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#9MindMap-SAWe were hereSimmiDullayGeneration xWhy thenew breedof rockmindedblackmiddle classkids shouldbe leftalone.Athi-PatraRugaToyaDelazeySivNgesiorldsoul’sast hopeJesseoykinsIIITaste of Cape Town : Cape Town 20142012 : KZN writer’s trail :
The Benjamin is a charming Victorian boutique hotel & csituated in Florida Road, making it an ideal location forOur warm welcome will make The Benjamin a141 Florida Road
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EDITOR’SLETTERArt with meaningAmericanmusicmastermindJesse BoykinsIIIIam one of those people who believe that artgets a bad wrap. Partially I must admit is thatthis wrap is earned. Too often artists have allowedthemselves to become stereotypes of thecreative process, you know what I am talkingabout the type who spend a large amount of timecreating work that even they cannot explain,drinking heavily and taking hard drugs andeven walking around looking rather morose andpreaching how absolutely doomed society is.It is in response to this that the 9th issue ofMindMap-SA comes out. We wanted to showcase that art andartists can move beyond this default psychedelic living, towardscreating more social conscious pieces of work and beingvoices for change. Now in our South African context arthas played a vital role in articulating the social positions ofour country and its people. Even during apartheid (yes I justwent there) artists such as Miriam Makeba, Nadine Gordimerand Jane Alexander were creating seminal works of artthat not only were relevant to the social order of the time butwere also aesthetically enriched and ultimately endearing.Now as Jim Morrison once said every generation is lookingfor people that will define it, it would be attractive tothink of the people covered in this issue as those that will defineour generation but this is too simplistic but rather I optto think that their causes stretch beyond that and will live onmuch longer than them and will live on through their work.As part of this issue I spoke to rebellions performance artistAthi-Patra Ruga about his obsession with ritual, inspirationand how local audiences receive performance art. NosiphoMngoma interviews black feminist Simmi Dullay about herbody of work, the influence Steve Biko had on her and whyfeminism is still important in South Africa. Also in a groundbreaking cover feature we interview American music mastermindJesse Boykins about his romantic movement chasm.This edition aims to give a human face behind the causes and artwe consume and how that art is a form of protest. This issue wehope will serve as inspiration for other artists in Mzansi to createworks with wider social implications, away from the familiarlyof popular culture which so often dilutes creative identity.Away from all things rebellious Yolisa Tswanya visits thetaste of Cape Town which took place recently in the mothercity and sizzles her taste buds. All this in this protest editionof MindMap-SA. We hope you will enjoy it and untilwe see you in issue 10-until then keep mapping out.On the cover
EDITORSihle Mthembusihlemth@gmail.comCONTRIBUTING EDITORRussel Hlongwanerussel.hlongwane@hlag.comCreative DirectorOlwethu Bandezibrandrmagazine@gmail.comOnline EditorNosipho MngomaSpecial Thank youRog WalkerJoya NemleySony Music AfricaPEOPLEPLACESIDEASVisit http://mindmapsa.comCREATIVE LIFESTYLE MAGAZINEMindMap-SA is a social commentary initiative. PrimarilyMindMap-SA aims to create and foster a culture of criticalthinking amongst middle class South Africans.Published bycOOLAB CREATIVE COLLECTIVEFounded in 2011 as the brainchild of several academics, writersand social commentators, Coolabs is a creativeagency and a think tank Coolabs’ primary point of departure isto work within Durban to initiate and showcasesome of the best ideas, places and people that can or arehelping better influence the direction of SouthAfrican creative culture.Copyright 2012 byAll rights reserved,Reproduction, inwhole or part,without permission is prohibited.The publisher is notresponsible forreturn of unsolicated material.
Visit http://mindmapsa.com
qThandaKuneneYolisaTswanyaqMindmap-sa would liketo thank all those thatthrough their work andinput made this isseupossible.q q qNosiphoMngomaCONTRIBUTORSMeganDeaneqLeratoSokhuluNikitaSmithqAmavaKamanaq
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54inside THIS ISSUE18
FeatureWorldsoul’shopeJesseBoykinsWords by Sihle MthembuImages courtesy of JBIIIMUSICIII
“I create music that connects tothe soul. It acknowledges theimportance of emotions in everydaylife. I strongly feel asif my music is influenced bymany different cultures, whichall represent different parts ofthe World,“last
Feature20Jesse boykins the III has never been on the coverof Rolling stone magazine, this however is not inan yway and indictment of his musical talents, justa clear indication of the posterity of pop culture.Boykins is not a musical for who it is hard to lobby,he comes from the uniquely methodically school ofmusical real estate where everything is profuselyconnected to the next. Where the personal meets the social andthe political is best exorcised in the personal narrative. He isa musical virtuoso born out of need to create, engage and understandcontext. But because his artistic chasm is so hard topin down Boykins can easily be chucked into that now popularrealm of cultural dexterity. Where artists that are hard to gaugeare often exiled to and labeled as ‘eclectic’ that word that nowmore than ever is losing its flavor by the second. This musicalwasteland where Boykins beats his emotionsinto shape is a place that he calls world soul.Addressing the issue of his sound he pointsout that it’s the emotional out reach that isat the center of it all and without that themusic itself would neither survive nor exist.“I create music that connects to the soul. Itacknowledges the importance of emotionsin everyday life. I strongly feel as if my music is influencedby many different cultures, which all represent different partsof the World,” he says. “I know music’s power regardlessthe language of genre. It’s about connection, making art thateveryone can connect with, that’s what World Soul is to me.”“ love is its undertone.Everyone around the worldknows what love is and wantsto feel and experience life withlove in it. ”It’s hard not underachieve when everything is in its place, yet forsome reason Boykins does not suffer from this complex. Bothas an artist or in his character, born in Chicago the 27 year oldmusician is also a damn fine instrumentalist. With his long outstretchednappy hair and figure thin skinny-jean friendly bodyhe is a concoction of generational values. A carefully moldedpersona that would not seem out of place in a 1950’s Harlembar with a beret reciting poetry about he eventually demise ofblack cultural capital. But this is all speculation, Boykins’ musicis inextricably located the here and now and at the risk ofsounding overtly pessimistic-it is where it is needed the most.In a generation where individual black men are discrediting anentire race of people and any attempts it makes toward socialmobility, Boykins is musician that is at ease with relinquishingsome of his masculinity and instead employing a more emotionallyinclined form of musical outreach. Songs such as Before thenight is thru and Pantyhose are handbooks in emotional sensitivity.This sensitivity towards the feminine psyche has by andlarge been informed by a lifetime of growing up and living withwomen of persistent character. Having grownup with aunts that taught him the importanceof goals and a grandmother who emphasisedthe spirituality of life, it’s hard not see whyBoykins has evolved into tour-de-force of sentimentalflux. Yet he carries it of so well andthis allows the music to resonate with peoplethat are outside of his immediate social context.“Because love is its undertone. Everyone around the worldknows what love is and wants to feel and experience life withlove in it. It’s just like me being from America and being in Africaand smiling at someone, they are going to smile back. It’snaturally a good feeling and we all know what a smile feels like.”Boykins is an artist that understands and appreciates the fact thatthe disjointed nature of the black narrative stretches across continentsand that Identity politics is an accommodating past time.It is also the chasm that has fuelled arguably the most inspired
Jesse Boykins III has a timelesssound. He shares a point ofview that crosses all genres,generations and cultures. Everynote and each word in all hisrecorded works, to his liveperformance is skillfully craftedevoking emotions that can moveany listener across the world21and have the emotion in the melody I need it to have inorder for it to connect with what I was trying to expressin the first place. Never losing sight of how it was inits raw form before I tailored it to be an actual song.”musical bohemians of the last century Hendrix, Ellington, Davisand many others. He too is musician born of the spirit, an inherentneed to feel, not necessarily good or bad. It’s about puttingromance in context and is an act of resistance against emotionalequilibrium. His first two offerings Dopamine: My Life On MyBack and The beauty created are corrective songbooks of historyand an attempt to regain the social dignity of an entire peoplethrough the work of an individual. What black music (and I usethe term black music as a broad brushstroke here) over the last20 years has been faced with is an increasing inclination towardsthe individual and a continuously fuelled culture of forgetting.To make the kind of music Jesse Boykins wields out you reallyhave to reach the apex of an emotional counterpoint. Youhave to be over a lot of things chief of which is complaining.When I asked him how he claims his space in the musical machineespecially considering that this is an art that is so readilyavailable, Boykins answers in his usual feverish and confidentconstruct. “That’s easy, it’s never competition to me when itcomes to art. There are also millions of hearts and ears in thisworld. It’s all about spreading love & romance. I will continueto do so in hopes there are people on this planet that relate andfeel good with the art I create, he says. “I feel as if when I amwriting a song it being conceptual and having some sort of moralityis really important to me. Expressing what I feel to thefullest is the part that is a sensitive one. Most times when I geta concept I try and figure out a title first, then I free write mythoughts out kind of in poetry form & from there I make it flowPerhaps the strongest piece of arsenal in Boykin’s armyof talents is his employment of an engaging and almosterotic lyricism. He uses both powerful individual imagesand infuses them into what are often outstretched narrativesto create an enticing piece of musical poetry. Speaking about hissongwriting process he confessesthat it is sometimes atug-of war, one that he consistentlywins by insistently carryingout the original conceptIt’s never competitionto me when itof the song but being organicenough to let new ideas enterand simmer with old ones. .His songs not only highlight comes to art. Thereproblems but instead they area vessel of positivity offeringpractical solutions and healing are also millionsof the self and that is at the coreof his romantic movement ideology.“Its from my heart, Itsof hearts and earsreal and its honest. I admire imageryin every sense, may that in this world. It’sbe in photography, cinema, art.I know words are just as visuallystimulating, that’s why we all about spreadingread books and tell stories. Iwant my music to always feel love & romance.like you’ve experienced whateverthe song is about just bylistening and I want to make
It is a cultural meltingpot of sounds, energies and alsorepresentation of our generationthat is about higher learningand higher emotional connectionwith ourselves and the people aroundus.sure you feel every different emotion I put to words. Its reallyimportant for me to grow stronger in my songwriting.” He says.“The romantic movement is a collective of artists acknowledgingtheir culture and generation and trying to empower the peoplewho feel they are unheard and overlooked or seen as outcasts.Showing them that there are people who have the same views thataren’t afraid to be self expressive. Constantly creating to inspirethe masses. That is what The Romantic Movement representsto me. We are the Reawakening Of The Romantic Movement.”powerful individual. Shaka Zulu comes to mind. Guru in Hinduismmeans teacher and a person with great spiritual wisdom,he says. “? It is a cultural melting pot of sounds, energies andalso representation of our generation that is about higher learningand higher emotional connection with ourselves and thepeople around us. It stands alone when it comes to the amountof different point of views that all connect to make somethinggreater. It isn’t only an album. Zulu Guru is a lifestyleThe Romantic Movement is acknowledging through music.”A notorious tourer he is one who carefully curates his sets oftenplaying small venues where the emphasis is not on nichebut rather a need to connect to every person in the room. Hismusical repertoire is a blend of influences and he has what Ilike to call an old voice. The kind that you could walk right pastbecause the emphasis is not on self-consciously making musicof a certain ilk but instead the medium is the message and oftenthis message is delivered is poised cathartic whispers. Thesewhispers are periodically inserted into blindingly soulful melodiesthat are left suspended in the mind long after the performanceis over or the CD has stopped spinning on your boom box.Boykins’ influences are as free-ranging as hisfashion sense Stevie Wonder is the devilishdetail of his bracelets, Bjork is that rebelliouspicked afro, Pink Floyd is channeled in thatleather lacing of his boots, Boykins wantsto stomp but only when the time is rightand only for the right reasons. But perhapsno other creative has influenced his soundmore than master producer and musical luminaryBilal. Boykins first meet the producerwhen he was still at teenager studying musicat The New School University for Jazzand Contemporary Music in New York, anexperience which he treasures as personallytransformative. “Bilal taught me how spiritualmusic and art really is. He taught me theimportance of expressing my inner subconsciousand not being afraid to be vulnerablein my art forms. He would say, ‘when youbreathe in, you are breathing in the world,and when you exhale you are becoming god.’At the time I was only 18 and didn’t knowexactly what he meant but as I grew older andhad experienced life more, I found the spiritualimpact in art. It is now a part of me.”23Boykins is not a musician that is perfect buthis work is symptomatic of the possibility ofperfection and every album he makes is inmany ways a step closer to finding out whatperfection in a musical sense might look like.His forthcoming project is called Zulu Guruand is scheduled for release later in the year.Now being the natural skeptic that I am I hadto ask what appropriation of the word, “Zulu”is he adopting. Because you know these thingscan often become a fetish to be churned out inmild attempts to show that one has perspective.Boykins tells me that this is an ensembleproject and is really a montage of musicalinfluences from around the world. “Zulu tome will forever be a metaphor for Warrior,someone who doesn’t give up and will dowhatever it takes to get through. Simply a
FeatureNew AgepopToyaDelazeygoesglobalwords: Amava KamanaMain image: Joanne Olivier
“Signed to Sony Music Africain 2011, the talented youngsinger-songwriter Toya Delazytrained as a jazz pianist butToya’s more recent influenceslie somewhere between themore contemporary genres ofHip Hop, Electro, Dance,Alternative and Pop.“
Feature26It takes a lot to make a classic,”says new South Africanmusical sensation, ToyaDelazy. From performing inPubs, to gracing internationalstages with some of Africa’sbiggest starts, her lifehas become what dreams aremade of. Toya born LatoyaButhelezi, granddaughter of Chief MangosuthuButhelezi started her musicaljourney at the age of 9 playing classicalpiano. “I would say that’s when I startedcomposing music. Learning classical pianoat that age helped structure my musicalunderstanding of how heartfelt cordsare formed, how to read music and haveagility and discipline on keys.” she says.Like many musical talents, she was discoveredperforming at a pub by a talentscout. The scout, Markus Els invited herto a studio, they recorded a demo and in notime, she was signed to Sony Music Africa.Growing up in a conservative family,she had quite an interesting start to hercareer, performing at a rock pub such asthe Winston. She was not even allowedto listen to anything other than classicalmusic and orchestral music as a child.She believes her earlier performances arewhat shaped her and got her where sheis today. “It was that pub that gave mea platform to show people my music. Itwas here that I developed as an artist andit definitely had an impact on me.” Shestated speaking about the Winston pub.She draws inspiration for her music onpersonal experiences she says, “I thinkabout what I’m going through or whatI’ve just overcome and I use that to inspireme.” Her musical influences arethe likes of Lauryn Hill, whom she firstsaw in the movie Sister Act that shewatched at her convent primary school.Her love for music grew from classicaland orchestral music, which were theonly genres she was allowed to listen towhile growing up, to more contemporarysounds as she started her own musicand forming her own melodic chasm.An inspiration she never fails to speak ofin her many interviews is her mother. Shelost her when she was in matric and that’swhat inspired Toya to sing. “AlthoughI used to write a lot of music I used toplay keys. I didn’t sing I used to givemy music to my friends to sing becauseI didn’t know I could sing I was too shy.But then after I lost my mom, she was abig part of my life and inspired me a lot,and the only way I could comfort myselfwas through music so then I started singHighly acclaimed newSA artist Toya Delazydropped her albumthrough Sony MusicAfrica. Entitled DueDrop it includes seventracks produced by JaxPanik; and a furtherthree songs producedby exciting Joburgbased production duoOctave
ing.” She says on her Reebok- My storydocumentary. She has a tribal tattoo onher back that she designed in memory ofher mother, “it’s very nice, it’s like I carryher in my spirit with me all the time, I’mquite attached, I’m a mommy’s girl” shesaid in an interview in December 2011.Her choice to study music did not sitwell with her family, as they weremore supportive of academic careers.Her famous grandfather admitted ontelevision that they kept asking herto go to school and study and not getcarried away in the music until theysaw her on television and acceptedthat this is what she was made for.She describes her music as JEHPS,jazz electro hop and pop. “I describeI didn’t knowI could sing I wastoo shy. But thenafter I lost my mom,she was a big part ofmy life and inspiredme a lot, and theonly wayI could comfort myselfwas throughmusic27it as a lucky packet, everyone walksaway with a little something great,” shesays. What has made her something ofa wonder aside from music is her senseof style, her mixture of street-wear andvintage clothes and punk hairstyles hasmade her standout amongst her peersbeyond just the music. “Style is a wayfor me to express myself.” She says.Her partnership with Reebok came whenthe clothing brand was looking for a Reebok Classics ambassadorand Sony presented her and her work to the Reebokteam. They liked her sense of style and took her onboard as an ambassador, although she has remained mumon whether she will be releasing a line with the company.She went on tour with Reebok across the country promotingher album entitled Due Drop that was released in April. Onthe album she worked with producers Jax Panik and famousJohannesburg duo, Octave Couple producing 7 and 3 tracksrespectively. Her future plans involve going around the worldmeeting people who love her music, making it big in Africanmusic scene and also in the UK. “I am sowing a seed withmy music and I am hoping it grows in the minds of listeners.”
31Simmi Dullay is a multimedia artist but primarily usespaints. He creations are often large scale periodicalconfrontations of political issues ranging from race,history and gender relations..tural production is part of the larger paradigm of society,and cannot escape being determined by the political.MM: You are quoted as saying “the struggle culturehas been commodified”, what do you mean by this?bad if they are celebrating our hero. Though the reality is thatthey are seducing us to spend money on an empty simulacrumof struggle, money going straight into their transnational bankaccounts. To murder him and profit from exploiting his image,selling him long after he was buried is tantamount to necrophilia.SD: The iconography of the revolutionaries, is not empty rhetoricto me. I would never buy a t-shirt with their images on. Renderingthese freedom fighters meaningless is very much part ofthe reactionary neo-liberal agenda. I love the romance and idealismof revolutionary figures, which defined my life from thevery beginning. I wish I could remember (butI was only a baby) my parents told me thatBiko carried me...of course it was his ideologythat was significant and not that moment Iwas in his presence, but it’s still special to me.By physically painting these icons, I reclaimyet another part of my history which the reactionary neo-liberal agenda.” MM: What legacy do you want tois being appropriated and exploited byneo-liberal corporations. Apart from Che,Angela and Biko, I also painted and drew images of Palestinianfreedom fighter Leila Khaled, of the Mau Mau uprising,and a Irish child throwing a Molotov cocktail...all iconic images of people who dare question and defy thepower-structures and work towards social transformation.leave behind through your work?I feel the American Hollywood co-option of Che is part of ideologicalwarfare, seducing us to believe that the U.S. can’t be that“The iconography of therevolutionaries, is not emptyrhetoric to me. I would never buya t-shirt with their images on.Rendering these freedom fightersmeaningless is very much part ofMM: The question then beckons thatis your ultimate goal as an artist?SD: To make art part of everyday praxis accessible to everyone.I would like art to be part of our lived experience, to takeit beyond the bourgeois galleries, the deadmuseums/mausoleums, and have art praxisintegrated in society in the form of culturalcenters available to communities; to implementart as visual methodology in theacademic context of knowledge production.SD: Legacy is such a big word, but if I can inspire or leavesomething behind, it would be to have fun, to play, to makeart, to live profoundly, to love profoundly, to question, tonot be afraid of making mistakes, to get hurt, to be revolutionary,to try live with integrity to yourself and your idealsand still have a healthy f**k you attitude in the kind of racistpatriarchal police state that most of the world is today.
32Feature
MM: Is the anti-apartheid struggle over?What do you think is the new cause célèbre?SD: I think the 1994 shift was symbolic, an early stage of liberationand the next step of our liberation is to pick up where SteveBiko left of and re-conscientise our minds. We the people ofSouth Africa must demand accountability from our governmentas governments are there to serve its people and not exploit them.MM: You were still very young when your family went toexile, do you remember anything about this time, whatyour parents may have told you about moving, leaving therest of your family, any specific moments/goodbyes etc?SD: I was four when we were forced to go into exile and wereturned when I was eighteen,so Denmark/exile ismy childhood, the formativeyears of life…so, it’smore the memories frombirth till I was four that existsin the haze of nostalgianarration, memory and remembering.Though I havea great deal of nostalgiafor Denmark too. To me,returning ´home´ (to SouthAfrica) was very difficultbecause my parents hadconstructed their memoryfrom yearning to return tothe moment of when theyhad to flee…and that momentof course seizes to exist.Like Homi Bhaba says,the return ´home´is mythic.Wherever I am, I miss theother part of me that is absent.Milan Kundera theCzechoslovakian filmmakerand novelist wrote abook called Nostalgia andbreaks down the etymologyand different meaningsof the word, which translatesin Danish to `hjemve´ Home sick, and still the Englishtranslation does not do it justice. As ´ve´ is more a yearning,a desire and longing…a longing to belong. The wordNostalgia is derived from Greek Nostos which means returnhome; it denotes a “sentimental yearning for a period of thepast.” And algia means `pain´ referring to an old wound.MM: From what I have read, your sister and yourself fully assimilatedto life in Denmark but did you ever feel or were treateddifferently whether you understood it at the time or not?SD: We were never accepted as Danes. I was very consciousof the racism we experienced. Coming from a Black Consciousnessfamily I grew up being able to understand and dealwith the racism of whiteness as their problem and not mine.MM: Your father and his participation in the anti-apartheidstruggle has obviously had an influence on you,how has it done so and do you think you would be the“activist” you are, were it not for this influence? Ie:if you were not Simmi DULLAY who would you be?SD:My father and my mother have a huge influence on whoI am. I am a mixture of them both. To answer your questionin a lighthearted manner, I think it’s in my nature to be rebelliousand to be curious. I dreamt of being a Nina Hagen…Patti Smith Punk Ska singer with the politics of Franz Fanon.MM. On your blog you write that yourworst nightmare is showing up forschool naked and it actually happened, care to share?Hahahaha! Really, did I? Don’t believe everything you read. Ithink I might be referringto when I just returnedto South Africaand I was thrown inthe pool at school andsince I was wet andalready in the water Itook of my dress andswam in my pantiescausing a outrage at theschool. It was nothingfor me as in the sixties,seventies, eighties andnineties in Denmarknudity was not a bigissue. At the art andmusic boarding schoolwe had to share ourshower with the boysand it wasn’t a big deal.MM: You have saidyou resist what peoplewant you tobe, what do peoplewant you to be? Andwhy do you resist?SD: Having beenfaced by racialisationand sexismI couldn’t give a damn about how people believe ‘goodgirls’ should behave or what black people are. I amblack and I am a woman and I damn well do as I please.MM: You have son, in raising him what do you think isthe most important life lesson you want to instill in him.SD: Laughter, to love, to care, to commit oneself fully to whateveryou do. To be radical in its truest meaning. I think he is the onewho has taught me the most important lessons…and he teachesme new things every day unconditional love and mortality.MM: Does Akira have anything to do with FindingNemo being one of your favourite movies?SD: Hahahaha, of course. But think about it, anythingthat has to do with loss and finding your wayhome and belonging has a special place in my heart.33
Feature34It is defined as a practise that needs only a noveland an inquisitive mind. It allows readers toexperience places and journeys of their favouritebooks and preferred authors. Yes, literarytourism is fast becoming an interest to manyreaders and is gaining much popularity worldwide.It is tourism that links writers, destinations andtheir works. This could include following the routea fictional character charts in a novel, visiting particularsettings from a story or tracking down theplaces linked to a writer, whether a birthplace,home or even burial sites. Literary tourists are specificallyinterested in how places have influencedwriting and at the same time how writing has alloweda certain place to be regarded as important.The UKZN Literary Tourism project is one that focusesand encourages locally literary tourists to exploreKwaZulu-Natal and its vast literary treasure. The programmeis led by project manager, Lindy Stiebel, whois an English Studies lecturer at the University of Kwa-Zulu-Natal. Stiebel has been concerned with researchin South African writing for many years but took a keeninterest in literary tourism in KZN over the past ten years.This is what prompted her to begin the initiative in2002. “KZN Literary Tourism started off as a researchproject funded by the National Research Foundationfor a 5 year period from 2002-2007. During that timethe project supported students through bursaries, developedan electronic literary map of KZN hostedon the provincial tourism authority’s website, hostedworkshops where we discussed what literary tourismin this province might mean, and started developingliterary trails as a way of linking writers and place andtheir readers as tourists,” she says. “Since that time,the project has continued through partnerships withlocal municipalities to develop local writers’ trails;and, most recently, with grants from the National ArtsCouncil,” explained Stiebel. One of the main tasks ofthe project is to maintain an updated website whichfeatures biographical information and sketches ofover 100 KZN- linked writers, to carry book reviews,The KZN Literacytourism projectdocuments andencourages people totravel to routes thatare linked with writersand literature in theprovince..thewords byNikita SmithWriters’trail
podcasts, and documentary filmson selected writers as well a researchsection for anyone interestedin finding out more aboutliterature from the province.The initiative has worked on manytrails and with numerous South Africanwriters. “We develop writers’trails and at present are busy withour 8th trail which will look at theNorth Coast area. Writers linked tothat part of the world include AlbertLuthuli and his friend Alan Patonwhom he met at Groutville, writersaround Shaka like John Dube,the founder of the ANC and authorof uJeqe, bodyservant of KingShaka, and curiously, Rider Haggardwho met Dube and who wrotea trilogy about the fall of the houseof Senzanagakona”, said Stiebel.The UKZN Literary Tourism initiativehas also worked with presentdaywriters such as Aziz Hassim,whose book, Revenge of Kali, is setpartially in the Natal canefields andDianne Stewart, author of Durban ina Word. Speaking about what it isimportant to feature contempoaraywriters Stiebel noted that it allowesreaders to identify immediatelywith the places and things that areinfluencing writers here and now.“Our job is to link up these writersby constructing a trail that willlead literary tourists from place toplace, stopping to see, for example, where Luthulilived at Groutville, where Shaka is buried, wherethe first sugar milling equipment still stands – andat each place link what the writers had to say aboutKZN Literary Tourismstarted off as aresearch projectfunded by theNational ResearchFoundation for a 5year period from 2002-2007.During that timethe project supportedstudents throughbursaries, developedan electronicliterary map of KZNthis. We are, therefore, adding toculture and heritage ventures inour province,” explained Stiebel.Some of the popular trail destinationswhich people can visit are theGrey Street Writers’ trail which isa 3 hour walking tour around theGrey Street area in Durban’s innercity. “It starts at the Nicol SquareParkade which is on the formerRed Square where political rallieswere held. The walk takes peoplethrough Madressa Arcade whichAziz Hassim writes about in TheLotus People, to Emmanuel Cathedral,to the market which is inImraan Coovadia’s The Wedding,past where Phyllis Naidoo hadher offices with Archie Gumedewhich she records in Footprints inGrey Street, Juma Mosque whichmany writers describe and then asnack at Little Gujarat, food beingmentioned by all writers! Wedrive past the old Avalon cinemarembered by Ravi Govender inDown Memory Lane, and the fictitious‘corner café’ in MariamAkabor’s Flat 9.” Other populartrails are the Cato Manor Writers’trail and the Midlands Writers trail.Looking ahead, the initiative hopesto develop a writers trail from theNorth Coast since it has great tourismpotential in Shaka HeritageRoute around Ballito, Shaka’s Rockand kwaDukuza. Also in the pipelineis the compilation of a guide book A Companion toKZN Literary Tourism which will have all the trails,route maps, author outlines and lots of photographsof places linked to writers to visit in our province.35
36Feature
S IVComedic Activistprolific tweeter, black activist, actor, ambassadorand comedic rock and rolla Siv Ngesi is one of themost multidimensional young talents in South Africa.We spoke to him about the power of using homourto tackle social ills and what it means to be black inSouth Africa today.ngesiwords byMegan DeaneImages courtesy of Siv Ngesi37
Feature38Iget away with murder because people likeme,” says the all too likeable Sivuyile ‘Siv’Ngesi. One certainly forgets about this ‘murder’he talks about once he smiles. The comedian/actor/entertainer/MotivationalSpeakerhas a lot to say and has been lucky enough toenter an industry that gives him a stage to doso. Siv has workedhis way into a position,where he openshis mouth and peoplesit wide eyed andin awe of his brilliance.As soon as I received anotherbrief of grief from my editor sayingI need to interview Siv Ngesi,I almost replied saying I couldn’t,how on earth was I supposed to sitthrough an entire interview with acomedian and not ‘laugh my assoff?’. On the other hand I couldn’tlet up an interview with Siv. Don’tlet his ‘tough guy’ twitter avatar scare you though; his moviestar good looks are definitely worthy of a five star rating.Once I arrived at the venue of the interview, I saw him sittingand typing on his laptop, busy man I thought. He spottedmy awkward treading towards him and flashed a smileso bright, my transition lenses tinted just a little bit. He puthis laptop away, saying he was working on some new stuff.Greetings done, he asked where I was from and cracked“I tend to be lessharsh on Facebookand more hardcoreon Twitter when itcomes to myprotesting”a joke after I replied, my nerves killed the little bit of coolnessthat I had left as I corrected him, not realising it was ajoke. I thanked my lucky beans in my bag, Siv Ngesi was achilled guy, and we eventually got started with the interview.Siv says that he was “disruptive in school,” which is why hegot into drama, something he is also very passionate about.He was born in the township ofGugulethu in Cape Town, and iscurrently living in the city, Hereckons he is living the ‘NewYork’ dream, “I love succeeding,”Siv says. He has travelledto many different countries, buthis love for this country is evidentin the way that he speaksabout it as well as the springbokjersey that he wears so proudly.Describing himself, Siv says heis sometimes controversial andopinionated but a very proudSouth African. He’s passionateabout the things he does, and strongly believes in being antiracist.An “Ace of Race” he says, “I protest racism on mediumssuch Twitter and Facebook,” He thinks Social Media isvery important. “I tend to be less harsh on Facebook and morehardcore on Twitter when it comes to my protesting” Siv said.Interaction with people on Twitter is important to Siv, He doesadd that people tend to take his opinions a bit personally thoughbecause of this interaction. He states, as a proud entertainerwould, that it doesn’t really matter “as long as I’m heard”.
An important issue Sivraises while nonchalantlysipping on hisorange juice, is the factthat South Africansaren’t long term goalpeople, they often focuson the past and what iscurrently happening inthe country. This oftenresults in people remonstratingabout everythingand not focusingon what’s important.“South Africa is builton protesting,” he says.“The problem lies in theattitude of people feelingentitled to things.”Evidence of Siv’s missionto fight racism, was the recent ‘racist model tweets’ issuethat came up after two models had tweeted racist comments,he then blatantly called out these people over on the socialnetwork. He also mentioned that he was glad that the blackmodel also tweeted something racist as it proved that it isnot only white people that are racist. “Racial issues are stillvery common,” he says. He adds that it is not only a SouthAfrica problem, Racism is everywhere, even in America,“They just hide it well, they have undercover racism.”But his views on racism stretch beyond just the onlinespace and he often talks about the practicalities of beingblack in contemporary South Africa. Including hiscontinued distaste over the controversial Black EconomicEmpowerment Act, of which he says he isn’t afan. he reckons people should get jobs because of theirskills. He also dislikes it because he wants to compete,knowing he’ll land a job because he is well equippedand also worked for it. Although he does agree that theeconomy is currently in white hands, “Someone needs towork it out in order for it to work properly,” says Siv.It is very common for South African comedians to jokeabout racial issues, because there is a market for it. “Theywill never stop, as long as there is a market for it,” he says.According to Ngesi intent is very seminal in the deliveryof a joke, if the intent is to harm then it is consideredracist, but if the intent is to laugh about it then it is okay.Siv also says that his acts often consist of truth, storiesthat are based on true situations, people that watchhis show will be familiar with what he talks about oreven if they don’t, two weeks later something will happenand they’ll realise that he was speaking the truth.He also likes to include a shock factor in his shows,which is something his audiences will often remember.One of his main missions is to retire his mother, (and all theladies go ‘awww’) he wants to keep working until he reachesthis goal. He is also planning on doing more movies andalso getting involved in more acting. And even with all thatSiv has under his belt (talking about actual accomplishments)the man still stays humble, focused and is definitelya force to be reckoned with in the local comedy circuit.Siv Ngesi, theknockout star ofthe hit comedyDekaf, is backwith a brand newshow. Based onthe bestsellingbook, The Raist’sGuide tothe People ofSouth Africa,Race Card is setto expose all thewacky “truths”about the colourfulpeople of ourcountry. Guaranteedto make youlaugh till you cry.The show willrun at this years’sNational artsfestival39
FeatureBig blackceremonials!words bySihle Mthembu
“The reason why I use variousmedia is because , I am lookingfor ,firstly a way to use the saidmedias language , or it’s mostsophisticated form so it is accessibleto everyone.“
Feature44Art in its most non-elitist manifestation is afight against normality, and social convention.It the questioning and rethinking of socialroles and the exploration of personal narrativein an attempt to make sense of the hereand now. Athi-Patra Ruga’s social dispositionis not an enviable one. As a widely regardedperformance artist his creative output means that he to joins a longline of black creatives that are given a cultural mandate to enterwhite society and intrusively understand its values whilst simultaneouslyarticulating what is widely assumed to be a homogenousblack experience. Additionally the somewhat illegitimacy of performanceart as a creative outlet is largely indicative of the mildform of secularism that exists even in communities that are sympatheticto the creative cause. The default position here is that isit’s too elaborate, too difficult or not easy to understand than it’sno good as it does not appease the sensibilities of the zeitgeist.But Ruga is an artist with a fierce bite back he is creatively possessiveand has an obsession with identity and how it shifts itself to stayrelevant in a contemporary context. His works tell new stories thatare historically relevant and when he performs he clinically executeshis chosen medium with a surrealist subversive zeal. A hostiletakeover of sexual appropriations and an obsession with ritual andthe ceremonial, Ruga’s confrontation ‘you will respect me persona’is the byproduct of a social marginalization. Marginalized both interms of race and sexuality. He is an artist that is largely disloyal tosocial sentimentality and its conforming agendas. His performancesand exhibitions transverse territory that even the most adept of performanceartists won’t dare delve delving into. His work challengesconstructs, not only social ones but also those that are created
y art as a medium of communication, protest and expression. Wecaught up with him and asked him about his creative process, howhe deals to the differing reactions to his work and his future plans.Tell us a little bit about how your entry into artand what attracted you to be a part of this thing?Performance is at the core of all the workI’m interested in. With “characters “ beingthe spirit of the work and the catalyst for thevisual language eg: the tone, the degree of ofcomfrontationIn high school, It was the first introduction that I had to art ,as we know it. Then I was doing painting and had a very keeneye on the performative qualities of clothing. I later would enterthe Gordon Flack Davison academy and all the various elementsstarted coming together ie: performance , fine art andfashion. After receiving my honors I started focusing on theperformative element , I started doing performances in downtownJozi , where I was living then . In 2006 I was was approachedby the Michael Stevenson to do my first galleryshow “she’s dancing in the rain with her hand in the toaster.”,this happened in 2007…and the rest is history , as the say.45Art general in the black community is seen as very“stupid” cause of the whole, “how will you make monExploring the border-zones between fashion, performance andcontemporary art, Athi-Patra Ruga makes work that exposes andsubverts the body in relation to structure, ideology and politics.ey,” thing. Did you receive any support from family andfriends when you were like yes this is what I wanna do?My parents have always been supportive of the “art/educationthing” , I think because my parents had developed a sensitivityto “expression” they never felt that it was ever futile. And thepap part is that without support systems a career in art for anyoneis a mission of time. I find fault in our media perpetuating theidea that art is stupid. The black community has created someof the most amazing popular imagery, iconic imagery. In thisscore I also think that the black community” historically hasbeen isolated from the workings of the art industry; from theeducation to the commercial aspects….we need a BIG solutionfor this. Let there be no illusions about this, it’s a businesslike any other, and our generation’s onus is to participateand be very relevant players in the industries we choose.Tell us a little bit about your creative process, how do you go froma concept or an idea in your mind to a complete piece of work?Performance is at the core of all the work I’m interested in. With“characters “ being the spirit of the work and the catalyst for thevisual language eg: the tone , the degree of of comfrontation …relevance. Around this time , as the narrative of the character isstill developing , the costume that will dictate the movement ofthe character is added. Most of the time they clash , when it comes
Featurecharacter came from that.Over the time thatthis character has existedhow would yousay it has developedand where is it going?I think that as we do differentperformances the spaceadds to the “rounding “ offthe characters, I am interestedat how this is such astrong tool in creating anorganic growth of both thestory now in relation to howthe character shall develop.46I know the word Ilulwanemeans bat in isiZulu whatsignificance does thisname have in relation tothe character and why didyou actually choose it?to their sources , this is the reaction I look forward to …the resultof the clash is the basis of the final imagery and performance.Ilulwane is your most ‘famous work’how did this character come about?I was having a conversationabout the gray areas of masculity,a very common subjectwith my friends, and westarted talking about this worldwe haven’t even started talkingabout regarding masculinityand that is the castrati,eunuch….and Ilulwane theI think that as we do differentperformances the space adds to the “rounding “off the characters, I am interestedat how this is such astrong tool in creating an organic growthIlulwane , the bat is alsoin this netherworld…the outskirts on admiration.like the man who isneither man or boy. also abig part of the character isbased old holiwood visionsof the “evil spirit” thatis the shape-shifting bat.This fits with what I amtrying to talk about in mycharacters…their displacementand in return theirdisplacement…which is auniverse I find myself in.Performance art is oftenvery obscure andeven sometimes frownedupon by people withinthe art community, whydo you think that is?I’ve been pondering thatof late ! I think the reasonwhy I use various media is because , I am looking for ,firstlya way to use the said medias language , or it’s most sophisticatedform so it is accessible to everyone. however , to bereal, my visual language strives to be so accessible that , theobscurity is not seen as something that isolates the audience,however the feelings and theviewers sophistication cometogether with me to create astory… together. And “frowningupon “ really , I have notexperienced in the artworld.Dialogue is probably the closestits come, coz that’s alsoevery important part of mak
ing art as far as I am concerned. (laughs)Your work is often very surreal, I want to ask how much of yourperformance is conceptual and how much of it is personal?I believe the integrity of my work isbased around an understanding of myupbringing and how I interact with variouselements in me that are often facedwith resistance. The resistance to myidentity is the motivation behind why Iwork this way. This is also the concept.What relevance do you think work has as anart form to South African audiences today?I think there is a lot of silence and a culturethat is on one hand highly forgetful toviolence and it’s history in this country specificallyour men. This and the resulting displacementis something that noone can saythey haven’t experienced , this is relevant .You have often described your earlierwork as very self-indulgent, why is that?I think this comes from the beginning of myperformance work in the mid noughties, cozeverywhere I went and did these public interventions…abig question from the publicwould be:”What are you doing it for.?” andthis was stressfull and at one point it led me to think that it wasan enduldgence…I live to answer this question and I’ve movedon from qualifying it as endulgence, this is my proffesion.One of the things that I get from watching your work is that youhave an interest in ceremony and ritual and sequences, why is that?I am still comingto terms with thelevel of engagementthat the workrecieves internationally,it is veryoverwhelmingfor a studio thathas been aroundfor 6 years.My character live in this etyhereal space , I’ve performed theseritual killings of them. but Ilulwane is in the afterlife , so theritual element is not that of killing it , but raising it in the afterlife to exist forever. The transityional element in the work…like 99 percent of it’s language…revolvesaround transitions…this requires ritualYour works have been showcasedabroad and in SA, how have you foundthat audiences react to your workabroad as compared to here at home?I am still coming to terms with the levelof engagement that the work recievesinternationally, it is very overwhelmingfor a studio that has been around for 6years. The market as well has respondedvery well to the studios work. Andthat has been great in putting the workI a position to continue my competionwith my critical and commercial market.You will be collaborating with MichaelSubotzky at National Art Fest tell us a littlebit about that and how it came about?The work revolves around surveylanceand will be taking place in two places :inside a 19th century camera obscura andalso as an intervention in the town. I amthoroughly interested in the inclusion/ exclusiondynamic of performance , in a big way. and with thiswork I think I have a big chance of getting closer to articulatingthat to the public.I spoke of the first performance , the secondvenue I will be doing the performance in is at the Provost. Thisis where soldiers during the frontier wars were imprisoned…they can look forward to men spanking and a lot of wetness.47
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FeatureThis is an initiative thataims to bring designersfrom around the worldto Cape Town in order tocreate and implement ideasthat will make the Mothercity more livable andsustainable.50Cape TownDesigns it’s futureWords byYlisa TswanyaThe city of Cape Town is well known forits cultural diversity, but more than thatpeople associate Cape Town with naturalbeauty. Places like Table Mountainand the Kirstenbosch Botanical gardensare two examples of this. CapeTown can now add World Design Capitalfor 2014 to its accomplishments.Cape Town’s famous Table Mountain was recently was added tothe Seven Wonders of the World and this made the tourism industrygrow a little more in the Mother city,despite despite the recent credit crunch.Art and design isn’t something that wouldcome to mind when thinking of CapeTown, but now it can. The InternationalCouncil for Societies of Industrial Design(ICSID) has named Cape Town asthe Design Capital of the World for 2014.“The tourism market that is so greatand is always growing in South Africaand more so in Cape Town, urbantourism is by far the biggest segment ofthe global tourism market, ”2011. This was done in the form of a bid book which consistedof the theme and ideas that the city had planned for whenthey received this title. It was handed over by previous CapeTown Mayor Dan Plato a day before the formal ICSID deadline,31 March 2011. Three cities were shortlisted and thewinning city, Cape Town, was announced in October 2011.Cape Town’sbidding campaigngained extensivesupportfrom both theThe title of World Design Capital is awarded every two years(bi-annually) to give more prominence to cities that use the designplatform for their social, economic and cultural development.This initiative was launched in 1957 by the ICSID andthis accolade has been of the Design Capital of the World hasbeen awarded three times-to Torino in Italy(2008), Seoul inSouth Korea took the prize in 2010 and Helsinki in Finland wasthe 2012 recipient; Cape Town is the Fourth city to receive it.Cape Town which is more commonly known as the MotherCity bid for the title of World Design Capital in Marchpublic and privatesector as itprovides an opportunityand aplatform to set indesign thinkinginto urban developmentplanning,for social
and economic growth. This accolade has enhanced CapeTown’s global reputation, now it’s not only known as a placewith natural beauty and a place with vast cultures, but alsoas one that takes design into serious account and as somethingthat can enhance the quality of life of its citizens.Patricia de Lille who is a member of the Democratic Alliance(DA), and is also the Mayor of Cape Town, acceptedthe award on behalf of the city. In her acceptance speechshe mentioned that the city belongs to its people and it musttherefore be designed for them and with them and their communities.She also expressed what an honour it was for thecity to be awarded this prize, “It is an honour for me to beaddressing you here today as mayor of the first Africancity to be named a World Design Capital,” said de LilleThe theme which can be found in the 465 page bid book, and wonCape Town the bid was ‘live design. Transform life.’ When speakingto people of the general public many of them said that thistheme is self explanatory and that it can refer to how design canhelp you see things in life differently because of design and art.According to www.capetown2014.co.za, the official World DesignCapital website of Cape Town the meaning of the theme isfocused strongly on socially responsive design. “Our bid recognisedand mobilised Cape Town’s considerable design resourcestowards addressing the legacies of our city’s apartheid past. Itis aimed specifically at dealing with the vast imbalances thatexist in our society,” is how the website describes their theme.This was all organised into three broad themes: rebuildingCape Town through communities working together, to reconnectCape Town through infrastructural development and thelast theme is to reposition Cape Town’s economic knowledgeThe tourism market that is so great and is always growingin South Africa and more so in Cape Town, urban tourismis by far the biggest segment of the global tourism market,previous holders of this prize have seen an increase inthe number of visitors due to this title that they once had.Bulelwa Makalima-Ngewana Managing Director of the CapeTown Partnership and co-ordinator of the bid said on behalf ofthe city of Cape Town that it was the support of stakeholders thatensured that they won this privilege, “It has been a long and rewardingjourney to get to this point. The real key success has beenthe partnerships that have been forged during the bid process, andunwavering support of the City of Cape Town and the ProvincialGovernment of the Western Cape,” said Makalima-NgewanaThe title of World Design Capital 2014 results in a year long programmeof design focused events that will allow creative communitiesglobally, to turn to Cape Town for social, economic and culturalsolutions. The city is awarded the prize in advance to allowthem sufficient time to prepare, develop and promote a year longprogramme of World Design Capital themed events for their designatedyear. In the year 2014 we should look for design pieces andprojects around the winning theme; “Live Design. Transform Life”.51
The winning City has to however pay a licensingfee of 150 000 Euros to the ICSID for having thistitle, this amount can be paid over a two year period.The winning city can in turn use this investmentas leverage when wanting to attract funding fromthe private sector to promote the title for that year.The question that many might ask is what is the City ofCape Town doing now that they have won? Cape Town isnow putting up necessary structures and positions to ensurethat by the year 2014 the World Design Capital programmelives up to the bid promise made in 2011. Crucial networksof partners have pledged their support. This includes provincialgovernment, the creative industries, academia andas well as the media. Local design leaders are also amongthose that have pledged their support for the initiative.A beautiful city that is a melting pot of all things creativehas now added World Design Capital to the mix. Cape Townbeat out many competing cities for this title and this is allthanks to the things that make Cape Town beautiful from thenature to the culturally rich people that inhabit the city. CapeTown has much to inspire to the world and this proudly Africanbid has given the opportunity for Cape Town, SouthAfrica and the continent to be on the global design map.
Feature54TemprachaHeating upCele is the founder of Tempracha clothing, w031Sanelecaught up with him and spoke style, collaboratingwith Spoek Mathambo and vintage fashion.Tempracha will be working a few collaborations throughout 2012 includinis set to drop in the coming weeks and promises to be somethTell us a little bitabout how you gotinto fashion andwhat attracted youto this art form?First and foremostI believe artists areborn as opposed tocreated. However, a couple of early influencesthat helped me find my path werethat my father modeled in his earlier days ,hard to believe but he was a clothing modeland my mother has to be the highlightas she use to buy and sell clothes locallyin the hood and she had a very intricatesense of style . My hood UMLAZI had alot of influence, still solemnly there is noother set place, in this country that possessessuch a vast range of style, most ofthe looks I wear personally and that inspirewhat I do are based from this township.Tell us about the Temprachabrand how did it come about andwhy did you pick that name?The name was coined about 6 years agoduring my early days in the industry. Meand a partner I started out with wanted aname that related to Durban, so the namealludes to Durban being known as the sunnycity not the best of concepts but for mespeaks a lot ,and when me and my partnerparted ways ,I chose to stick with it, notknowing in the later stages of my life ,it willbecome such a workable concept brand.You are part of the Vodacom Colorcampaign tell us a little bit abouthow you got involved with that?At the start of the campaign, Vodacomwanted young people who were movingon their own orbit in their cities. So I wasselected as Durban’s first superpeer basedon a number of recommendations as onethe city’s outstanding movers and shakers.That too was a blessing as still even today,I do not know who recommended me.Tell us a little bit about your creativeprocess, how do you go froma concept or an idea in your mindto a complete piece of work?
eI’m very flexible with my creativeprocess, meaning I let my ideas runwith me. I don’t have a set model ormethod to creating any pieces. Ideascome to me in many different waysbe it dreams or impulsive inspirationfrom a piece of material or it besomething I saw downton , cause I ama very observant person and have aphotographic memory ,so I never knowwhat my eye captures half the time.Your clothes have a very offbeatfeel to them, I want to ask howmuch of your work is conceptualand how much of it is organic?What I do is never calculated orconceptualized half the time, mostof my work springs from what’s infront of me that very minute.offbeat?I do not know about but what I canstate ,is what they consider offbeatnow,becomes the tune of the day later.You recently styled some of SpoekMathambo’s videos, tell us a bitabout that and how it came about?Spoek and I met through arecommendation but we had metbefore in a studio in Joburg, as he wasin the process of recording track with aclose friend Smiso Zwane for his debutalbum and me having done the projectwouldn’t have been possible, if Spoekwasn’t willing to give this young soula chance, GOD bless him for that. Thecollaboration was written in the starsthough in the sense that he is to theSouth Africa’s new school music seeng the much anticipated women’s range whiching hot for those winter days.what Tempracha as a brand has directed its sails to beingin our new school fashion scene. A breath of fresh air.How difficult is it to plan something forsomeone that is already a brand like Spoek?As with any work of art it’s important to putheart into what you do. However becauseSpoek is such a big brand there was morefocus on efficiency and, considering I had twoweeks to put the project together, strenuoustime constraints. It was also very conceptfocused and to the book, which (as I mentionedabove) is a method of work I’m still grasping.Over the last few weeks you have beendropping some new items tell us a bitabout what inspired this new range?I’m trying very hard to infuse a local flavor towestern trends and cooking up something we toocan label as local, not really drifting away from whatwe used too,but seal a South African stamp to it.One of the things that I get fromcommunicating with you is that you aretotally against this idea of vintage why is that?It’s not necessarily the idea of vintage that I’magainst, I make my own but I still thrift till today.Use your sources,but conceal themwell- that’s basicallyoriginality in a nutshell and don’t beafraid to experimentIt’s the steady growth of mass fashion at theexpense of individual style that I am opposed to.This obsession with vintage fashion causes theindustry to stagnate from an innovative point ofview. As far as I can remember we hunted to createor finish off looks we couldn’t afford or get ourhands on, and more create looks without necessarilylooking like you stepped out of a time machine.What advice would you give to peoplethat are still trying to find their own style?Use your sources, but conceal them well- that’sbasically originality in a nut shell and don’t be afraidto experiment and life is not a rat race but a journey.South Africa has a very strong style tradition,what relevance do you think fashion has asan art form to South African youth today?Fashion is instrumental in deciding and documentingthe lifestyes and direction of the youth of today. Frombell bottoms, to dickies, all stars and fitted caps.55
In the shadow of the magnificentCape Town stadium, which hostedfive group matches and a semi-finalmatch during the 2010 FIFA soccerworld cup, is the Green Point cricketground where the fifth annual tasteof Cape Town was held recently.The parking lot outside the Cape Town stadiumwas abuzz with excited ticket holders,anticipating to go inside to see whatall the exhibitors had to offer the. The excitementinside the cricket grounds was almosttangible as exhibitors and chefs fromall around the country cooked up a storm.Foodies, culinary experts, aspiring chefs, touristsand your regular food lover all bravedthe windy Cape Town weather to be at thisevent. This four day extravaganza was amixture of great food and drink, enough tosatisfy even the most refined of taste buds.Whether the parking lot was strategicallyplaced so far from the entrance is questionable,because one could have easily worked up a bigappetite from the lengthy walk. But the foodinside would be able to take care of any appetite;anyone from hungry to severely famishedwould find it difficult to leave disappointed.The festival sported various types of foods anddrinks made by culinary experts and servedby eager servers, and always with a smile.61This unique culinary event brought togetherCape Town’s most acclaimed restaurants andsmaller carefully selected exhibitors. Onecould easily engage with the culinary andbeverage experts. The festival also allowedfor the restaurants and exhibitors to givethemselves a bit more exposure and recognitionfrom food lovers and the regular person.tastingthemother city!Food is one of South Africa’s favourite past times, whether itis a bunny chow or amagwinya or kooksisters and braai vleis.The annual Taste of Cape Town festival is a gathering of foodfundies, Yolisa Tswanya visited the recent edition of which tookplace at the Green point cricket stadium.
FeatureThe Green point cricketstadium was the backdropon which the festival tookplace. Restaurants andexhibitors from all aroundthe mother city were onhand to showcase someof their best dishes, winesand beverages.62Some of the exhibitors that were showcased atthe event where; Gordons Gin, Joubert and Monty(J&M) biltong. Both these exhibitors are wellknown and this event was just extra recognitionand this gave people a feeling of being able to enjoyfood they were accustomed to. Right next tothe J&M stand was one of two stands that offerednon-alcoholic beverages, Wrigley’s Orbit had bartendersmixing up smoothies and serving juiceto non-alcoholic drinkers. “Surprisingly peoplestill wanted a smoothie even when it was cold,”said Sean a bartender working at the Orbit stand.A unique experience was also offered at the Pick ‘nPay chef’s theatre, where anyone could go in and seethe city’s top chefs in top form. Culinary challenges,demos and tutorials where offered. The Pick ‘n Paywine and canapé experience also gave guests a placewhere they were taught how to prepare and make deliciouscanapés, all instructed by wine experts whowill then pair each canapé with complimentary wines.One of the festivals big sponsors, Wrigley’s Orbit,had a competition running where visitorscould chose their favourite dish and they stooda chance to win a night for two at the elegantLa Colombe restaurant located in Constantia.Various sweet and savouryflavoured dishes from aroundthe city were on display at thefestival
63One of the things that makes the taste of Cape Town such a unique festival is that it is a mixture ofpeople who come from different food and drink related disciplines-both at professional and entry level.La Colombe’s prawn coconut and lemon grass velouté and watercoconuts was a strong contender in the Orbit competition,which would have left La Colombe chef Scot Kirton proud. Butthe winner was Malika van Reenen of the Signal restaurant atthe Cape Grace hotel in the V& A Waterfront. Her winning dishwas the grilled prawn, green risotto with spiced mango foam.The festival had many foods to taste and those that wanted tobuy had to do so by using the festivals officialcurrency, the Crown. Basically a pieceof paper that was exchanged between guestsand exhibitors instead of actual money,some restaurants did however accept cashand one or two had a credit card machine.Each Crown was worth R5 and the food thatwas on sale cost between 4 and 8 Crowns.The festivals organiser Justine Drake said on the official websiteof the Taste of Cape Town that the Taste of Cape Town is a muchanticipated event on the city’s social calendar. This statementwas proven to be true by the number of people that came to supportthe event despite the unpredictable weather of Cape Town.The festival proved to be a perfect outing for the whole family.Everyone would have something to keep them entertained.The kids a play area allowed parents to let the little ones playand make friends if they got too tired of walking around. Forthe drinkers that would not be able to drive home there was ataxi service called the Nite Owls, their slogan is “you drink…wedrive.” The JimmiJagga tent was according to a couple of guests“Another big hit at the festivalwas the Fine Brandy byDesign tent that was amongthe top contenders in the Orbitcompetition. ”the “life of the festival”, they specialise in a couple of interestingfusion wine spritzers, with subtle fruit flavours from KWV.Their tent was very elaborately decorated with feathers, brightlights and hosts and hostesses in extravagant outfits. They alsohad a place where guests could grab a few props like top hatsand feather boas and have their pictures taken. Many used thistent as a place to go dance, as it resembled an elegant night club.Another big hit at the festival was the FineBrandy by Design tent that was amongthe top contenders in the Orbit competition.They had various promoters with trayshanging around their neck, advertising theirenticing six course menu paired with themost exquisite brandies of South Africa.Aside from visitors the festival had promotersand brand ambassadors from various brand and companies hopingto lure visitors to their brand or simply give out testers. TheWrigley’s Orbit girls were supplying free chewing gum from startto finish, “we don’t want people to leave with like garlic breath”,said Michaela Perremore one of the girls representing Orbit. TheDunhill cigarette promoters had a bit different job as they couldn’tapproach people and waited for people to approach them as it’sagainst the law to promote cigarettes they kept parroting to people.The Taste of Cape Town had many people leaving happy and contentand if you missed the show in Cape Town there will be anothernext year or you could go to Durban and Johannesburg in thecoming weekends. It is a highly recommended event to attend.
Commentary64in defence ofGeneration xTraumatised by a childhood experience of being labeled a coconut, Lerato Sokhulu considersThe year is 2002, on a sunny Mondaymorning in Pinetown a life alteringevent occurs. A young girl whohas never questioned her identity orrace has just discovered that in fact,she is an outcast amongst ‘her people’or rather people that look like her.This is the day Iwas ordained andlabeled as a classic ‘Coconut’. Being 13years old and very naive I’m not sure Ifully understand what these girls are accusingme of as they corner me during lunchtime at school. I ask ‘what is a coconut?Most importantly why I am being accused of this ‘atrocious’crime? I learn that the term coconut, used predominantly inblack communities, is when a black person is ashamed ofhis/her race, shuns all black mannerisms and imitates the behaviorof white people. In a literal sense these girls wherecalling me black on the outside but white on the inside.The reason for this confrontation was because these girls noticedthat I interacted a lot with white people and black peoplealike, and I must correct this wrong by choosing a side. I alsowhether our racial labels still hold water in 2012“The term coconut, usedpredominantly in blackcommunities, is when a blackperson is ashamed of his/her race,shuns all black mannerisms ”discover that my crime is not only being a coconut but the factthat I live up in the suburbs therefore do not know and cannottruly understand what it means to be ‘Black’. I’m devastated ofcourse, and ashamed that I was not aware of my inappropriatebehavior. I’m greatly offended that I am accused of shunning myown people and ignoring my own culture. So I chop my relaxedhair, which by the way all these ‘real black girls from eloxion’adorn on their heads. I grow an afro and startlistening to hip-hop and acquiring the mentalitythat the white man is enslaving the blackmind and I must be against anything white.Fast forward to 2012 I am a young adult nowand starting to be comfortable in my ownskin whether people approve or not. I am solid in my convictionsand believe that no one can ‘enslave’ my mind white orotherwise but me. I still don’t fit in with the black girls fromthe hood and it seems that i don’t really fit in with the whitegirls in the suburbs either. Enter: THE X GENERATION.That is what people like me are called, because we have embraceda neutral stance in the whole South African race issue.We are the in between, the misunderstood, and almost lookdown upon because we refuse to pick sides in this race matter
that’s so important to black people. It’s almost as if we have created anew sub-culture. Being exposed to racial prejudice sometimes all I seeis black and white. Which leads me to question the rise in the amountof black kids in rock/alternative bands in my country in the present day.Kids who are from eloxion are breaking the stereotype of being a ‘realblack’ that I was once accused of not being because I’m from the suburbs.I am faced with three questions. Is this x generation so tired of being ridiculedby their own kind that they have finally given up on trying to blend inand now are purposely trying to stand out from their race? Are they into rock/alternative, which mostly listened to by white people, music for the ‘cool’ factorand being unique. Lastly do they even know the origins of this music andthat instead of being unique they are technically going back to their ‘roots’.I’m not sure how many people white or black know that rock music was not inventedby a white man. This was a music movement started by black musicians inAmerica dating back as early as the 1930’s. That the genres that rock was derivedfrom was gospel, jazz and R &B /the blues. And the reason that most people mightnot know this is because of the racismblacks in America were facing at thatThe reason for this confrontationwas because these girls the music industry was because of thistime. And the reason why black musicianswere not as commercialised byinjustice. As a result names like Chucknoticed that I interacted a lot Berry, Louis Jordan, Bill Haley toname a few, fell into the backgroundwith white people and blackafter Elvis ‘the king of rock’ blew up.people alike, and I must correctthis wrong by choosinga side. I also discover thatmy crime is not only being acoconut but the fact that I liveup in the suburbs thereforedo not know and cannot trulyLet it also be said that I do not considerElvis to be the king of rock. Ifeel the one performer more responsiblefor coining rock music was MuddyWaters. With electric music from itsSouthern rural roots, his style wasa combination of amplified vocals,guitar with drums, piano and harmonicawhich prefigured many of therock n roll bands to come after him.Without losing sight, I feel at oddsunderstand what it means to that these kids are seen as losing theirtrue culture because they are branchingoutside their norm. Is this notbe ‘Black’. I’m devastated ofwhat the Mandela’s of our countrycourse, and ashamed that I fought for? For black people to beable to become whatever they wantedto be whether it was traditional orwas not aware of my inappropriatebehavior.not? Was the struggle not about blackpeople being able to live in largeopulent homes such as their morefortunate white neighbors? Don’tget me wrong, I’m not saying that now because black people are liberated theyshould cast away their beliefs and culture just because they are not oppressed anymore.But that we as the black or white or whatever race, but more so blacks becausewe are the ones that hate on each other, should rather strive to find balancewith our new found freedom and work on become unified. Whether you grew upeloxion and like rock music or grew up in the burbs and listen to house music.In conclusion I’m all for black kids from the hood branching outside the predominantlyblack music genres and exploring and not confining themselves because ofa small thing such as race. I’m all for breaking stereotypes and being free to bewhatever you choose to be and express yourself they way you want to without beinglabeled a traitor by your race or otherwise. I’m all for kids from the burbs beinginto house as well. Music after all has no color and does not belong to anyrace. Whatever the language, everybody understands music, so why can’t we understandeach other? Live and let live maan and leave the x generation alone!!!
Theme: How education killscreativityDate: 23rd May 2012-Venue: Vega school of brandcommunication.Time: 19:00Entry fee: R30
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ReviewsHackedAt some point after reviewing toomuch South Africa music you eventuallyget desensitized to the sentimentalityof it. You know how thoseProudly South Africa tags often companylocal works as if geographicalpositioning and relevance are somehow historically aligned. Here I mustbegin by praising something otherthan the music itself. The fact that theproducers of Otelo Bruning thoughtHeartbreak echoesAdult contemporary music is perhaps as anti-feminist as youcan get when it comes to music. The needy clingy malecentriclyricism is about as far as you can get from feministtheory. For some reason after seeing the cover art forthis album I was left with a tugging sensation in my tummy.That, “Whatever happened to Norah Jones the dying songbird?”kind of feeling. Now these feelings of course were largely fueled bynostalgia and a personal narcissism. But Norah Jones’ latest album is somewhatrevealing of the artists darker more pensive musical mood as of late.68it a good idea to produce a mixtape togo with the film was actually a goodidea. They have somehow recognizedthat music and film especially inSouth Africa are art forms that are asreliant on each other as they will everbe. Now if only the producers had actuallytaken the conception of a mixtapeand actually carried it out. About4 songs into the album I feel largelyrobbed, firstly by the fact that the albumactually comes as a bulky 31mbdownload where all the tracks aremashed together into one 45min longlistening session. The result is a feelingof obligation rather than choice.The music itself is also equally problematicnot because its bad but becausemost of the songs effectivelygo against the idea of a mixtapemade for movie. Most of the songshere have been heard before or releasedsomewhere else which bringsthe whole thing apart at the seams.The only real moments of surpriseare a cathartic Thongo lami andCold world both by lyrical mastermindTumi’s. in the latter he musesabout a poor girl and how he is “afan oh her’s and everyone on highalert actively making two minutenoodles from life’s can of worms”Little Broken hearts is an album that is made in that dark spatial nothingness when everythingemotional about life decapitates and its just you and your reality. The openingsong entitled Good morning is a piano based ballad. But here there is no spacing thatallows Jones’ voice to enter periodically making use of her virtuosos might. Instead thepiano’s melody is sustained. What this song does is remind us about the power of simpleworded songwriting coupled with a unique voice to create somewhat fuzzy imagery.Say goodbye follows up but plays a much more upbeat tune. It’s also a song thatclearly indicates that what we have on our hands is an artist that is creating a memorybook, where there are chunky meats of narrative to sink ones teeth into with all theextra nibble bits such as methodically paced vocals and well timed melodies. But herethe songwriting avoids falling into that cliché, “sisters are doing it for themselves,”nonsense that we are often subjected too. Rather employing ironic and somewhat humoroussongwriting, with lines like, “It aint easy to stay in love if you can’t tell a lie.”Norah Jones is showing the multiple angles of being somewhere in the dying stagesof a relationship. The title track for the album also showcases that this is not a vulnerableoffering, it’s not about female victimhood but rather this a project that aimsto capture the shards of something ending and it does so often gingerly and at timeshauntingly well. Perhaps the best track on the offering is Miriam, a dark ballad aboutfemale confrontation in the wake of an infidelity. This is a song that epitomizes NorahJones on this album, louder than usual with the same amount of musical eminence.
Songs for an outsiderWhen I first heard Santigold I was somehow convinced thatshe would be one of the most the most musically rebelliousfinds of the year. Her immersive gritty anthem Disparateyouth has been getting some frequent airplay. The single isboth energetic and measured, feeding of the flesh of Caribbeaninfluences and creating the feeling of a musician whois fresh out of exile struggling to cope with her reality. But the album on the wholedoes not reflect this energy. The opening track entitled Go! In an unrefined musicalmess that sort of leaves you thinking of Santigold as a merely more refined versionof Gwen Stefani back when she was still trying to make half decent music.The third track on the album is symptomatic of the overall feel of this offering,entitled God from the machine is desperate clingy and somewhat overreachingand is the product of a professional attention seeker. Its robotic music made outof linear creative chasms that fail to inspire. Fame is another song that makesit harder for Santigold to distinguishherself musically, it tries too hard tobe experimental with rock and basssounds and ends up feeling ratherflat like it was a sound chucked inthe album and cut in the studio outof indecision. The only light can befound three quarters of the way intothe album, The riots gone, is redemptive-the elegy of a woman defeatedby her own sense of danger. Thedrums feel like a tipping point for afurious fight back but unfortunatelythey come too late to save this albumVisit http://mindmapsa.comSoul exit woundsThe opening skit ofthis album features aman telling people tosit down and listen tohim. The irony of thisis cruel consideringthat Samthing Soweo comes froma generation that has been taughtto do exactly that. The openingtrack on this album is promisinga grounded beat boxing rhythmcouple with Soweto’s hip-hopflow make up for a pleasing appetizerto the rest of the album.On this song he sounds like an oldvoice with a admirable ability toput everything in its place. Butunfortunately when he discoversthis formula works so well for hissensibility Soweto hs forgotten tocontinue to innovate, the followingtracks feel like slight variations ofthe same beat-box. The inconsistencyin lyrics also does not help the cause.This album feels to premeditated and‘long time coming’ and does not reallyshowcase an artist that is evolving.PEOPLEPLACESIDEAS
Feature70MaritalPostmortemThis multi award-winning film about the troubles faced by a manand his wife as they try and get a divorce is socially sensitive buthas a strong narrative at its center.words bySihle MthembuAlisa Miller in 2008 delivered a TEDtalkabout how proportional coverage of theIraqi war was the central news-point inAmerican medias psyche, so much so thatthis limited coverage of all other issues to asomewhat tokenist role. I fear that this sortof invasive news based perspective of theMiddle Eastern region has made us somewhat social insensitiveto the everyday dinner table issues of people in that region.In South African memory issues in that war prone regionoperate in a somewhat borderline narcissism, whether thereare those that are right and those that are wrong. The politicalimagery and rhetoric eclipses any other form of observationwe might have about the region. This is why I feel glad thatA separation is a film that shrugs of the political identity ofthe context in which it is set. It would have been so easy for……….. to make use of this is a crutch onto which to base thisfilm. But the absence of readily identifiable political position isperhaps the film’s most centrally powerful decision. It allowsthe narrative to claim its space without fueling easy and simpleminded attitudes that are always looking for something to leanon. From the title it’s easy to assume that this film is about adivorce process and the particulars that come with a wreckedrelationship. But it’s not just that it’s about how a single eventcan trickle down and effect lots of people ultimately challengingthe thickness of their moral fiber. This of course one levelhas a strong resonance with events in the country. Where sooften in the past singular happenings have resulted in differingsocial consequences particularly for the Iranian middle class.What I found intriguing about this film is that it is not as visualenticing as those made by other Iranian filmmakers. Particu
It may be hard to believe but not all of us end up as carbonlarly those of Sherin Neshat, this film is almost self-consciouslydiscreet instead of the grand visual canvases employing analmost clumsy shaky cam style. The opening scene introducesus the Nader and Simin as they both state their case toan unmoved judge. Simin Wants to divorce because her visais about the expire and she desires to move to an unspecifiedcountry. Nader on the other hands does not necessarilywant to stay married but views his wife’s actions as those ofa coward. This however is not the nerve center of the story.What………….has done is created an narrative that is pushedforward by being somewhat elusive in nature. This is a film thathas strong emphasis on detail, where every little scene does notimmediately seem important but in the grand scheme of things playsa crucial part in driving the narrative to its climax. A separationis a film that tests how people experience things and challengesthe audience and employs the viewer’s memory to make sense ofthe story. After Simin has left, Nader is forced to hire a nanny forhis father who suffers from Alzheimer’s. The nanny is religiouslydevout woman who at some point leaves the old man to run anerrand, unfortunately when she comes back Nader is already backand all hell breaks loose and Nader is later accused of havingcaused the woman’s miscarriage. This is story whose power liesin its capacity to deny us the ability to categorically state who isright and who is wrong. ………….. has created a film where wecannot be sympathetic to any of the characters because they insome small way have played a part in how their fate turns out.The film it must be said is particularly cruel to Simin whom it isimplied had she not initiated the divorce perhaps none of the cruelevents that take place in Nader and their daughter Termeh’s lifewould have happened. She plays a key role in the earlier part ofthe film by being absent. This film is characterised by a persistentvictimhood both amongst men and women bringing them bothto an even social stand. This is a strong film whose script isclinically executed by a cast in full tenure of their acting dexterity.This is a film that has strong emphasis on detail,where every little scene does not immediatelyseem important but in the grand scheme of things playsa crucial part in driving the narrative to its climax71
Reviews72words bySihle MthembuTastefulsexual fluxsSteve McQueen’s lastest film is an inward studyof a very sexual manex is cinema’s most ceremonial subject matter.It is the vehicle through which many filmmakershave turned their scope. It’s a chasm in whichunusual desires and peculiar identities find theirroot. Often this biennial obsessionwith sexuality isglossed over under the banner of second ratecomedy or weedy romance, varnished overas a subject matter that exists at a casualsafe distance, doing nothing confrontationalexcept being randomly inserted midwayand somewhat driving the narrative forward. This sort of functionis derived from the ‘sex sells” school of cinema. Wherejunior minded filmmakers see sex as a toll that is related tonothing more than the people participating in it as a necessity.The trouble with sex when it is cloaked under that troublesomeand often hard to define term of ‘art film’ is that the sex itselfbecome rather blurry and I don’t necessarily mean this in a“McQueen is adirector that isattracted by obsessiveand rather masculinecharacters”visual way. In art films sex becomes somewhat a weapon, aweapon used to affirm some sort of sexual identity and a toll tofight against memory and social flux. This form of sex is oftenthe primary vehicle to affirm the impossibility of life and eventuallymake weak one dimensional characters that do nothingbut exist in their own narrow locality. Unfortunately becausevery few filmmakers are even brave enough or given the abilitythe dabble into this sort of narrative the result is that audiencestend to relinquish their critical eye and morepraise than is necessary is often awarded tothis visceral and often implausible cinematicexercise. In this vein I am thinking of VonTrier’s Antichrist a visual intriguing piece offilm but neither logically mastered no introspectivelyintriguing, it operates there in themiddle where weak Avant-gardisim is a primary commodity.Fortunately Steve McQueen is a more sensible and somewhatsensitive filmmaker than that. McQueen is a director that isattracted by obsessive and rather masculine characters. Obsessivenot in a menacing way but in that they have madepeace with a somewhat repetitive life routine. First it was adevastating portrayal of Irish prison strikes in Hunger. This
time McQueen has tackled a rather more senile subject matter.The issue of a closet pervert. McQueen’s skill as a directorlies in his ability to use the lens as metaphor, a canvas wherebeautiful and devastating imagery are infused to create a stirringsense of narrative, time and space. The opening imageis almost baroque like in nature. Tonal with rich blue shadesthat immerse Brandon’s masculine and Adonis like torso.Played by Michael Fassbender, Brando is a centrally disastroushuman. A well to do working man he is also one whosuffers from an almost chronic need to masturbate, is an avidcollector of porn, user of prostitutes, believer in random sexand a casual drug user. However he is a character who doesnot operate in that stereotypical land of social debaucherywhere men of this ilk often find themselves, and this is whatmakes the film interesting. What McQueen has done ratherwell here is mix both delicate and rather rough sexual scenesto create a multidimensional and largely realistic characterthat at various stages of film we can somewhat sympathiseand even identify with. Shame is a restrained cinematic product;here there are several key areas where the orgasmic experienceis not explicit but instead implied. McQueen has insteaddecided to employ a more slow and focused approach.We get a glimpse of Brandon’s atomic nature in an earlier sceneof the film where he stares at a woman in train, he seems to somewhatcreep and both turn the woman on. He later tries followingher but the chase eventually dissipates in the hustle and bustle ofthe evening crowd. Emotional aloofness is what makes Brandonboth psychedelic and ultimately well executed. He reservesthe right to judge despite his hidden and obsessive nature. Heis particularly judgmental of his sister who after several persistentcalls decides to come and live with him. This is perhaps themost worrying part of the film as there is an unsettling sexualcomfort between the siblings. When Sissy moves in Brandonfinds her stark naked in the shower and instead of turning awayas any ‘normal’ sibling would he instead decides to stay andtalk, even later hejumps on top of her whilst he is naked. Thisunidentified relationship is later amplified as Sissy comes andsleeps in Brandon’s room, something that clearly unsettles him.It must be said that Fassbender must have been feeling ratherOscar-worthy when he took this role on, there is a disquiet abouthow seemingly comfortable he is with the sexual content that iscentral to driving the depth of his character home. This film isalso very much about defining identity. But despite his fluctuatingnature McQueen allows us to sympathise with Brandon becausehe is ‘something’ as opposed to his sister who is desperate andoften clingy. As sick as it is Brandon’s sexual nature is an entrypoint through which we can begin to understand the man as opposedto Sissy who tends to speak in high pitched voice and hasan unnecessary need to apologise. It is also ironic that Brandonadopts a somewhat preachy approach to dealing with her. Tellingher to make something of herself and stop suffocating him.Its under the framework of this story that McQueen’s stylisticdirectorial devices find their power. His long sequenced shortsempower the viewer to get into the meat of the narrative withouthaving to be disturbed by the cutting between shorts andinvasive editing. This is particularly useful in a scene whereBrandon is out on an actual date. The unremitting discussionis only broken into chucks by a waiter but other than that thescene does what that sappy Avant-Gardism I spoke of earlier oftenfails to do; it creates a reality that holds the story together.But because of his attraction to disaster Brandon is one who strugglesto redeem himself even as he throws out his porn and goes forlate night jogs. Instead he degenerates internally right before oureyes, pushing his sister away and relying on that age old crutchof sexual dominance. The latter part of the film is McQueen mosttelling visual work yet, it infuses almost sun burnt tones and is asomewhat internal perspective of what it is like to live that lifestyle.The viewer becomes the second eye and almost a companionto Brandon as he runs himself to the ground and barely avoids thebrink of disaster. What particularly appeals about this latter sectionof the film is that McQueen does not spoon-feed the viewerby being literal about everything including whether or not Brandonis bisexual. Instead he has allowed the reader to draw theirown conclusion about how the film ends. But this is not done inthe usual flat- coup-out manner to which many of us have becomeaccustomed. Instead it’s a rather dry and appealing moment thatcould be seen as both redemptive or the death of a one of a kindcharacter. The result is not shocking but very sturdy and poised.73
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