Tembisa

Nkele Matlhoana10/19/2021

The presence of a loving father greatly increases a child’s chance of success, confidence, resilience, physical and mental well-being. According to community-based organization Shiloh Synergy, South Africa has one of the highest rates of fatherlessness in the world. In 2017 Statistics SA General Household Survey indicated that a shocking 61.8% of children under the age of 18 live without their fathers. We need to better understand the impact of this disheartening social plight and its legacy on family life in contemporary society, which unfortunately impacts greatly on a boy child. These Are Not My Shoes is a theatre play written and directed by Mxolisi Masilela that addresses this social issue.

A shot from These Are Not My Shoes play. Photo by Nolwazi Mbli Mahlangu — A shot from These Are Not My Shoes play. Photo by Nolwazi Mbali Mahlangu

The play was staged at the Moses Molelekwa Arts Centre’s TX Theatre in Tembisa. It was delivered in a musical melodrama theatrical performance that captured all the essence of theatre production. The play explores and confronts the narrative of fatherhood and fatherlessness. It tells a story of a father’s love and the pleasant environment he had created for his wife and two sons. An environment that was created to mold their development and how they view the world. He persistently introduced discipline, in the form of routines concerned with his sons’ moral standing while grappling with his own demons. It is these unknown challenging points that changed him and led him to leave his family. His sudden departure did not only tear the family apart but left his sons confused, vulnerable, and overwhelmed. This mostly affected and challenged their ability to live a physically and emotionally fulfilling life. The hurdles also threatened the boys’ ability to live a competent life as youth causing irrefutable moral repercussions for the whole family.

The story is based on the Masilela’s real-life experience. He used theatre to highlight and interrogate this subject of parental love and abandonment as well as the traditional role of the African black man. The question is not posed in a disobedient manner, but it is used as means of drawing attention to the issue. It is also a way to engage and learn from each other about the prevailing cultural beliefs and systems of ideals and ideas of what it means to be a father.

EYE TO EYE: A scene from These Are Not My Shoes. Photo by Nolwazi Mbali Mahlangu

The play is used as means of moving forward- through looking back into the past and naming the current reality. A reminder to men to review and evaluate their lives so as to end the cycle of absent fathers. For them to became good examples of fathers or father figures that resist the set traditional role of authority and control and rather subscribe to more nurturing and non-violent forms of care.

The production directed by Masilela himself and managed by Kamogelo Raphadu had many aspects and detailed costumes, props, and technical parts such as sound and lighting managed by Sizwe Ndabana. The set design of the shanty house set the scene, bringing back memories and experiences of growing up in a township. Another aspect of the production that stood out is the stellar performance of the cast of actors consisting of Itumeleng Moeketse, Mongezi Mabunda, Thabang Chauke, and Tshwarelo Selolo. Their acting on the open, displayed innocent and vigorous freedom, as well as a proud showcase of their craft. They delivered their lines characterized by multilingual dialogue, significant actions, and gestures that contributed to the play’s meaning. The actors were accompanied by dynamic vocals of music arrangement by Muzi Shili, Thulani Hlophe, Velile Mkhabela, and Hlabelela ensemble. Their music rooted in emotion had a powerful hand in bringing the story to life.

ALL THE PROPS: These Are Not My Shoes stage. Photo by Nolwazi Mbali Mahlangu

These Are Not My Shoes delivered a successful emotional and inspirational theatrical show. The staged drama and captivating performance with all the elements and complexities of theatre-making unpacked the issues and referenced realistically unimaginable raw and ragged scenes that highlight the trauma, frustration, anger, and anguish playing out in our communities.

Bonginkosi Ntiwane02/23/2021

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.

Clement Gama10/29/2020

WITHOUT a doubt the unknown musician has always had the open mic night at some odd pub, live events which are lenient on requests for abrupt performances and also radio stations which still take music from unheard-of talent.

But there’s definitely never been a better time for the gifted and undiscovered than the one we’re in right now. I bet my worn out tyres that at least five in seven people reading this, have in the last five years discovered artists they’ve never heard of on YouTube via any of these channels; COLORS, NPR Music Tiny Desk Concerts and Sofar Sounds. Combined, the aforementioned trio has over 10 million subscribers on YouTube.

South Africa is progressively growing in this space with a number of live platforms coming through the net. Sunday’s Unplugged Sessions is one of them. “We wanted to give a different perspective to how people listen to music. In an unplugged set and an unplugged location. We saw it as a platform to also showcase undiscovered talent,” Music Director, Khanyisile Dlamini tells Tha Bravado.

Totally Unplugged. Photo by Township Boy Movement

Founded in August, Sunday’s Unplugged Sessions has already hosted four performances. They unplug an unknown kat and share their music with world on their YouTube channel, Township Boy Movement. “The concept of sessions is to create [an] artistic hub for musicians. We have a resident band that seeks to accommodate different artists on different episodes. Each episode focuses on a specific artist, so we get to experience the artist rationale of their crafts. We select our artist based on the level of artistic abilities that will blend with the expectations of the show,” adds Xolani Nkosi, who is the Executive Director.

The band with Backdraft on the second episode of the sessions. Photo by Township Boy Movement

The band is led by the seasoned Thulani Twala, with Mfundo playing keys, Tshepo on strings and Siya on drums.

Their second episode featured rap singer Bakdraft, seemingly in someone’s yard on a lazy Sunday afternoon as the sun was setting. “We use different locations for different artist. Depending on the style and personality of the artists. We will be exploring a lot of locations,” says Dlamini, who’s affectionately known as the first lady. She is also a songstress, who performed on the first episode.

Last month on Heritage day they opted on having a session on the street corner. “Our set up is not determined by the factors that are surrounding [on] the day that we shoot. Shooting on the streets was not determined by what day we were shooting in, but maybe our heritage stems from the streets and using the street on Heritage day will reinforce where we come from as artists. We are for the streets,” says Nkosi, who is a photographer and videographer that has been working for a number of years under his Township Boy Movement company.

Sunday’s Unplugged Sessions is a brainchild of these young Tembisans, but they have ambitions of seeing these sessions miles away from the Ekurhuleni Township. “Our plan is to unplug all the cities of Mzansi. Working with talent and undiscovered talent across the country. Hopefully incorporate brands as well to part take in this great initiative,” Nkosi says.

Bonginkosi Ntiwane04/27/2020

Chris Rock once juxtaposed complimenting André 3000’s artistic calibre, to showering a beautiful women with bouquets for her exquisiteness. At times it seems as though artists such as 3 Stacks, Kwani Experience, Sade and even Frank Ocean play hard to get with their cult-like followers, who are subjected to waiting aeons for any release.

“Don’t play hard to get, but play hard to forget.” This corny line by Drake aids my understanding as to why the great aforementioned artists are lauded. It’s not the excitement of dangerously flirting with the possibility of losing ardent fans, nor playing hard to get but artists who don’t fickle to industry pressure have this in common- they respect time and the muscle of art.

“…they’ve been asking for it [a solo project] since our first Las Day Fam album in 2008. So a huge expectation is certainly out there,” rap artist LandmarQ tells me. Over a decade later LDF has released two albums, Eternal Effect (2012) and Dissent (2017). The clique won the Best Group award in the now defunct Hype magazine Hip Hop awards in 2010, got a SAMA nomination at the 2013 South African Music Awards (SAMA) and won Best Gospel Rap at the SABC’s Crown Gospel awards in 2011.

THE MAN, THE MYTH THE LEGEND: LandmarQ finally standing solo. Photo by Clive Thibela

But still, dololo a LandmarQ project. With no disrespect to Bonafide and Baggz, it’s an open secret that listeners fervently anticipate the LandmarQ verse on each LDF track. He has the sort of presence on a track, a mere punchline or clever wordplay can’t match. It’s not only in what LandmarQ says, or how he says it but shit sounds sick because it come from him- he has natural artistic integrity.

“It was inevitable that a time for a solo would come. I just never had a timeline/deadline for it. I also wanted it to be organic when it happens. I wanted it to be inspired and come from a good place. I believe creativity can’t be forced or pressured. It should be an outpouring of a natural process,” says LandmarQ.

Be that as it may, some artists shun going solo because of their discomfort of being the centre of attention preferring to “hide” within a group- there’s a plethora of reasons why some performers won’t pursue a solo career. “I am not uncomfortable about it. I just believe that there is a time and place for everything. In any show, the spot light moves to where it needs to, for the purpose of shining and highlighting the main performance act for that particular moment. So I’m happy to have the spotlight when it’s my time to perform.”

“IF THE MEDIA SAYS THERE’S A GENRE OF HIP HOP CALLED CHRISTIAN RAP, I’M NOT PART OF THAT GENRE. SIMILAR TO THE UNDERGROUND RAPPER TITLE…”- LandmarQ

Having pondered on it and even getting the nod from his LDF brothers, the spotlight is stationed on LandmarQ with the release of his debut solo project Envy and Avarice, a seven track mixtape which is first of a trilogy of mixtapes set to drop this year, inspired by the Seven Deadly Sins.

JUDGE THE COVER:The artwork was inspired by the flaws of human nature and the turmoil and complexity of of being human.

He says the decision to release was taken in 2019 “I met and consulted with several producers to craft a sound for the album. I also made several beats for the project but then decided an album might not be entirely a good idea especially considering that I haven’t put out music before as a solo artist. So therefore a different approach was required.”

He took the old school route, hopping on other people’s instrumentals which he tweaked a bit. “So the producer in me still found expression on this project albeit a little less than usual. However the route to follow the traditional mixtape method was crucial for me to do because it’s important that music lovers and fans alike get to experience LandmarQ on a wide variety of instruments/beats. The key thing however was creating a sizeable body of work.”

The reason he chose the Seven Deadly Sins as the concept for his series of mixtapes, is to bring awareness to the condition of society in general, and specifically the condition of the Hip Hop culture. J. Cole did something similar last year with the Kids On Drugs album, focusing on narcotics. A concept about Greed, Envy, Pride, Gluttony, Sloth, Lust and Wrath directly questions the behaviour of the inner self.

“We are all confronted with varying degrees of extremes of the Se7en (remember the movie by this title with Brad Pitt, Kevin Spacey and Morgan Freeman?) in our society at large and in Hip Hop. And the hip hop community is a lovely case in point i.e. tension between old and new cats, underground and commercial, this sound and that sound etc. And its manifestation in hip-hop is most notable because hip-hop as a form of expression is definitely brash/boisterous.”

The rap artist who hails from Tembisa comes from a group pigeonholed to Christian rap and with a solo project tackling a heavy topic such as the 7 Deadly Sins, there’s a likelihood of being trapped in that box as the preachy rapper. “I am not making a Christian statement with this mixtape series. I am making a statement on humanity, in the world at large and in hip hop culture,” LandmarQ says adamantly.

“The Seven Deadly Sins is not a Christian concept. After all, the seven deadly sins aren’t even mentioned in the Bible. Its origins are nebulous and likely trace back to before Hellenistic Greece. Historically, and especially in the Philosophical disciplines, the 7 Deadly Sins have been society’s way of trying to formulate a universal theory of the pitfalls that human beings face.”

But LandmarQ isn’t oblivious to how the simple-minded might perceive his choice of topic to be conservative and limiting especially because the media has dubbed him a ‘Christian rapper’. “That isn’t how I would describe myself. If the media says there’s a genre of Hip Hop called Christian rap, I’m not part of that genre. Similar to the ‘Underground Rapper’ title. I wouldn’t describe myself as an underground rapper.”

NOT HERE TO PLAY GAMES: LandmarQ in picture. Photo by LandmarQ

He continues “In Hip Hop we rap about our way of life. And because I am a Christian, I have and will continue to touch on Christian themes from time to time. But that’s no different than any rappers that incorporate their reality in their music. Chuck D of Public Enemy said rappers are like journalists. I’m a rapper’s rapper and have rapped alongside the best rappers in the country and have been featured on numerous songs that aren’t Christian and aren’t underground. And my message is universal. If you love Hip Hop that stands for something, I’m your guy. I however am a rounded human being. Sometimes my music is about having fun with wordplay, with different flows and metaphors.”

The project is out today. Listen and download it here

Khulisile Nkhushubana04/13/2020

Most people generally lack the know-how when it comes to winning in this game we call life, or they possess the know-how but lack the necessary determination and self-discipline to get to that imaginary number one spot that we all dream of, but never work towards. The lack of fulfilment that failure breeds nourishes our obscene worship of those who seem to excel in pursuing their dreams and living their best lives. This behaviour often blinds us from the fundamental truth that we are all flawed and imprecise entities.

The entertainment industry ruthlessly exploits this pitiful and ever present blind spot that we all possess as people by carefully curating experiences and imagery that introduces artificial constructs of beauty and success into our minds. Brands are built around this simple concept and we all fall for on some level or another. Wu-Tang Clan: Of Mics and Men, a four-part documentary about the legendary Wu-Tang Clan, is an exemplary tale of how a multinational brand can be built by a bunch of raggedy ghetto boys with very little, except for a mic and a dream.

“…the Wu-Tang Clan is an extremely flawed thing that is not worthy of honour that comes with being addressed as legendary.”

One normally chooses ignorance when it comes to the personal lives of their favourite musicians because it is often uglier and realer than the stench of sewerage that consistently flows through the streets of Winnie Mandela Zone 4. Once you know, you cannot not know that the Wu-Tang Clan is an extremely flawed thing that is not worthy of honour that comes with being addressed as legendary.

The above opinion does not nullify the fact that a group of impoverished young black men from the grimy streets of New York’s ghettos banded together to build one of the biggest cultural brands of all time. Impressively they did this without embracing the perverting gloss of ostentation which is often essential when one to seeks be prosperous in the entertainment industry. Them ghetto niggas made some of the grimmest joints ever heard on either side of the equator, while selling over 30 million albums between the period of 1993 and 1998. The level of brand recognition that the iron wings logo achieved is easily comparable to that of any global business one can think of. Whether it be Apple, Coca-Cola, Nike, Red Bull or any other symbol of the Caucasians international hegemonic domination of economics, society and culture. Personally, as a House and a kwaito loving pre-pubescent child in mid-nineties South Africa, the iron-wings represented everything that was Hip-Hop in my mind.

WU LOGO: THE LEGENDARY IRON WINGS

Timberlands, baggy-jeans, an added bounce to your walk and a propensity to call every Hip-Hop head “My nigga!” Little did I know that I would soon become a fanatical Hip-hop lover, who refused to acknowledge or listen to any other genre of music that was not about these bars. Retrospectively I think the iron wings were the spark that ignited my chronic interest in in Hip-Hop. All this happened in the underdeveloped dusty streets of Tembisa. Which is a testament to the fact that Wu-Tang clan ain’t nothing to fuck with.

As a long time hip-hop head I have grown to realise that when it comes to the clan, a lot of people were (and still are) faking the funk, myself included. Shamefully I have only come to learn the names of all the clan members through watching Wu-Tang Clan: Of Mics and Men. I only knew and recognized GZA, RZA, Method man, Ghostface Killah and Old dirty bastard. Them other mother fuckers just didn’t command my attention with the weak ass calibre of their work. Beyond their big hit songs, Wu-tang’s music is so steeped in localised urban colloquialisms and experimental Hip-Hop beats that most heads don’t truly fuck with their music the way they claim they do.

Like any global brand, Wu-tang’s core offering is not universally loved but they looked cool as fuck and that’s what most people are after. The cool. Their aesthetics represented a ghetto brotherhood of the hardest and weirdest motherfuckers alive. Urban black youth was proud of the fact that people who looked and behaved like them were represented in mainstream media. Suburban white youth’s curiosity was aroused by the clan’s antics and in their minds Wu-tang represented how the other side lived. Additionally they could piss of their conservative Yankee parents by putting C.R.E.A.M on full blast as they refused to clean their bedrooms, the struggle of any immature white teenager (I think).

My disappointment with the clan stems from how they ran their business as friends and as a family. First of all, do not get into business with family or friends! I repeat, do not go into business with family or friends! One risks irreparably damaging a valued personal relationship and it is difficult to hold people you care about accountable when they are incompetent or insubordinate.

Secondly, RZA’s selection criteria when it came to picking clan members was unsatisfactory to say the least. Old Dirty Bastard is a prime example of this, he was a musical genius with serious impulse control issues. He was one of the first hip-hop artist to sing on hip-hop joints, ululating randomly as the joint went along while sounding gutter as fuck. He was a one man reality show. Keeping fans of the clan glued to their radios and television screens waiting to hear what shit the ODB got up to while they were busy exemplifying mediocracy through their shitty lives.

The dude would arrive late for shows, get wasted while performing, go on wild rants about whatever came to his mind, dissing whoever had the nerve to call him in to order while he was embarrassing the entire clan. Instead of cleaning up to fit in with them Hollywood types, ODB put his poverty on full display because he intuitively knew that white America would be enamoured by the whole spectacle because that’s how they wanted to see black people. As crass and something to be laughed at.

THE WU NEVER DIES. By Wu Tang Clan Facebook

One could argue that Mohammed Ali employed the same tactic to increase his appeal as a public figure when he was coming up as a heavyweight boxer. With all that said, high levels of charisma and creativity are not the only characteristics that a professional artists should possess. Like in any other profession an artists must be disciplined, hardworking and pragmatic. Old Dirty Bastard was none of the above. RZA could not make him toe the line because he was a close cousin and that limited how ruthlessly he could deal with him as a professional.

On the flip side, some of the other clan members lacked the necessary level of talent to be professional recording artist. Masta killa, U-god and Inspectah Deck were subpar talent in my not so humble opinion. They were dead weight who added very little value to the clan’s brand. In the specific case of Ghostface killah he did more harm than good with his bad temperament.

During a HOT97 Summer Jam in 1997. He hyped the crowd into chanting “fuck HOT97”. He was disgruntled with the radio station because at the time HOT97 did not pay artist to perform at their events. They subliminally threatened artists with the possibility of never playing their music on their radio station, which is what they. This negatively affected the reach of their brand because HOT97 was the biggest hip-hop radio station in the mecca of Hip-Hop, New York. Shortly after this incident the clan cancelled tours because certain members could not get along. Simply put, there were too many egos at play and RZA could not keep them in check because he had personal ties with each Wu member.

Throughout the doccie it is clear as daylight that every member of the clan is unhappy with how RZA ran Wu-Tang Clan. Annoyingly nobody ever explicitly expresses this sentiment which makes the whole thing feel inauthentic to me. One suspects that this is because RZA was the one who got the financial backing to shoot the documentary. Thus nobody wanted to bite the hand that feeds them.

Which is why the Wu-Tang clan could not last as a brand. The image they tried to project in public was not an accurate reflection of how their internal processes actually ran as an organisation. That is the only way a brand can remain sustainable in the long term. That requires a logically consistent approach when one seeks to build a successful business and personal feelings are often disruptive to such an approach. Which does not change the fact the Wu-Tang clan ain’t nothing to fuck with.

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