“The future for me is already a thing of the past-you were my first love and you will be my last,” said Bob Dylan. These words were echoed by the French government as they honoured Dr. Esther Mahlangu with the Officier de l’Ordre des Arts et des Lettres award during the Bastille Day celebrations.
The French were the first to show love for Mahlangu’s beautiful works back in 1986, long before her own beloved South Africa saw her as a national treasure. A group of French art lovers were in Dr. Mahlangu’s neighbourhood Kwa Ndebele over 30 years ago, viewing a slew of Ndebele artworks but it was Mahlangu’s work that caught their eye- so much so, that they came back for her to exhibit in France.
“I feel very happy, I thank the French a lot. They found me in Middleburg, at a gallery in Botshabelo and asked that I go to France to show my work. This after they had taken photos of the different works in Kwa Ndebele, not mine but everybody’s there…when they got to France my work was selected as the best among the photographed works,” she said speaking to news channel eNCA.
“Young artists shouldn’t let go of their heritage. I started long time ago and I keep teaching the young ones, some of them have been overseas already because of the artworks,” said the 83 year-old Dr. Sitting adjacent to Dr Mahlangu was Ndebele legendary musician Dr. Nothembi Mkhwebane. “We are very proud of our Ndebele culture, and to be able to even do the kind of work we do at our age. We are very proud of uGogo Esther as the French honour her- we currently have two doctors in the Ndebele culture who’ve been honoured, may this encourage the youngsters too,” the singer said.
The award, Officer in the French Order of Arts and Letters, was given to the Dr Mahlangu artist last Friday at the Bastille Day celebrations at the Residence of France in Pretoria, by French Ambassador to Mzansi Christophe Farnaud.
“This award is all the more deserved for the efforts you have made during your life to share with the world your heritage,” said the outgoing French ambassador Farnaud.
While the majority will make noise about the high youth unemployment numbers, the ubiquity of retrenchments and the paucity of genuine commercial platforms for creatives, this time has also given black youth an opportunity to show their leadership qualities. It was US civil rights leader Martin Luther King Jr. who said genuine leaders do not search for consensus, but are the ones who mould consensus. Lwazi Nonyukela is doing so with his media company, Hip-Hop 411.
“I felt like our stories in underground Hip-Hop weren’t being told enough, commercial platforms are not giving emcees and creatives enough opportunities to showcase their talent and tell their stories, plus I’ve always had the passion to be a Hip-Hop entrepreneur,” the Sowetan from Orlando West tells me.
Founded four years ago, the company specialises in content creation, pre and post production of its visual and audio platforms. Their content celebrates South Africa’s pop culture, largely driven by their passion for the Hip Hop culture. Their involvement in the Hip Hop scene was recognised by the South African Hip Hop Awards “…we were nominated for the Kings Of Gauteng for The South African Hip-Hop Awards for various elements in Hip-Hop before Battle Rap, but Battle Rap brought in a new and extended market to the brand including cyphers that we do across the country,” says Nonyukela.
Ever since the demise of Scrambles4Money there have been sporadic battle leagues around the country, but none have shown the consistency and meticulousness as the Hip-Hop 411 brand. Through their efforts, the league has become the premier battle movement in South Africa, managing to build relationships with brands to sponsor their movement. “…as a brand (Hip-Hop 411) we were able to collaborate with each other by tapping into each other’s markets which brought in huge values by also monetizing our content, growing numbers on social media, and getting more traffic into our website to attract new advertisers and for the battle rappers to see themselves as future brands by utilizing the opportunities we giving them on our platform and to also grow and maintain the culture.”
“I didn’t imagine it to be the home for just Battle Rap in South Africa, but I imagined it to be the home and movement for all cultural Hip-Hop elements in Africa, extending to other continents as well,” a determined Nonyukela tells me.
The involvement of emcee Kriss Anti-B has given the Hip-Hop 411 brand more clout, especially on the battle rap front, thanks to Kriss’ personal brand growth over the last few years in the local Hip Hop scene. “Kriss has been a major boost for the battle rap division in Hip-Hop 411…. he is giving opportunities to a lot of Battle Rappers and emcees from around the country to come and showcase their talent.”
There’s a tad bit of confusion about Kriss’ exact contribution at Hip-Hop 411, with many wrongly assuming he’s the founder of the company. But he’s a content producer for Hip Hop 411 Radio and has his own show, a promoter and Nonyukela also describes him as “a creative director/partner, and a huge ambassador for the brand.”
In his parting shot, Nonyukela says “The long-term objective of the company is to expand its service offering by not just focusing on content creation but participating across all sectors of the Visual, Media and Entertainment industry. This strategy will see the company expanding to 2D and 3D cinema experience, online content creation, digital rendering, application software, co-production to local and African markets (clients) and content creation and distribution.”
With those sort of objectives laid-out, it’s not difficult to foresee a future where young black people such as himself become important role players in our industry. Maybe next time I talk to him, Hip-Hop 411 would have more employees than the 15 he already has working in his team- quelling the noise that comes with high youth unemployment numbers, the ubiquity of retrenchments and the paucity of genuine commercial platforms for creatives.
BEFORE Google was in the palm of our hands, in the form of our smartphones, many a time arguments took place between friends and family about who the real Glen Lewis is.
The irony is that, neither of the two men were born with that name. Lewis Mposteng Tshinaba, the South African radio jock took up the ‘Glen Lewis’ nickname long before most South African were introduced to the Don’t You Forget singer, Glennon Ricketts Jr. who is better known as Glenn Lewis.
It’s humorously intriguing where the DJ derived the ‘Glen’ in his name from and also puzzling what inspired the ‘Lewis’ in the Neo-Soul singer’s stage name. Their music genres are far apart from each other than Julius Malema and Pravin Gordhan, but like two fellas unknown to each other falling for the same girl, the artists connected to the same moniker.
But there’s a difference in the spelling of their names. The club DJ’s name is simply written Glen Lewis, while the Canadian artist has an extra ‘n’ to his first name.
The latter is coming down to Mzansi with other hasbeens; 90s R&B quartet Blackstreet and Melanie Fiona, for the second annual SoulFest which will take place at the Joburg’s Ticketpro Dome, on Women’s Day in August.
The event is hosted by the same company that brought SWV, Dru Hill and TLC last year in their inaugural SoulFest. “Last year was a great success. The idea is to create one magical night of music with young and old singing along to every song,” said Glen Netshipise of Glen21 Entertainment, in a statement.
Filled with so many emotions, I wonder how Aubrey Sekhabi and Kabelo “Bonafide Billi” Togoe managed to actually write the whole script of the musical. Freedom, which was inspired by the efforts of brave young people who took their issues to the streets when university vice-chancellors flatly ignored their pleas of free education.
Students fought hard (with some being arrested and others succumbing to wounds which were inflicted by the police and community members) to get what is now a free education, which others still argue there is nothing free about it as taxpayers will have to forge some cents if not more to pay for billions of fees in the next coming years.
The musical by Sekhabi which has been running at the SA State Theatre summaries the dramatic events which led to the then president of the republic, Jacob Zuma, announcing this free education.
Phindile Ndlovu, who is one of the main characters lived to tell the tale of how she was raped by her musician boyfriend, Bonafide- the music star’s life was taken by a member of the SA Police Service. His story reminds me that of Katlego Monareng from the Tshwane University of Technology whose life, like that of Bonafide’s, was cut short by a trigger-happy policeman. Bonafide’s character was portrayed by rapper PdotO.
There are many stories that will never be told on mainstream media including those of young men who sell their bodies to men and women just to be able to pay for an apartment.
But I must say, I appreciate both Sekhabi and Togoe’s hunger to tell those stories so authentically and so honestly. One has to salute the Freedom team for having chosen to tell the stories of these young people who were failed by the government and the higher education department’s minister Blade Nzimande (who features in the musical in the form of the talented opera singer Otto Maidi).
So many issues are explored in the musical including femicide, which has claimed the lives of many women. Young women like Karabo Mokoena and model Reeva Steenkamp, who like many women whose bodies lay cold in cemeteries and morgues, were killed by their partners.
I pray and hope that this musical, which has now been adapted into a book, will be bought by some TV station and turned into a film or TV series for it to be seen by many, especially our ‘leaders’ who were elected into power to protect and serve the people. We both know that some people don’t do the theatre like me and you.
Freedom is an award winning musical, with brilliant choreography done by award winning choreographer, director and actor Mduduzi Nhlapo;the story was well-researched with a stellar cast.
IT’s like being soul-crushingly stood-up last minute by the one you’ve been pursuing for a long while, and then jiki-jki you’re cringingly excited by a random call or text from your perpetrator, not long after being let down.
So that was it; how I felt after the announcement of this year’s AfroPunk Joburg line-up. A friend who had the flyer on his WhatsApp status was going crazy over GoldLink finally coming down south for a performance. SMH. After a closer look, I also saw the names of Solange Piaget Knowles and Micah Davis. SMFH.
The three of them; Solange, GoldLink and Masego abandoned their South African fans and left them hanging in the past few years. It was in the afternoon of December 2017 , Central African Time, when Beyoncé’s baby sister dropped the bombshell on Insta, stating health reasons for cancelling her performance at AfroPunk’s inaugural African event. “…however it is important to me for the people in South Africa, a place that has tremendous meaning to me and that has given me SO SO MUCH, to know why I won’t be performing at Afropunk this NYE. The past five months I have been quietly treating, and working through an Autonomic Disorder,” she wrote on social media.
AP organisers vehemently promised to have the dope-ass creative the following year, mara nex in twenty18. A part of me is like “Tsek!” after I saw her name on this year’s flyer while another leans on the proverb “better late than never”.
While Solange was specific about her condition, rap singer GoldLink just said he had a health issue, in a statement released by Rocking The Daises organisers. “Due to unforeseen personal health reasons, GoldLink will not be performing at this year’s Rocking The Daises and In the City festivals in Cape Town and Johannesburg. GoldLink is extremely disappointed that he won’t be playing to his South African fans this weekend but promises to return soon.” He is returning soon, sooner than Solange was promised to us.
Jamaican-born musician Masego had fans dissatisfied last year, when he was booked to headline the Flying Fish Flavour Odyssey together with rapper J.I.D but cancelled due to “unforeseen circumstances”. The Navajo singer was stranded at an airport, in another continent just a day before his performance. Like a decent human being, he apologised and made the promise to return. And he kept it. Masego performed earlier this month to throngs of his fans. I’m just not sure whether South Africans want to see more of the lanky dude,so soon.
AP better have a back-up plan should all three decide to take a rain check-the three have left scars on their Mzansi fans which will take some time to heal. “I have very hectic trust issues. This line-up is triggering me. The ghosts of all the money I threw away at Flying Fish, Rocking The Daisies and AfroPunk2018 is screaming at me right now,” said ManchaM on twitter.
This year’s line-up was released earlier than AP usually publishes their list of performers. It’s kinda too good to be true. Only time will tell if the said artists will perform at this year’s AP.