect but life won’t let her do that, because what she believes she wants (to be perfect) is not what she actually wants (to love herself) because she was told that what she wants (to be perfect) is not what she should want (to love herself). You see why Eve is confused?

Women are putting themselves up to impossible standards when it comes to many aspects of life, even more so in relationships. Being perfect is perceptual, relative and contextual. This is the same for both men and women. This piece applies to men as aptly as it does to women. We often forget that we are all in the same plane. We all bring baggage and, as we start new journeys/relationships, we collect new bags and start putting in new things and experiences.

The only thing that should not change, is self-love, that should be like carry-on luggage. Don’t leave it anywhere to be attended by people you don’t know.

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P O E T R Y

P O E T R y b y: K E L A M A S wA b I

p H O T O G R A p H Y B Y: V U S N G X A N D E

POETRY

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POETRY

B u r n i n g B l ac k l o T u s - Kela Maswabi -

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POETRY A heart was served on a plate Mouths waited watered ‘round it It landed with a thud Telling of a heaviness burried Its aroma slinked up the nostrils And up into reccess of the forgotten Minds flared.

Memories like movie reels flashed...

It smelt like innocence And laughter unravelling from the tugging of lazily pursed lips pursued by joy Like your old house on Sunday morning...

Cobra polish.... Grandma’s porridge....

This heart was lined, the fissures on its surface were a painting unfolding An exquisite work that was on the verge of metamorphosis orchestrated by the forces that hold our centres.

The meat came off easy, this heart was tender.

The mystery of the pieces symmetry Lay in those very lines They were fissures caused by deep faults locked in this vault A piece for wounded souls A piece for those who seek the wisdom of owls A piece for a child soldier A piece for the haunted house they would become as they grew older A piece for severed dreams A piece for their silent screams A piece for angels with mangled human feathers She was knived with seven lives Time lies for she’s lived them all at once All the mouths that watered ‘round the plate were fed the taste of fate And now walk about as mismatched petals of a burning neon lotus Blue, red, green, violet, yellow, indigo, orange Melting black to selves Burning black.

Her beauty was always in the cracks of her heart.

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f A S H I O N

PRETORIA // fASHIOn REbELS cREw

f E AT U R E B Y: V U Y I S O T S H A B A L A L A

fASHION

PTA

fasHioN

rEBEls B y Vu y i s o Ts h a b a l a l a

the fashion rebels are a group of young people who are uniquely stylish and love to push boundaries when they get dressed. their dress sense is an extension of their colourful and warm personalities and it is easy to see why their monthly market has been growing in numbers since its inception in September last year. the social market is a fashion, food, art and music initiative that aims to uplift and promote young talent in and around the City of tshwane. the social market is a place that allows the youth to express themselves through different crafts. many a youth have broken out of their fashion shells and have learnt to express themselves through their clothes. the atmosphere at the social market is that of acceptance and creative encouragement. a place to hang out with like-minded individuals. the most significant reason behind the social market is to create trends rather than follow them. if you have spotted the fashion rebels then you will understand why they are trend-setters.

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fASHION

Sizo Dlezi and Maitele Wawe

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fASHION

Maitele Wawe and Sizo Dlezi

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Maitele Wawe , Thifhe Sliq and Sizo Dlezi

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fASHION

Thifhe Sliq, Sizo Dlezi and Maitele Wawe

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fASHION

Sizo Dlezi and Maitele Wawe

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m U S I C A L N A R R A T I v E S

L E R A M M O u X // I n T I M AT E, M u S I c A L T H E AT R E

muSical photography narrativeS

Lerammoux - m u S i c a l n a r r at i v e S -

Take a brilliantly written story and sync that narrative with beautiful music that intensifies the ambience of distant yet vivid imagery playing out in your mind... Then place yourself in an intimate setting; a beautiful and expressive narrator is taking you on journeys into oblivion... Lerammoux is her name and she is a creative, literary force to look out for... lerato mmutle aka LERAMMOUX is a writer, singer and educator. born in mafikeng on the 23rd of may 1985 to a tswana mother and italian father, she grew up travelling and attending different schools around the country. Writing was often the only way to make sense of these constant changes. She finally completed her matric in holy trinity high School in atteridgeville, pretoria. She then moved out of home at just 17 to study Graphic Design in cape town. three years later, she was to be seen on a Design reality show called the cut, aired on Sabc 1, she had reached the top 6 when she decided to leave the show due to reasons based on her values. During this course of her life, she noticed that her passion for writing was developing and after graduation, enrolled for a copywriting course at the prestigious red and yellow School of logic and magic. this sharpened her pencil even more and after this, she worked at primedia in the copywriting department. true to her heart, which was not in advertising or sales, she focused on writing fictional short stories.

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muSical photography narrativeS

Within this period, she met the well-established and successful music producer, Gabi le roux. initially, they were working on another project involving a team of creatives but then he instinctually asked her whether she sings and she responded, “yes, sometimes as an outlet”. off to the studio she went and soon after, the Dung and beetle project was born – combining both their passions: music and writing.

She is now signed to Kaleido media. the Dung and beetle project is a creative collaboration between Writer, lerammoux and established music producer, Gabi le roux. every short story has a song. the narrative informs the lyrics and the beat grooves to the tempo of the story. lerammoux is also an entrepeneur and runs a successful business in online english business language tuition.

Biography source: www.kaleido-media.com

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S O L D I E R

m U S E

PHOEnIX LEbOGAnG nØRGAARD

PHOTOGRAPHY

soldier

mUSE

soldierMuse is a collaborative art project by creative thinker Phoenix nørgaard. the directive being set in the post apocalypse theme that inspires her to create.

She heeds the call, as well as sends out the smoke signals to create innovative performance videos, photography and art through collaborations as well as in solitude. She also acts as a conduit and muse for fellow artists. as the leader of the survivalist group the azanian Preppers aka t.a.P. she wants to express the responsibility to represent africa as alkebulan‌ the origin land of creation. through these various collaborative projects she intend to break down barriers of stereotypes, sexuality, the norm and reality itself, especially those ideas about the mother continent that need to be reviewed and transdormed.the main objective is to inspire people by creating, sharing and expressing a unique vision. there are stories to be told-stories already being told, about the power of individualism. the breaK DoWn of mental slavery will be inspired by these stories. to get involved contact her here and also visit the list of allies to be a part of this collaborative experience and to view other featured artists that have worked with Soldiermuse in the past and present.

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Soldiermuse x Mads Nørgaard Sibahle | vol. 1 | aPril-may 2015 SIBAHLE | vOL. 1 | APRIL 2015

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Soldiermuse x Gabriella Pereira Achadinha

PHOTOGRAPHY

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T H E

S T R E E T S

b R A A M f O n T E I n // P H OTO G R A P H I c S T R E E T Ac T I vAT I O n

pHOTOGRApHER: TSELISO MONAHENG

STREET SNAPS

Why should brands be interactive? Well, because experiential branding is far more impactful than the use of other forms media. this movement finds meaning in its tangibility, in the conversations that take place within its context. We took to the streets of braamfontein for our first photographic activation and the response was amazing.

Photography by: Tseliso Monaheng

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STREET SNAPS

Umphile Twala

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Manthe Ribane

STREET SNAPS

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STREET SNAPS

THIS mOvEmENT fINDS mEANING IN ITS TANGIBILITY, IN THE CONvERSATIONS THAT TAkE PLACE wITHIN ITS CONTExT.

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Manthe Ribane & friend

Mpumelelo “Frypan” Mfula

STREET SNAPS

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S H E

K b M P O f u // P H O T O G R PA H I c S TAT E M E n T S

PHOTOGRAPHY

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THE OnGOInG POSTER SERIES

I L L U S R T R AT E D B Y R U R A M A I M U S E K I WA

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