Bonginkosi Ntiwane

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YOU would think the passing of icon Oliver Mtukudzi would, in some way temporarily ease tensions between the Government and Zimbabwe’s frustrated citizens, kodwa nex. The people don’t want President Emmerson Mnangangwa to use Tuku’s demise as an opportunity for politicking.

The shocking news of Mtukudzi’s passing came out yesterday afternoon, whilst people were reminiscing another African great, Hugh Masekela who died the same day, a year ago. A salvo of tributes from different parts of the globe having been pouring in for the 66 year-old. Also sending his condolences or merely being diplomatic was President Mnangangwa.  “Today we said goodbye to a true patriot. Oliver Mtukudzi, your voice has given us comfort during difficult times, and will remain with us for posterity. Rest in peace comrade,” read his tweet.

Zimbabweans on Twitter didn’t take kindly to the President referring to the late musician as a ‘comrade’. Replying to his tweet, one Zimbabwean said “why are those who assassinated Sam Mtukudzi mourning with us today? Murderers who kill innocent people to cling on to power are here with us as Winky D is in hiding fearing for his life. Tuku was troubled for his song Bvuma.” Sam Mtukudzi is the deceased’s son who died in a tragic accident in 2012 and Winky D is a dancehall artist from Zim, who recently became an enemy of the state after releasing a single last year titled KaSong Kejecha, which fires shots at the Government for the country’s economic woes.

Mnangangwa made an early return to the country on Monday from his fund-raising trip abroad, due to the unrest in Zimbabwe. There have been ongoing anti-government protests in the country of Mtukudzi’s birth, since Mnangangwa decided to increase fuel prices. The protests snowballed into a three-day strike by the Zimbabwean Congress of Trade Unions (ZCTU).

The loath that citizens of that country have for their government and ruling party is so bad they don’t want Tuku to get a national hero’s funeral. “Please don’t insult Tuku’s great work by burying him among perpetrators of the same violence and human rights abusers he sang against…Heroes Acre is nothing but a playground for Zanu PF, we all know this. Tuku deserves so much more,” one of Mtukudzi’s fans said in a tweet.
“Don’t give him the heroes status…he wants peace…he can’t be buried among murderers and thieves,” read another.


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IT was Hugh Masekela’s time with Fela Kuti that this album came to be. The latter wasn’t part of Introducing Hedzoleh Soundz, but was the one who introduced Masekela to Ghanaian ensemble Hedzoleh Soundz.

Spending a number of years in America and parts of Europe, Masekela missed home but couldn’t come back to South Africa because he’d be arrested by the apartheid government for his politically-charged music and his work as an activist. But before coming down south in Botswana where he was just a border away from Mzansi, he spent some time in West and Central Africa. Like Miriam Makeba, he was warmly received in a number of African states one of those being Nigeria, where he spent a lot of time with King Fela whose career and nights at the iconic Afrika Shrine were at its peak.

Along the stupendous strands of marijuana the two shared at Kalakuta Republic, Masekela and Fela shared anecdotes, experiences and music-which resulted in Masekela working with the indigenous band from Accra. “I found a certain vitality in Afrobeat. Playing with Hedzoleh Soundz was like being on a big fat cloud. You couldn’t fall of,” said Masekela.

The eight track album was released in 1973 and it was largely written by the Hedzoleh Soundz, bar Languta. This album stands as one of my favourite works of all time. It is unequivocally traditional thanks to the organic African drums, merged with the melodies of the Akan and Ewe people. Yet very jazzy with a punch of funk. It was universal music, too sick to be categorized by a mere genre.

The track Rekpete will have you feeling like you’re in the Congo doing a Kwassa Kwassa. On Adade, Masekela’s trumpet is like a jet-ski, gliding at open sea which is the combination of indigenous instruments, harmonies and melodies.  I don’t know why African filmmakers haven’t used Patience in any of our African stories. It’s a song that would accommodate some of the best scenes.

Nye Tamo Ame reminds me of migrate workers, African soccer players or young men at initiation school. It’s the harmony and spirited voices of men singing together. It’s inspiringly beautiful.

It’s said in isiZulu that Uk’hamba Uk’bona and Masekela’s travels to the West of the continent opened his eye to gems in Ghana, which has opened our eyes to Africa’s vast richness.


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THE beauty about inspiration is that it feeds off who we are. Artists aren’t inspired by the same thing the same way; it’s personal experiences that they’ve gone through which trigger the inspiration into action.

For fine artist Patrick Seruwu, it’s his experiences of growing up surrounded by strong but hurt black women in Masuliita in Wakiso-a small village outside Kampala in Uganda. “There is this connection I have with women. I grew up with a single Mom and three sisters, it wasn’t easy growing up without a father. So I use to hustle with my Mom and sisters, moving up and down selling in the streets,” Seruwu tells me.

It’s a blistering hot summer’s day in Johannesburg, I’m sitting with the man in his work space at August House, room 102. I got to the studio with a tad bit of sweat, but had cooled down in Seruwu’s spacious working space, on the brown leather couch where we have the interview.

A painting by Patrick. Photo supplied

His work is appealingly dark and moves you to engage with the stories that Seruwu draws inspiration from. “My mother taught me how to plat women’s hair. Most of the customers were women and most of the people I worked with were women, so they use to talk a lot about their issues of abuse, so I could relate to that because of how I grew up.”
He witnessed the abuse of his mother, sisters and even neighbours back home in Uganda, so much so he couldn’t talk about it on record and the fear of bursting into tears. His current work is focused on women who were in toxic and abusive relationships, but are trying to move on from their past. He first sketches on the canvass and then uses acrylic paints, but he then washes the work with a brush damp from H2O, which he says represents tears of the victims of abuse.

One of Patrick’s works which is a favourite for many who’ve seen it. Photo supplied

“While doing my art, I try and recall my upbringing, the violence and what women go through. So right now, I relate to what women go through because there are thousands of women who’ve gone through all sorts of abuse, but people don’t know about it because most women keep quiet. I’m trying to bring out the images of women who are trying to recover from all sorts of violence, who wish everything could be washed away or who wish they never existed.”
Seruwu has been living in Joburg for about seven years now, after leaving Uganda to visit a friend here in South Africa for a few months. “When I came here, I saw people on the streets selling and I just told myself that I can also survive here, whatever the condition. I started twisting women’s hair on the street, because I learnt that from back home,” he tells me.

From doing people’s hair on a chair on the side of the road, Seruwu grew his business into a salon in the city. His small business was successful enough for the 32 year-old to buy himself a jalopy. It was through that car that Seruwu got closer to renowned artist and fellow Ugandan, Benon Lutaaya. “Whenever Benon needed to go somewhere, he would call me and I’d drop him off at an art gallery. I started attending exhibitions with him and after the shows, we’d come back here to the studio. I started to love art because I started to associate with artists, visiting their studios and galleries.”

In 2017, while unwinding with his girlfriend he decided to draw his partner on paper. “I started sketching her. It wasn’t a good sketch, but I tried. She appreciated it. I then went and showed it to Benon and he said ‘I see something in you, continue doing it'”. It is telling that his first ever attempt at art, was a drawing of a female.

He continued drawing on paper throughout the year of 2017, during his spare time away from the salon. After months of working on paper and encouragement from Benon, he then started working on canvass later that year.

A depiction of a woman in pain. Photo supplied

He created a page on Facebook, of his work around the same time and immediately received positive responses from people. “I got a couple of invites to show my work at galleries, while someone on Facebook from Nigeria also wanted to buy my work. I got addicted to art, whenever I got time I would sketch or paint.”
His work has been part of a number of group exhibitions including the August House exhibition at Absa Art Gallery, Studio Space group show, Rosebank’s Lizamore & Associates and last year he got an invite from the Cape Town Art Fair.

He’s literally been practicing art for three years and his work has been among some of the country’s best works in the most prestigious art spaces. It’s not often that you meet an artist with such overnight success as Seruwu’s. The average artists will struggle for a couple of years to find their own signature and identity in their work and a few more years to get industry recognition. Seruwu understands that his friendship with Benon has richly helped him acquaint himself with influential people in the industry.

One of Patrick’s current work. Photo supplied

“It means a lot to me, it’s an honour to me. It is determination and working hard, focus and knowing where you want to be and what you want. First of all I never thought I’d be an artist, not even think that I could exhibit in a gallery, but I was determined to improve my technical skills,” Seruwu says.
He’s on the verge of joining a local art gallery as their resident artist, which he says will assist his development as an artist. Women are a mainstay in his work and says in future, he’d like to incorporate his connection to females’ hair to his work, similar to friend and fellow artist Lebohang Motaung.


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IT is like the excitement of a child on Christmas morning. No, it’s similar to what that Idabala track did to people over the festive season. Actually, it’s a combination of the aforementioned plus the eagerness of an avid drinker at the site of an open bar. That’s what an election year does to politicians- it brings out their silly side.

We’ve only 10 days in the year but we’ve already seen and heard some ridiculous things spewing from candidates’ mouths. This article is not about the sound decisions you should make when you get to the ballot box come vote day. No. It’s to help you see through the bullshit that will be dished out, in the lead up to the country’s sixth democratic elections. The IEC hasn’t announced the date for this year’s voting, but it’s expected to be in May.

BELOW ARE FIVE RIDICULOUS THINGS YOU’LL SEE POLITICIANS DO TO GET YOUR VOTE:

THE EMERGENCE OF NEW POLITICAL PARTIES

Hludi Motsoeneng has big dreams of becoming president of this country one day. The discredited former SABC boss launched his party, the African Content Movement party last month. “The new animal, ACM, is [an] African first. Anything that we produce in South Africa will be 90% South African because it is very important to empower people of South Africa. We need to start here at home,” said Motsoeneng at the launch of ACM.
He has an interesting affinity with 90%. This is the same percentage he insisted on a couple of years ago while at the SABC, when he pushed for a quota for state radio stations to play substantial local music. There’s a common thread between these newly found political homes, besides the fact that they die out a year or so after an election, their party names usually sound like incomplete slogans or sentences.
Gupta-associate Mzwandile Manyi hinted at launching a political party too this year. But yesterday he announced that he’ll be joining the ATM-African Transformation Movement, a party formed by displeased Jacob Zuma supporters.

Mamphela Ramphele campaigning in Tembisa for her party AGANG. Photo by Alon Skuy;TimesLive

THE SHOW OF SUPERFICIAL AFFECTION TO THE PEOPLE

Yes, it’s that season where the lips of presidential candidates get busier than that of teen girls pouting for selfies. The kissing of babies while on a campaign trail is a US tradition which political contenders from around the world have adopted. Here in South Africa kissing babies isn’t the only way to show warmth and kindness to hopeful voters.
Smooching senior citizens and going to the homes of the impoverished is also a card that politicians play. As a way of being ‘in touch with the people’ some politicians will actually go out of their way and butcher people’s languages while addressing them. You should hear a Mmusi Maimane promising a better life for rural people in the KwaZulu-Natal, in the most uncomfortable isiZulu you’ll hear.

Jacob Zuma Kissing an old lady during ANC’s door-to-door campaign. Photo by Oupa Mokoena, IOL.

STUPENDOUS HAND OUTS OF POLITICAL REGALIA
Maybe it’s that track by Luther Vandross and Janet Jackson, or that line from Kanye’s Good Life… but whatever it is, people sure do believe that the best things in life are free. Politicians take advantage of people because of that very fact. Citizens are always ready to get on a free bus ride to a stadium, where they’ll be handed free T-shirts just so the arena looks like it’s filled up by active members of that party. Caps and lanyards are also handed out at these mass gatherings.

PRESIDENTIAL CANDIDATES ANNOYINGLY TRYING TO BE COOL

I cringed at the site of seeing former President Zuma rocking a straight cap dabbing with fellow comrades his age at a rally, campaigning for the 2016 Municipal elections all in a bid to lure young voters. Another trick they’ll pull, is of a celebrity’s endorsement. Photos of EFF Chief Julius Malema and rapper AKA at an event circulated social over the festive season. That was no coincidence.
The likes of AKA, Kwesta and Nasty C have millions of followers who some will be voting for the first or at least second time this year and politicians are very much aware of that. Just like any brand, political parties will lure artists with big cheques so that they encourage their fans to vote for a particular organization.

ANC leaders dabbing at a rally in 2016. Twitter

THE BIG PROMISES THEY MAKE AT MANIFESTOS

You know that friend who’ll randomly call you and suggest y’all go out. You get there and after the bill arrives, that person decides to tell you that they actually don’t have the money to pay because of personal issue. That’s how these political fellas will make you feel post-election.
It’s sad, the promises they make to desperate, destitute and gullible civilians who’ve religiously given their vote to them but have received nothing significant in return for their trust. It’s the major reason for young people’s disenchantment with the elections because history has taught them to never trust politicians’ hogwash.


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PRIOR to jetting out the country last week for the NYC Winter JazzFest, Nduduzo Makhathini likened the festival to umsamu, where the spirits of Jazz greats who’ve inspired him and continue to do so, dwell. And one spirit that continues to inspire him, is that of the late Zim Ngqawana who Makhathini was part of his Zimology Quartet the last time he played at the NYC Winter JazzFest in 2008 at the Knitting Factory.

Sharing knowledge with the audience during his performance at The Blue Note Jazz Club, Makhathini said “Thank you so much…there’s so many things that one could say, but I think what I have in my heart now is just one word, gratitude.  I think there’s something special that happens, especially towards redefining what the anthology or cosmology of what an African people is about. And what I find to be very essential, is the idea or gathering,  rituals or the coming together. We believe that when we come together, our ancestors are sort of with us and are enticed in that way .”

Nduduzo Makhathini on stage at New York’s Blue Note Jazz Club. From Nduduzo Makhathini’s Facebook.

Makhathini played Modes of Communication: Letters from the Underworlds Project at the iconic Jazz Club last night, alongside a fine ensemble of musicians who complimented him. He had Burniss Travis on Double Bass, Nasheet Waits on the drums, Aaron Burnett on Tenor Sax, Logan Richardson on Alto Sax and New York based South African Trumpeter Lesedi Ntsane. The latter three made up the horn section in the centre of the stage on Monday night in New York.

Makhathini at The Blue Note Jazz Club

The ensemble only had their first rehearsal on Sunday, literally a day before taking to stage, but from the videos shared on social media, their chemistry was on par with their musicality.  They performed before husband and wife duo, The Baylor Project.

The JazzFest is a weeklong festival which takes place in several locations around New York. Celebrating its 15th anniversary this year, the festival attracts some of the finest musicians from around the globe to the Big Apple, all in the love of Jazz. Makhathini is also in New York with members of the Kaya FM team that includes station boss Greg Maloka, hosts Brenda Sisane and Collin Kgari.

The Blue Note Jazz Club is an abode of Jazz because of its rich history. It first opened its doors in 1981, hosting the genre’s masters; The likes of Sarah Vaughan, McCoy Tyner, Dizzy Gillespie, Ray Charles and Lionel Hampton are some prominent names which often frequented the club.

Makhathini’s appearance at the Blue Note Jazz Club received praise from his industry peers, including percussionists Azah and Tumi Mogorosi, writer Natalia Molebatsi, fashion designer Bathini Kowane and his life partner, singer songwriter Omagugu Makhathini.



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