My typing cannot keep-up with the pace at which this rain is coming down. For some people, this here downpour could symbolize their growth, rebirth or sum like that. While for someone squatting in a shack somewhere, it’s simply a pain in the butt.
In the same way some still believe that any talk of miscarriages or child loss is taboo or a no-go-area. So much that a term like ‘fetal demise’ is preferred over ‘death’ or ‘passing away’ when talking about this kind of bereavement. But there are rebels out there, with a cause and without a pause, fighting against this stereotype. Palesa Makua is one of them.
Through her movement, Her Skin Speaks, which is dedicated at celebrating women’s ever-changing bodies, Makua put together a photo exhibition titled What Do We Call Women Who Have Lost Children? as a way of healing herself and other women who’ve lost babies.
“I was miserable and almost losing my mind, I then decided to quit my job to fully focus on myself and those like me,” she says. The Mamelodi-native lost her son through stillbirth in 2017 and has experienced two other losses after that. The idea to do this project came to her in January this year.
“This project has been what therapy is for most who find it useful for them. It has not only given me the chance to openly deal with what has happened to me but also gave an amazing sisterhood with women who are strangers yet relate to my story wholeheartedly. This project has been a healing space for me and it continues to serve that to those I have not yet met.”
Since this was also a therapeutic experience for her, Makua found herself reliving what she had gone through. “I also struggled with holding back my tears when we were documenting real conversations with the women who have lived these stories (which is totally understandable because we don’t necessarily get over the loss but with time we learn to coexist with the pain).
The exhibition was launched in August. “Showcasing at Vavasati International Women’s Festival hosted at The State Theatre was absolutely a dream come true, having to step on that much of a big entity’s stage and bare my soul was absolutely amazing. The platform has added enormous weight to Her Skin Speaks ExHERbition as a brand.”
The exhibition has also made its way to the Kingdom. “Lesotho has become my second home and show casing there was absolutely needed as I have featured two ladies based in Barea and Morija (Lesotho) It was an honour seeing the subjects there with their loved ones to witness their contribution to such a movement and even heavier topic,” she says.
A photographer herself, Makua took photos of the four women who were part of this project. “The initial women whom the exhibition was about did not feel comfortable with being shot nude so I had to make a call out for women who are able and would like to embody their stories and it wasn’t really hard for them to agree to this idea as some of them knew why I needed to do this shoot because they are familiar with my story.”
The vulnerability that comes with nudity is no child’s play, especially in a society that sexualises the female body. It makes sense why some women would pull out of such a project- we live in a world where people even shun being naked by themselves. But not Palesa Makua, she has a liking for the bod. She embraces the beauty of her body without shame. “The reason I am fascinated by telling stories through human nudity is because for a very long time women’s bodies have been a battlefield and unfortunately they continue to be.
I honestly couldn’t think of any other way to portray this “Battlefield” in its truest, most beautiful and sincere form as we know it and call it what exactly it is.”
“All these unfortunate events are taking place emizimbeni yethu or it is the foundation of the amount of damage that happens emuntwini, I couldn’t have chosen any other way to document our stories.”
“What I hope that people take from this is that no one has to suffer in silence and in the words of Zewande ‘The soul of a miscarried child never leaves the womb’ also hope that more women finds comfort that we are here holding space for them and that they should never go through this loss alone. I hope this inspires more women to open up to other women about such events (I know I wish oh I had someone walking me through this).”
Makua will today showcase her work at Black Labone in Pretoria (381 Helen Joseph Street African Beer Emporium)
“It’s a beautiful thing man, music is a beautiful thing,” Mac Miller jokingly said on his NPR Tiny Desk performance. But nothing could be closer to the truth. Listening to music and singing together has been shown to impact neuro-chemicals in the brain, many of which play a role in closeness and connections.
The music-events industry is built on this fact. But not all events harness the beauty of umculo. Cue the Beast, People Series that takes place tomorrow at 4ROOM Creative Village in Tembisa. It’s a sequence of gigs around Gauteng, which was founded by DJs and producers from various parts of the province.
It includes founder DJ BlaQt from Vosloorus, Soweto’s DJ Medicine, DJ Killa Kane and Backdraft of Mambisa. “The gig started in Vosloorus as Beats, People & Vosloorus. This is the second installment in Tembisa, we’re headed to Soweto with the next gig,” Backdraft tells me. “What connected us and still connects us to this day is our love for the music and I believe it is the reason our name starts with Beats,” Backdraft, who is the musician in the clique says.
“The purpose of the show is to grow audience, have people appreciate what we do because we’ve realised that ja, the vibes that we bring are not necessarily mainstream and is not what people get all the time. They actually want to get it. We are bringing it to them and taking it to different hoods,” says Protea Glen’s DJ Medicine.
Much as this is about music and how it brings people together, the guys understand the potential ecosystem such a movement presents for stakeholders themselves as well as entrepreneurs e lokxion. “…because the whole thing is for us to do our shit you know, benefit from our shit and grow our shit with the people that like what we’re doing, without compromising the vibe. But also including the people that are in that hood we’re going to, and making it grow in that hood,” Medicine says.
There’s already merchandise like T-shirts and hoodies sold at their gigs. The merch is simply laden with the aesthetically pleasing name of the movement which is also their logo. “Well the name was simply to do with what my vision was; the music and all people in and around the hood or townships,” BlaQt explaining the origin of the name. “Tembisa will be our second edition of the Beast, People Series…we had great success in my hood. We’re preparing for the next gig as we’re talking.”
Vosloo was a success that set a high bar for the succeeding hosts, but Backdraft is convinced his Tembisa has a unique proposition. “Our geographic position, we are where Ekurhuleni starts or ends, depending on how one views this. We attract people as far as Pretoria, Centurion, Midrand, Alexandra, Daveyton, Kempton Park and even Joburg. We are a melting pot for different cultures and offerings. We have our very own celebrities, artists and DJs who hardly ship their skill beyond hood boarders, therefore providing an experience that one will only experience in our hood,” he says.
The gig at 4ROOM has eight DJs on the line-up with Backdraft himself and the Musa Mashiane Trio as the night’s only live performers.
IT was Mahatma Gandhi who once said we ought to be the change we wish to see in the world. Words of the low-key racist Indian reverberate in the story of how NGO Umzekelo Community Development Organisation was found.
UCDO’s founder and chairperson Fortune Shabangu grew up as the bad-influence kid your parents didn’t want you playing with. “I’m a school drop-out myself and I grew up doing petty crime with friends just to fit in and that always put me as a black sheep of the family, my community and at school. My friends’ parents didn’t want me near their kids as I was a trouble child and all that. I believe I was longing for my separated parents because I was raised by my grandmother and uncle,” says Shabangu. His mother passed away in 2011, a few months after Shabangu rekindled his relationship with her.
Seeing the need to make a turnaround in her life, Shabangu joined Siyanqoba Theatre Project as a hip hop dancer which later went into drama, poetry and music. “…we were doing prison tours showcasing talents I never thought I would, and seeing young brothers in jail opened my eyes that’s when I realised one day I want to establish an organisation that will educate young kids about social ills, crime and where the smallest things we ignore”
So in 2017 Umzekelo was born from his previous pains. “Umzekelo Community Development Organisation was established to be the voice and change of young people in all educational institutions. In schools we are seeing a lot of bullying, crime, teenage pregnancy, moral degeneration, drug abuse, school drop outs and all these things are increasing the volume of poverty in our black communities. Coming with programmes that will enhance the kids to try keep them off the streets is our main own collective objective,” Shabangu tells Tha Bravado.
Two years later, Shabangu has built a team around Umzekelo which has helped kids going through unimaginable traumas. The organization is currently on a clothing drive, for less fortunate youth which has been well received. “The reception so far has been overwhelming, with a high number of people on social media and different communities across Gauteng showing interest and endless support,” says Umzekelo’s Deputy Chairperson, Derah Manyelo. Other team members include Treasurer Reggie Majola, PR and marketing head Kenny Sekhoela as well as graphic designer Kamohelo Morobe.
“The clothes are going to be donated individually to financially disadvantaged kids, with more of the clothes going to orphanages around Tembisa mostly. Community members can also identify a kid they believe deserves the clothes and we will gladly assist with some of the donations we have,” adds Manyelo.
Umzekelo has in the past, went on a pad drive as well. “The clothing drive isn’t the first initiative under UCDO, before the clothing drive we were pushing the Sanitary Pad Drive which is an initiative aimed at collecting and donating sanitary pads to underprivileged school girls who cannot consistently afford to buy sanitary pads for themselves.”
“We do not have a cut-off date because these are ongoing problems and we are willing to tackle them till the end,” says Manyelo of both the Pad Drive and the clothing drive.
Get in touch with Umzekelo Community Development Organisation at:
It was record executive Dino Woodward who bestowed the nickname Black Moses on Isaac Hayes. Woodward believed Hayes’ music had the same effect on people as the leadership of the Biblical figure, Moses.
A then devoted Christian, Hayes found the juxtaposition sacrilegious at first, but later titled his album with the same name, seeing it as a symbol of black pride. “Black men could finally stand up and be men because here’s Black Moses; he’s the epitome of black masculinity. Chains that once represented bondage and slavery now can be a sign of power and strength and sexuality and virility,” Hayes said in an interview.
Over 40 years later, a queer young man from rural KwaZulu-Natal in Ndwedwe has resurrected the Black Moses moniker and taken its ownership. “Though I grew up hearing his music around the house, I never really paid special attention to him,” admits Thoba Ndlovu, who recently dropped his debut project Black Moses.
“It was only in 2014 while reading an old Rolling Stone Magazine that I came across his story about having desires to liberate the black people out of the ghetto. This reminded me of our own leaders in post-colonial Africa who like Isaac Hayes have promised the black masses liberation by postulating themselves as saviours yet similarly became disillusioned by money and power. This prompted me to write the song Black Moses which later became the favoured title for the EP.”
It’s not so much of postulating himself as the saviour and leader to the promise land, but the Ndewdwe-native understands the importance of representation. “Growing up in an environment that was not very accepting of not only my sexual orientation but as well as my gender, performance means that visibility is very important to me. Not seeing images of people that look like you can be very detrimental for children. It is thus my mission that I tell my story as loud as I can be it through visuals or vocals. So being from e Ndwedwe has allowed me to appreciate representation so much more because I was starved of it as a queer child growing up,” Thoba says.
The six track EP is produced by Juice, Dave Audinary as well as Lance Romeo and the production heads served their purpose. Thoba has solid vocals and compelling lyrics, but had he recorded on lethargic beats which are more on the Afro-pop side, the album would have limited reach. “I have been getting a lot of positive feedback, people really seem to be vibing with it. What is more exciting is the varied audience as people have different favourite song. It’s made me very happy with the direction we decided to take in terms of sound as this means that it responds to various music tastes.”
The beats on the project are the stuff that could be ridden by Hip Hop group Las Days Fam or Neo-soul singer Bilal. The songs Ungowami and Buyela are gems that should be fixed on radio station playlists across the country. The project’s songs were written over a period of time, with some tracks being jotted down over five years ago. “The recording was a much quicker process though. Recording with Lance Romeo was one of my best experiences in studio. I was so comfortable and felt like he actually listened to me while pushing me to do more with my voice.”
Thoba is currently based in Joburg, having moved from his beloved KZN last year for a gig as a Grade R teacher. “Since it was a year of firsts (first time in JHB, first time teaching Grade R as well as finally working on a project). I really needed to make sure I settled in to all of these roles. It is only this year that I am beginning to venture out by putting my music out there and looking for opportunities to perform. It’s been a whirlwind of emotions being away from home and everything familiar, but also knowing that you need to get your act together ’cause you are far away from home. So there has been a lot of growth.”
He studied Psychology, then went on to do his honours in Industrial Psychology at UNISA before returning to University of Kwa Zulu-Natal to do his Post graduate certificate in education.
The independent artist is using this EP as a vehicle for inspiring other queer boys and girls who might not have enough bravado to be themselves. “The album is of course the goal however it is one of the goals, alongside exploration of other avenues that can lead to the hypervisibility of a queer body in order to combat false narratives (like us being unAfrican) by living our truths. This is my more immediate focus right now. I therefore cannot say when an album will be available but it’s in the plans.”
HE coyly strides to stage with a notebook in hand, scribed on the pad’s cover is a quote of Psalm 46:10. He walks as though attempting to hide himself from the eager intimate audience that’s gathered to see him perform. Scrawny and with a scruffy nerdy look, he gets behind the mic and belts out Molweni, the excitement that was in the audience just moments ago bursts- and the guy was merely greeting us. Right there and then, I see that Mandisi Dyantyis is a conduit of this music.
“For me, it’s umm…very surreal, I can never get used to that concept. It’s not just Joburg, we went to Grahamstown for instance, the reception as just amazing. And I kid you not, when we start playing this project, just as a matter of playing the music you know, I felt bad that I was not playing the music, some of the the songs are old and I had gone into theatre, writing for theatre. But I love it [the audience’s reaction],” Dyantyis tells me.
Mandisi is one of the most slept on talents in South Africa, and we have plenty of those la e Mzansi, today. His album Somandla was released nearly a year ago, but the SAMA nominated project has slowly grown on South Africans. “I do feel that way, but I’m sorta enjoying it because I have people who’ve known me for a very long time and every day you get someone who says ‘I was put on your music by this person or I was at this house and I heard you music’. So for me that’s the natural progression of something that’s for everyone. People catch on it at their own time, for instance the album has been out from October last year and still today, you have people who are saying ‘why didn’t I know this’ and for me that’s amazing. Because also, you must understand that this is all done by us- we don’t have a PR team doing things….we haven’t been on TV and radio stations don’t play us. It’s understandable but I like it,” he says without grain of despondency in his tone.
Dyantyis performed at the Sophiatown The Mix in Johannesburg last month to onlookers of probably no more than a 100. His show had the spiritual and musical astuteness you’d find at a Nduduzo Makhathini gig. This without denying himself and his audience the indulgence of a fun evening of love through song and childlike vulnerability- the stuff of Ringo Madlingozi or a Vusi Nova. His show had two sessions, which catered for the jazz enthusiast and one for the singer along fanatic-a balance he flexed on his album.
“The song is a story whether personal or not, and every time I tell them [the stories] I need to be honest in the way I tell the story. I can never short change the story because that’s what people have connected with. Even with Olwethu, a song that doesn’t have words but people cry when they listen to it- these are people who don’t necessarily listen to wordless music.”
“Some of the songs at the top of the show require that sort of sensitivity you know. I never kinda plan it, but I was telling someone that I think I wana get through those songs because they mess me up. But also, you have to be cognisant of the fact that you don’t necessarily have all jazz people, they can wait for their songs. But that’s what we are as a people, we don’t have one side in us, we all have different sides.”
Dyantyis’ control of the stage allows him to take his audience on an emotional and spiritual trip, at times oblivious to the audience itself. Far from the fella that looked shy before opening his mouth or playing his trumpet. It’s palpable that when he sings about love, patrons blush together with him and immediately become contemplative in the somber section of the show- Of course it helps that his fans are sitting with bottles of wine adjacent. But Dyantyis is in charge, without being bossy.
“That’s why people, when they come out of the show, they go ‘Mandisi we cried, we laughed, we fell in love and our hearts were broke’ in the same evening and for me that’s always a good compliment. In that whole evening, people feel like they’re in a traditional ceremony, they feel like they’re in church in all of these spaces in one evening- and people are like, ‘how are you able to do this?’ but aren’t we all like that…don’t you wake up from a night of clubbing and go to church? We need to embrace what we are, we are a full people.”
Dyantyis jets off to Australia in a few weeks and then he’ll spend eight weeks in the United Sates. “Writing music for theatre and doing musical direction for theatre takes up most of my time. The band hasn’t started touring abroad yet, I’m taking other [theatre] shows abroad. A lot of people from overseas have come, saying they haven’t heard something like this in a while so, all those invites are starting to come and next year looks promising.”
He played some of his unknown ditties on the night and says they might or might not be part of his next album, whenever that project comes out. “I think in the same way Somandla decided when it wanted to be recorded, the next album will be the same. Until then I’ll keep on playing and playing. But in terms of recording, I’ll wait.”
He will wait, for Dyantyis knows and understands that Somandla is God.