Blog

Bring to the table win-win survival strategies to ensure proactive domination. At the end of the day, going forward, a new normal that has evolved from generation.
Deketo-tsa-lefatsi_web-1-1280x904.jpg
11min1780

The earliest form of illustration would have to be paintings on caves and rocks. I imagine these weren’t created for mere decorative purposes.  The art was for posterity. They were passing on knowledge. I also imagine that such an undertaking was a spiritually-laden one, whether the illustrator was aware of this or not.

iSibusiso esivela eDlozini
iSibusiso esivela eDlozini

Queue Nkosana Nkomo. The boy must be his ancestors’ wildest dreams come to life. His work might not be etched on caverns, but his old Wacom Bamboo tablet which he uses to illustrate is sufficient to carry the sacred works he makes. Again my imagination informs me, that he creates with the spirit kindred to that which led the cave illustrator. “My work is heavily inspired by African spirituality,” Nkosana tells me.

“When I first began it was for a purpose of putting black fantasies in the light it deserves, but as time went it became clear that it wasn’t a case of a black fantasies, but was more spiritually inclined work. This became clear to me when I saw majority of my audience being spiritual individuals who took a great liking to my work and some even said they receive messages from their elders from my work. What I thought was imagination was actually me being guided. The significance at play here is that my artwork just doesn’t reflect me and my “imagination” or that place I get taken to, but many others that can relate to the sacredness and magic in spirituality. I didn’t know the greater purpose of my art, until spiritual healers commented on my artwork and the more I created, the clearer things became.”

He goes by the moniker Nkosana The Art and the devilish algorithms brought me to his work while I was loitering them Instagram caves. The composition of Nkosana’s work is attractive but I was more enchanted by what he describes as the “spiritual realm dwelling beings” he depicts. They are surreal, undeniably African and are portrayed with an enlightened meticulousness.

Work by Nkosana titled Jarabi.
Work by Nkosana titled Jarabi.

“Commission based artwork is where I deal with real life people, they send me their photos and tell me to do what I do, and I do what I do. Surprisingly some even think I am a divine, because of the outcome of the art. One time I created for this lady and I just went in and placed in all sorts of elements according to how I felt she should be represented, like a crown made of corn cobs and Protea flowers and after she saw her piece she asked me why did I place all those elements in there and I really had no idea, so I made up some reasons as to what they each represent and she gave me a description of how each of those elements relate to her growing up and till present. Crazy right?”

Born in Heilbron in the Free State, but grew up in the Vaal in Sebokeng, he describes himself as an old soul, young at heart in a body of an artist. “Isintu is everything to me and my work. Abantu is everything to me and my work. Amadlozi is [sic] everything to me and my work.”

Tha Man: Nkosana Nkomo. Photo supplied
Tha Man: Nkosana Nkomo. Photo supplied

“I grew up in a Christian family and a lot of isintu wasn’t taught in the household, my grandmother who was a sangoma lived far, but I picked up a lot in the little best time I had with her. The elders who made rituals every year passed on when I was at a young age and as I grew up, I drifted away from isintu and got involved in cosmetic churches in my teen years. All of that didn’t make sense or relate to me as time went and I withdrew from being a Christian and am now learning more of isintu. Can you believe it? I am 30 years old and only knew izithakazelo zam four years ago by asking what they are. But ever since I have been on this path, isintu has been working wonders for me and with every chance, I am learning,” says the now Ranburg based artist.

Koite by Nkosana.
Koite by Nkosana.

It’s a generational thing; the infatuation with spirituality be it heeding the calling yok’thwasa, the fascination with astrology and numerology- the peoples is tryna find themselves. In finding self, this generation draws strength from owning and telling their stories. As much as Black Panther brought excitement on the continent and in Africans in the diaspora, the story was originally created by white men who aren’t from here. There’s a growing number of comics or graphic novels created by Africans.

Nkosana has a skeleton of a graphic novel which he’s working on together with two writers and an illustrator, but won’t say much about the project. “The story [is] about African mythology and is based in ancient times. I will end that there,” he says laughing out loud.

Music artists have utilized Nkosana’s skill for the album covers. “Some of these artists are from the United States and Europe, but most are from home. I worked with Piff James, Liqwa, Masta Roach, Vic Mover, Dominque Ivory, Lilow NTK, Fnote and Mandingo Bay Warriors. There are more who enquire and tell me they will be back for the art cover when the music is ready.”

Inkomo Ka Mtungwa by Nkosana The Art.
Inkomo Ka Mtungwa by Nkosana The Art.

I imagine the fella from the cave smiles to know that Nkosana sees everything as a canvass to impart messages from the other realm. “…T- shirts, billboards, carpets… I would love my work to be received by anyone out there in the world who sees it for what it is and fulfilled by it. The space I wish my art to occupy is the heart, mind and spirit, even if it is for a second, it will have served its purpose.”

coffin-602657-1280x1169.jpg
10min2100

The most extravagant funeral service I’ve ever witnessed, was the burial of a big time drug lord in Tembisa a few years ago. The deco under the swanky tent would have couples from Our Perfect Wedding drooling in envy. The turnout was such that, vehicles of attendees filled the adjacent local soccer field and it was only inevitable for the jovial after-tears to last long after the deceased’s coffin hit the ground.

The magnitude of that burial might sound like an exaggeration, but funerals can be quite pricey depending on the send-off you desire to give a loved one. But if there’s any good to come from the COVID-19 pandemic, is the opportunity to rethink funeral services as a cost-cutting measure. During hard lockdown levels, the Government stipulated that a funeral can’t have more than 50 attendants, no night vigils were permitted nor after-tears and the duration of a funeral was restricted to a maximum of two hours. These conditions have helped some families drastically cut unnecessary funeral costs.

According to National Secretary of the National Funeral Director’s Association of South Africa (NFDASA) Elsabé Basillio, a funeral or cremation service can cost anything between R12 500 up to R80 000 depending on the family’s needs and funeral home. These costs include the coffin, catering and the mere organising of the service. It isn’t unusual for families to be left in debt months after the burial, due to the pressure of trying to uphold a particular standard when burying someone all in a guise of a “dignified” funeral.

Through unfortunately losing family members in two consecutive years; pre-COVID and in the midst of it, I’ve seen the cut-costing benefits of a small scale funeral. Despite the fact that we still opted to cater a full meal at my brother’s funeral last July, the number of attendants was far less than my grandmother’s burial in 2019. I still have a sense that we missed an opportunity to go full radical by just offering funeral-goers a cup of tea and a sandwich. But we would most probably be shunned upon and labelled as stingy or not having Ubuntu for serving a snack at a funeral. “Even if it’s 50 people, if the family in their linage and their tribe they [the ancestors] require a goat, a cow or chickens to send-off their loved ones in that manner, that can still continue if the family has the budget for it,” says traditional healer Itebogeng Phalatse.

“We understand as traditional or cultural people that death is also part of existence, it’s also part of life. So black people have a way of preparing for death, that’s why we have di society. When you welcome a person into this world, there are rituals that are necessary to be performed and when you send off a person, you send them out with dignity according to the customs of your tribe or of your ancestral linage,” adds Phalatse.

It’s undeniable that funerals have a way of bringing people together, this is through dining with mourners after returning from the cemetery and the controversial after-tears. Funerals become a makeshift reunion or a simple social gathering, with friends and family seeing each other after a long while apart. “I don’t think it’s about financial issues, but the tradition needs to be conducted as it should. The only thing that can be cut might be the number of people-but also that number of people come to hold space for people that have lost their loved one, they come to help the family,” says the Pretoria East based inyanga.

“Every person experiences it different – for some families, the coffin is the most important and for others the catering plays the important role,” Basillio says.  “South Africans spend money on funerals that they cannot afford.  They do not make provision for funeral costs and therefore place themselves in debt to pay for elaborate funerals.  Also ensure that if you do take out funeral cover that it is with a reputable funeral home that is underwritten by an insurer. The family’s needs are the most important factor that plays a role when it comes to expenses. Funeral homes provide what the family needs.”

It takes quite some time for people rethink the way they’ve been doing things all their lives. One thing that’s rapidly changing in South Africa, is the standing on cremation. “Cremations have increased in the last ten years but more so during Covid-19.  Different cultures have now considered cremation whereas they would have never considered it due to cultural believes.  Bereaved families experienced smaller funerals during Covid-19 and I believe we will witness smaller funerals in future.  It has become a trend,” Basillio says.

“The issue of cremation, personally I don’t know where it started or where it comes from,” admits Phalatse. Contrary to the trend highlighted by Basillio, according to the healer, traditionally people were buried under trees, atop mountains or nearer to rivers. “I’m not sure about the burning of the body, because we believe that when the spirit goes, they resurrect and reincarnate back into this life, so if you’ve burnt their remains it gives us a challenge when we want to go speak to the spirit, there is so sense of connection.”

“We don’t bury people [covered] in plastic, we used to use animal skin. When a person dies, we try by all means to honour them, there is certain clothes we send them out with, there’s certain herbs they also go out with. The pandemic has affected this, because there are people who buried their loved ones covered in plastic and when spirit being are transitioning, there might be a blockage somewhere.”

It is clear that tradition doesn’t bow to trends, but only time will tell post COVID whether people will remain rooted to their customs. But if there’s a trend that should stick is that of having respectable and modest funerals, which won’t inundate loved ones with the stress of funeral-debt.

Admin1802/09/2021
5-1280x1117.jpg
1min5422

This segment of the show is aptly titled Dripping On Drip. Where Bukho and Finesse Keys each select a stylish personality and pit those individuals against each other in three different rounds, to determine which personality has more drip.

Each episode will see one fashionable female against another…and will have two style-conscious males face-off. The first episode features Black Coffee and Thapelo Mokoena.

Who decides the eventual winner? You do as the viewr.

IMG_3668-1-1280x853.jpg
9min6370

“The conqueror writes history. They came, they conquered and they wrote,” an elegant Miriam Makeba once said in an interview on TV in the 1960s. She was talking about how colonizers justified their invasion on the African continent, by writing history from their own perspective.

THE UNKNOWN FACE: Work by Selloane
THE UNKNOWN FACE: Work by Selloane

At the core of Makeba’s poignant words, is the importance of keeping record of your story. There’s a mighty child-like sincerity, you get from a tale relayed by someone or a people who have lived that experience. Curious Caucasian could immerse themselves in the various pockets of Black culture, for as long as one could, but they still wouldn’t truly know what it is to be Black. Such funk can’t be faked.

In art, like in most things, women’s voices have been stifled and not championed as the men’s. Females have been a muse for a long time, but a glaring gap of work inspired by women, made by ladies remains-although that space is being rapidly filled in modern times. Multi-award winning fine artist, painter and performer Selloane Moeti is one of the womenfolk occupying that space with the deliberateness and consistency of Apartheid architects.

Work by elloane titled BAYEZA.
Work by Selloane titled BAYEZA.

“For me art influences society by changing opinions, documenting history, to teach and heal the next generation,” says Moeti. She is fully mindful of her contribution and the impact it can have. “Our stories are best told by ourselves, so to get to contribute and be part of an African woman narrative that will be documented and archived for decades. That alone means the world to be, an honour. I think it was Tracey Rose who said ‘When you make an artwork you’re not just doing something at that moment, you’re contributing to an entire history of artmaking,'” shares Moeti.

The sophistication of her work is in its simplicity. With a style that’s free-hand, one might mistakenly look at Moeti’s oil paintings as rudimentary. But the work is compelling. Beyond the eye-pulling aesthetics, you inevitably connect to the souls of the depicted black women. You feel the paintings. In one of her works in progress titled Amabutho, she painted black bodies adjacent to each other, looking ahead or marching forth. Their faces don’t include any facial features but are covered in red clay, yet you feel as though you’re gazing into eyes of fierce warriors. “I think people who interact with my work are able to walk away with the type of energy I convey on my work. It’s intentional that my style of painting is more rustic and free hand and that my characters or figures have clay masks as faces.”

AMABUTHO: Selloane's work which is an ode to those who've passed on during this pandemic.
AMABUTHO: Selloane’s work which is an ode to those who’ve passed on during this pandemic. Photo by Selloane Moeti

Clay plays a significant role in a number of African tribes, for various reasons. Red clay, which is a symbol for protection and purification has an equally important role in Moeti’s body of work. “My work speak loudly about cleansing, healing, dislocation, and relocation. Even though my work is an attempt to trace and understand my lineage it still talks about my spiritual journey.”

“I dream like everyone else and chose to incorporate the characters, the compositions and certain components of my dreams in my work,” she says. You could say she acts on her premonitions. She has the proactive and determined spirit of the faceless women she paints. In 2017 when she longed for a space where she could exchange ideas with likeminded creatives in Durban and couldn’t find one, she established SketchIN-which is a figure drawing and conceptual development movement held every three months.

SketchIN society. Photo from Selloane Moeti Instagram
SketchIN society. Photo from Selloane Moeti Instagram

Due to lockdown restrictions throughout 2020, for two days late last year she turned her home studio into a makeshift gallery where people could come view her work. “Imagine creating work the entire year and having to just post it on an online exhibition or on IG (for me that was an anti-climax and depressing really). I’m a believer that art belongs to the public, but because of safety reasons I could only limit to a number of people and stretch it into a two-day open studio,” says Moeti.

“I’m definitely planning on having at least two open studios yearly.”

LADY LADY: Selloane's painting titled BAVUMILE.
LADY LADY: Selloane’s painting titled BAVUMILE.
Admin1801/25/2021
malik-me-1280x1742.jpg
1min8240

In the first episode of Urban Ish On Lock on Tha Bravado, shot at Tembisa’s art hub 4ROOM Creative Village, Bukho and Finesse Keys have a dialogue about the toxic relationship black men have with money. Being the first month of 2021, we thought it appropriate to discuss money because of the role it play in our lives.

In the video the two hosts delve into where this toxicity stems from, its consequences on the black man and greater society whilst searching for ways of mending this fraught relationship.


About us

We’ll Not Change The World Ourselves. But We’ll Spark The Minds That Do.
Read More

CONTACT US




Newsletter





    I'm not a robot
    View our Privacy Policy