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 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.”
IN honouring Denzel Washington at the 47th AFI Lifetime Achievement Award Gala Tribute this year, actor Mahershala Ali said “…your influence, your reach transcends race without ever denying it…” Fitting words for a thespian who’ll go down as one of the best to ever do it. Rapsody’s latest album EVE, and her other previous work in fact, displays how much this black female’s art transcends gender, without denying it.
Something rappers who are female tend to get tripped by is the novelty of females in the rap game. You find sisters only rapping about being females who rap, which more often than not, comes off as a homily- not music. Like how the typical “underground” rapper would bog you down with how the mainstream is being manipulated by a secret society and that the biggest artists are actually aliens in human form-all of this without telling you their story and making actual music. But Rapsody has mastered the art of music making and storytelling. When listening to her music, what’s between her legs isn’t relevant and you’re there listening to a dope ass kat. But her sex is unquestionably significant to everything and very much unmissable.
Poignantly titled EVE, Rapsody’s third album is more special because she titled each of the songs with names of powerful black women. From Cleo (the character from the movie Set It Off played by Queen Latifah), Oprah Winfrey to Nina Simone. She paid homage to these women and all others in the globe in the best way she could.
Till this day I think her previous album Laila’s Wisdom is universally underrated. I couldn’t fathom her returning so quickly, with something so rich in sound, lyrics, and concept. Plainly put, I didn’t think home girl could top Laila’s Wisdom.
Ibtihaj is named after Ibtihaj Muhammad, who was the first Muslim woman to wear a hijab while representing the US at the Olympics where she took silver in fencing. Rapsody gives nods to strong female emcees that came before her on the song, like Lady of Rage and Roxanne Shante- and taking a leaf from their book, she shows her bravado and says ain’t an emcee on this earth that make me feel afraid. GZA’s verse has that nice old school feel, thanks to his flow…with D’Angelo vocals complementing both rappers.
There must be something about Rapsody’s chakras because whoever she features, the genuine chemistry is always palpable. Whether it’s Sojourner with J.Cole, Oprah with Leileki47 or even Iman featuring J.I.D and SiR. In an interview with Sway, she said she wanted Cardi B to be on the track Whoopi. The bouncy beat produced by Khrysis would’ve suited Cardi’s energy. Rapsody’s beat and collaboration selection is like that of a producer; she’s quite decisive in that space.
The opening keys to Hatshepsut took me to church and even when the beat comes on, the warmth of the song remains. It would be wrong to say Rapsody got chowed on this joint because of all the love in the song, but hearing Queen Latifah rap is hella refreshing and inspiring. Her verse was on some Big Sis’ tip not only for Rapsody, but the youth.
Even living single we connected by the tribe Was raised by a Queen, know how to be one And love one and raise a King When he’s older I’ll describe how to love ’em Queens come in all shapes and colors Though we sit on thrones we don’t look down on each other I learned how to rule from my mother and my aunties Got the blood of the Asante I could be Cleo or Ghandi to protect mine It’s peace of mind, word to Jersey I’m a giant, a Queen’s pride stronger than the lions Connected by alliance, sisterhood The day you try to test me, look homie I wish you would Open doors for the ladies as a Queen like I should That’s why I’m Queen Latifah in every village, every hood And I’m good, and every city worldwide And why I been reigning for the last twenty five So all hail the Queens and the next ones to arrive Came out of Jersey with naughty dudes and hella drive Just another day above ground working my thighs, we runnin’ it Member the days me and ‘Pac, we had some fun with this When I would bust you dead in your eye, that’s called humblin’ Been holding the torch, I don’t fumble it I’m a child of God versus son of men, tellin’ ’em
I enjoyed Rapsody’s heartfelt letter to black folk, especially us black men on the track Afeni. It’s a timely song looking at the issue of Gender Based Violence in South Africa right now. The emcee drops knowledge about how men should learn to treat all women with the respect and love they would their mothers and sisters.
EVE cements her name as one of the best to ever do it. If we’re talking top emcees in the game right now in the mainstream, Rapsody’s name should be mentioned with the Coles and the Kendricks.
“Unfortunately no females entered the Beat Maker of the Year Beat Battle and this is something we are going to address in 2020 and get more females interested in taking part.” said Beat Makers Market founder Enzo.
The absence of females at the Beat Maker of the Year Beat Battle was a glaring gap in the contest. “I know there are some ladies who are interested in the art of beat making and we just need to make sure they come out and participate,” Enzo said.
Cyrus Beatz was the eventual winner of Beat Maker of the Year in the battle. “I came here for a win and I believed that you know what, I’m gonna take it. Last year I was in Durban with the same mentality, but then…this time was different because I’m going through personal stuff, so in the process nje of going through the stress I only prepared three days ago.”
On a sombre spring afternoon in Johannesburg after “xenophobic” attacks gripped the city that week, the Beat Makers Market took place at the Good Luck Bar in Newtown. The ambiance of the event was hassle-free and communal, satisfying to both ear and eye enough to please the production geek and the average music lover. With more sponsorship this year, growth of the Beat Makers Market is visible, since being found in 2017.
“…I think this year, in our third year we’re definitely heading towards the right direction. We’re growing, people understand the concept you know what I mean, even the vibe is dope you can feel it as you walk in, there’s this aura in the air that beat makers are out here to share, celebrate and inspire each other through beats,” said Enzo speaking to Tha Bravado after the end of the Beat Battle.
One of the dope features of this year’s program had patrons vibing like zombies with headphones on, in the Silent Disco. There were three DJs simultaneously playing their sets, but with no sound outlet in the form of a speaker, but a limited number of headphones were dished out to attendees. “We had about 80 to 100 headphones and you could basically choose your own DJ. Our tag line is ‘Beat Makers Market where music and technology meet’ and today we were trying to show people that, that music and technology meet-somebody walked in and asked ‘where’s the music?’ and started seeing people dancing, and was like ‘ooooh!’.”
While that was happening, YFM’s DJ Sabby hosted the legendary King Don Father Mandla Spriki of Kalawa Jazmee together with Tweezy on the main-stage in the Power Beats Panel discussion.
Enzo defended the judges’ objective stand, regardless of how rowdy the audience became in the Beat Battle, at times seemingly swaying their ultimate decisions. “The judges we had have made experience of judging competitions so they knew what they were doing and who they felt to be beat maker of the year.”
Battlekat, Rashid Kay and Nyambz had the responsibility of adjudicating on who the beat maker of the year would be. The criteria was broken down into categories such as creativity, technical ability (the mixing and mastering), diversity as well as crowd reaction.
“You might have a beat that has four elements, but those four elements might just be captivating for the crowd. Do you reward the guy that was technically more superior or the guy that has the crowd? You know with Bobby McFerrin’s Don’t Worry Be Happy, it’s just him and that was a very big song. I think it’s solely debated on crowd reaction, but the bad thing about that is that sometime you don’t have a neutral crowd, but that’s why we’re here to balance it out,” Nyambz said.
The night’s performers were forced to do their thang in front of a handful of people, after an exodus post the beat maker’s battle. “Moving forward, the Beat Makers Battles will be structured in a way that involves breaks between, with performances.”