#Conversations

Conversations about life, art, spirituality, adventures and lifestyle that unlock the inner-spirit

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     David Tshabalala Illustrates his path to success

By: Thanduxolo “Thandz” Buti

I believe that all young creatives across the world need to discover one thing in order to attain everlasting success. This thing is called authentic power. Famous spiritual teacher, Gary Zukav, defines authentic power as: “When the personality comes fully to serve the energy of its soul.”

David (27) is for me one of those artists who have been fortunate enough to discover their authentic power at an early age. As a result he has immaculately designed his career around his passion, which is illustration. By being authentic he has attained success and accumulated accolades, his highlight being included in the “Mail & Guardian 200 Young South Africans” list in 2015.

David is also the co-founder of Suketchi, a creative and design agency that offers graphic design, product & lifestyle ranges, media, arts and events. He has also created an inspiring annual social media exhibition called Run the World, where he illustrates women who inspire him every August. The exhibition is garnering quite a following and shows that he is not just a creative entrepreneur but a young a mind that uses his work to inspire.

I caught up with David in Maboneng to talk about his inspiring journey in Johannesburg. So when did you truly fall in love with illustrating? David: I started in crèche. Like everyone else in crèche we used to get crayons and paper to learn about colour. But I took it further than most kids because I really enjoyed it more. While to them it was more of an activity, to me it was something that I truly looked forward to.

Being raised in a small town like Harrismith, what inspired you to pursue illustration as a career? David: I think that is the beauty about media, television to be specific because there wasn’t much social media back then, it was quite an inspiration. I used to watch cartoons and I knew that is what I wanted to do. I didn’t know exactly what that career was called, it was just amapopeye to me, but I knew I wanted to do that. I realised that such stuff happen in Jo’burg and so in high school I started working towards making it happen.

I then enrolled for graphic designing at Central University of Technology (CUT) in Bloemfontein. Drawing was offered as one of the subjects in the course. The curriculum was quite a challenge for me, especially the technical aspects of it.  I was not the best in class but I think I had the most passion and that allowed me to grow and go further.

Now that you are pursuing the career, do you feel like there is room for growth as an illustrator in South Africa? David: Definitely. I think illustration is a nice alternative to photography. Illustration adds quite an interesting flavour to images and it will be quite a big medium as time goes by.

Was it challenging turning this creative passion into a career? David: I would say it was quite natural for me because graphic designing was my main thing. Graphic design is kind of better in terms of jobs because it’s your logos, letter heads, billboards etc.  What I used to do was to incorporate illustration into that and that sort of set me apart. In our industry once you do something great for one brand, it becomes easier for other brands to approach you or trust you.

All careers have their ups and downs, and sometimes they can make us lose our focus. Do you have any moments in your career that helped to put you back on track? David:I would definitely say being included in the Mail & Guardian 200 young people in 2015.  That really boosted my confidence because you get nominated by the public. To know that there are people even outside of design that get inspired by my work was quite a big accolade. 

I think there are still many young creatives coming to Jo’burg to chase success but very few attain the latter. What would you say one needs to do differently in order to “Make It”? David: I think you must treat yourself as a brand. You need to be able to recognise opportunities no matter how small they may seem and use them to get to the next step. It’s also quite crucial to approach the right people and not just affiliate with anyone. Lastly, package yourself properly so that people can be able to take you and your brand seriously.

You have a company called Suketchi. Please tell me what was your intention with opening your own company? David: Firstly, the name Suketchi means sketching in Japanese. I used to work at “Soul Providers”, which is a marketing agency. There was such a strong demand for design work that it made sense for me and my boss to create a new platform, so we created a creative and design company.

What would you say inspires you as a creative entrepreneur? David: I am inspired by young black creative because I think this industry is still traditionally white. I would love to work with more black creative’s or even compete with, I don’t mind.  As the co-owner of Suketchi I love the idea of inspiring other black creative’s in the industry. I am also inspired by other black creative entrepreneurs and they always make me push myself.

I think I have had quite a few conversations with other creative’s and collaborating is one of the main things they advise other creative’s to embrace. In your view, do you think young black creative’s are embracing the concept? David: I can say there is because I have seen it happen. I love that you also see people with different skills or from different sectors collaborate. I would say they are collaborating more because everyone seems to have respect for their craft. For instance, I am not a photographer and I respect photographers so I am not going to wake up one morning and say ‘I’m a photographer’. If I need a great photographer then I always find a photographer from my network pool and that’s collaboration. I believe you work your ass off to be able to earn any title and it shouldn’t be different in the creative field.

What is the bigger plan for Suketchi? David: We are working towards acquiring our own office space and also the business to have its own infrastructure, our own little team of designers so that we can have some sort of independence. Those are just some of the little things but I think like any company I would like to see it reach its full potential. Do you recall a time when you had the most fun working on a project? David: I would say it’s the movie Wonderboy for President by Kagiso Lediga. I was doing the art work for social media as part of the promotion of the movie. I think as a creative, projects like that can be very interesting. You also get to see how people interact with the work in a public space and it can be quite rewarding to witness the response.

You have this amazing campaign you started called “Run the World”. Can you please tell me more about that? David: Every year in August I draw women who inspire me and who doing amazing things. I post one illustration per day, share it on social media along with the story of that woman.  That for me is a project that I do because I am inspired to do and it also connects me to the people, and that’s why I love it.

I love conversations and hence I started this blog. Can you recall a conversation that moved you or changed how you looked at something? David: It was one I had with one of my ex mentors, Wandile Zondo, who owns a store called Thesis in Soweto. I bumped into him and we had a great chat. I was celebrating because my company had just reached our first financial target. One of the things he advised me was that I should still stay focused and keep my feet on the ground. As someone who has been quite successful, he was trying to highlight that as much that was a great achievement, there was still so much more that I needed to do. It made me realise that we must always stay focused on the work and not be lost in the money.

What sort of person do you hope to be as you move forward in your life? David: I would truly love to be used as some sort of inspiration. Even if I am not the best illustrator but I would love for my journey to serve as some sort of inspiration to anyone trying to pursue anything. Having some sort of influence on some kid from anywhere is something you can’t put a price on man. To see more of David’s work you can go to Suketchi. You can also follow the “Run the World’ campaign at slaying.goliath.

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     A retrospective with MXO and Sliq Angel

Main photo courtesy of MXO. By: Thandz Buti I was only thirteen years old when I tuned into my local radio station, Umhlobo Wenene, and the DJ introduced a track titled Sista Unjani by a then new artist by the name of MXO (Mxolisi Lokwe). Instantly my soul was reeled in. The sound was distinctly soulful with a touch of funk and coloured with rich yet quirky Xhosa lyrics. But what mesmerised me the most was the beautiful soulful and raspy tone from the then young boy from Port Elizabeth. MXO would later release his debut album Peace of Mind and it became a permanent feature on my cd player and on radio, much to the dismay of my friends. I couldn’t blame them because it unapologetically went against what was on high rotation at the time. It was the first local record that managed to please my rather overly-curious palate. MXO found a unique way of blendingsoul, pop, jazz, rock and funk to create a sound that made him a truly authentic singer. To me he was a rock star.

Thirteen years later he remains one of the few artists who have not been a victim of being programmed to fit into the ever-changing music landscape. While he may have evolved with every record, he remains “The Real MXO” we all fell inlove with. So after a short hiatus from music, I was truly elated when I saw him on TV promoting his new music as part of a duo with fellow soul singer Sliq Angel called Roots2000. I knew then that I had to fulfill my wish of interviewing him and in a couple of days it came true.

MXO invited me to the rehearsals for a two-day show he was doing at Winnie’s Soul and Jazz bar with Sliq Angel as the duo Roots2000. They treated me to a conversation about their journey as musicians.

Firstly, please tell me about Roots2000? MXO: We started Roots2000 with Sliq in the beginning of the Millennium around 2000. I came to Joburg but Sliq was already this side. Besizijemela njee and then there was a demand so it became public. It opened a lot of doors for us as artists and that is why we are still here. Sliq Angel:We did a lot of television then as Roots2000 and also a lot of club performances, as we are doing now. It was a platform we started for ourselves as emerging musicians but later we decided to go solo. MXO:That was quite an interesting time man because we had a lot of bands emerging. We had 340ml, Blk Sunshine, Simphiwe Dana, Pam, Thandiswa Mazwai and many more. Around that time it was like the renaissance of arts and fashion. Yeoville had that communal spirit and we all just wanted to change the world using our art.

Interesting because now the music landscape has changed drastically. Doesn’t it scare you to bring back Roots2000 in this new musical climate? Sliq Angel:Firstly let me explain something. Back then I believe we were not ready to commit to Roots2000 because we were young and we really wanted to try different things individually, that’s why we decided to split. He became successful as MXO and I was successful as Sliq Angel, but on the business side we grew immensely as time went by and that’s why I believe now is the right time. Now we are not seeking validation and we are not willing to compromise artistically. We are comfortable and so we are not threatened by trends. I believe it’s even more beautiful now because we are both strong as artists in our own right. And we still maintained the name Roots2000 because we are rooted in our sound. This time we are moving towards traditional songs. Izitibili (Choral), classic traditional songs because those are essentially the songs that influenced us. That mbhaqanga, that maskhandi makes us authentic as local artists.

You guys are famous as soul musicians and even with Roots2000 the foundation seems to be soul. There is the new 90% local music policy for radio but some have been complaining that it still caters for mostly hip hop and house. As soul musicians what are your thoughts on that?Sliq Angel:The 90% is great man. We are truly grateful for that as local musicians because I am one of those artists who was pushing for even 80%. I think now that we have the 90% we need to sit down and discuss what exactly the 90% means. We should then formulate a plan that will see that 90% being shared equally among all genres.

MXO excuses himself to begin the soundcheck. He and the bassist (Spanish) try to set up the staging while Sliq and I continue the conversation.

Sliq Angel: So yeah, I am happy with the policy but I believe we must find a way to share it equally.

MXO: Sliq, do you want your guitar this side or that side? Sliq Angel:I will be that side, on your left. MXO rushes back to his seat and apologises once again and he finds a way to swiftly insert himself back into the conversation.

Video: Sista kunjani by MXO

So MXO you first emerged with something that was called African soul funk. I still remember it like it was yesterday. So how did you formulate that unique sound as a new and young artist? MXO: Yeah man, when I first started I really wanted to come out with something that was fresh and also eclectic. I used to work at Musica and so my inspiration came from that massive music library they had there. I got introduced to the likes of Coldplay, Bob Marley and some of the blues and jazz. As a result my music was influenced by all these different genres. I also laced it up with Xhosa and it stood out even more. I guess I could say it was properly designed (laughs).

And then Sliq you came in with an anthem Amantongomane. That song was like Pharrell’sHappy, it was everywhere. Sliq Angel: Hahaha. You know as much as we all want to be these great composers, the best songs are the sing-alongs. I got that from a young age that South Africans truly love sing-alongs. I believe if you have a catchy chorus then you are good and that’s what I had with that song. MXO: He is definitely Mr. Hooks (Laughs). He writes the best hooks ever and that’s why we complement each other so well. I bring my things and he brings his things and iyahlangana.                                                   

Video: Amantongomane by Sliq Angel Coming back to you MXO. After you dropped your debut album, Peace of Mind, you sort of opened the flood gates to more soul and funk male singers. How did it make you feel to be a trailblazer? MXO: It was kind of a surprise because when you become influential, you sort of become a mentor of some sort to the aspiring kids. It’s a great deal for us artist to influence someone even if it’s in a small scale. But times change and we sort of evolve. That is why I believe this is the right time for this new project because it’s sort of resuscitating that culture of live bands. But we still going to go back to our solos eventually. I believe when you mature as an artists you find more joy in collaborating. Even with Roots2000 we are talking to artists like Simphiwe Dana, Thandiswa Mazwai and Ringo Madlingozi for collaborations.

So what did you learn in these sixteen years in the industry as musicians from the Eastern Cape coming to Joburg to become musicians? Sliq Angel: It’s pretty simple and I have held on to this lesson for ever, ‘Whatever happens believe in your dream’. Because everything starts as a dream and realising your god-given talent. I believe as long as you hold on to the two (The dream and the talent) eventually you will win. MXO: And also you have to constantly nurture your talent. Even now I am still nurturing my talent. I never stop learning new things and that’s how you make sure you stick around. I have just bought myself new instruments now. I am learning how to play the trumpet and I play the harmonica. Sliq is an all-rounder, he plays all the instruments.

What keeps you going? Slip Angel: For me it has to be music, I don’t want to lie. It always gives me hope at any given day. MXO: And for me it has to be love. The love I receive on a daily basis definitely keeps me going.

The conversation had to be concluded as the sound man was calling them back on stage for the final soundcheck. Before MXO goes back on stage he turns around and says, ‘You can stick around man for a while and we can still talk’. I obliged but the music took me right into its belly and I never quite had anymore questions other than a simple ‘Thank You’ at the end of the rehearsal. 

Roots2000’s first single Nomasundu is available on iTunes.

MXO: Facebook:  Mxolisi Therealmxo Lokwe Twitter:@therealmxo Sliq Angel: Facebook: Sliq Angel 

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        “The Ascending Young Literary Voice”

Main Photo by: Giorgia Fanelli By: Thanduxolo “Thandz” Buti

He has been hailed as a rich and poignant voice on the literature landscape. His debut novel, The Reactive, received universal acclaim, locally and internationally, even scoring him an international publishing deal with an option to adapt it into a movie. Masande may have grown up around the often overlooked small town in the Eastern Cape, Bisho, but he has managed to sprout out as a formidable talent in the literature circuit. And his accolades can attest that he is the one watch.

This is my conversation with him that covers everything from Literature, social development and education.

When did you first realise the power of your pen? Masande:I began writing when I was fourteen, and decided I wanted to be an author the year after. In the previous year, I’d been drawing and writing comics with a friend of mine from primary school. It was only after having written a composition in class, when a teacher asked me if I wanted to be an author that I answered in the affirmative. It was an idea that stuck with me.

We share the hometown, which is King Williams Town. How would you say the town influenced your journey as a writer? Masande: King was a strange place in those years, in that it was strangely cosmopolitan for a small town in the Eastern Cape. Perhaps this was due to the seeping in of capital in black communities and the growing middle class, which would’ve been optimistic and multi-cultural back then—we had access to video games, arguably our first version of the internet, as well as the internet itself, and for already media fixated prepubescents, we absorbed everything we could. There was also the library, of course. In the end, I suppose it was being in this liminal space, hinged between the town and its modernity, as well as my rural home and its tradition that influenced my perspective.

What’s your take on the deterioration of the town, especially on the education side? I know in my township, Zwelitsha, they closed down the local library and many schools still don’t have libraries. Masande: It’s disheartening.Most young people have left, over the years, but I’ve noticed that some are starting to return now. The province as a whole suffers from gross municipal neglect, as we all know, and I feel this is something that demands attention more and more each year. There are people who are trying to combat the situation. For example, the Steve Biko Centre in Ginsberg is a great start as a cultural initiative. They host the annual Steve Biko lectures, as well as a number of book events. In fact, they were kind enough to invite me to launch my novel there on December, last year.

What motivated you when you were a young man growing up in an underdeveloped area to read and write? Masande: I was a curious and I suppose, to some degree, a somewhat isolated child. I had a desire to see my sensibility reflected in a way that I couldn’t discover in my immediate surroundings, but instead, could later find through art. I liked anything that had surprising and imaginative elements in it. Maybe it was form of nourishment, or a respite from the normative culture that surrounded me. Are there any particular books or authors that ignited the literature flame in you? Masande: Perhaps Stephen King and Chuck Palahniuk in early high-school. Imagination and disaffection in order?

What sort of hurdles did you face as a young author trying to get their work published? Masande: I didn’t’ really struggle. I think I’ve been fortunate in that when I decided to start trying, it was perhaps the right time to do so. That said, I also wrote most of my early work for myself, as a form of seeking solace, and didn’t really consider publication at the time—only the act of creating something. It was only after I’d finished a handful of stories that I thought I could send them out, as a way of contributing to the same landscape, I guess, that had nourished me when I’d needed it to.

When was the turning point for you as an author and what did it teach you about the journey towards becoming an author? Masande: It was when I finished and published my first story in high-school. It gave me access to a community of readers and writers—other misfits—and resulted in a relationship that affirmed that it was possible for people to share the same experience of my work when reading it, that I had when conceiving it.

You have a Masters Degree in Creative writing but your first degree was in Film and media. Can you tell me about why you first went with Film and Media? Masande: I still had English as major during my first degree, which I followed up with honours in English Studies and finally, the Masters. Still, I began with Film and Media because I’ve always been interested in film, in addition to writing. In high school, when I wrote and published my first work, I was also teaching myself how to write film scripts; I think I had three by then. I first heard of you when you won the pen International New Voices Award. What was your initial response when you heard you won the award and what doors did it open for you? Masande: I was both surprised and pleased. It was really helpful. I received a lot of requests from different publishers, as well as an email from an agent in New York, before settling on Umuzi. I know many say that accolades don’t really matter; it’s the work that matters. In your view what is the significance of accolades, especially to an emerging writer? Masande: They matter for money, as well as exposure to more opportunities in regards to sustaining yourself in the profession, which can often be a challenge, as most people know. You’re right. However, they aren’t the point. Now let’s talk about your book, The Reactive, which has been hailed as a masterpiece. What inspired you to write such a poignant story? Masande: I struggled with the book for some time. I wanted to write a contemporary South African novel, one that could use Cape Town as a microcosm for South Africa. The first draft was sprawling, in terms of theme, with riffs on all the things in the country I was interested in; from technology to terminal illness. Still, the book lacked impetus, I thought, and it was then that I knew I would have to drive it, almost in the sense of a machine, with an engine that was close to me—in other words, I had to populate it with a problem I could relate to. It was then that I took a step back from the project and questioned my own fixation with writing it, and from there, I took a step further and observed the people around me, who were as equally engaged in their own endeavors. It was only then that I realized that we were all similarly driven by a desire to survive, to make use of our lives, and I began to wonder about what could happen if that order was reversed. If someone didn’t shy away from mortality, from resignation, but approached it as a way of seeking out the meaning of their existence. Having realized that like most people, I was intimidated by mortality, I then knew I wanted to explore the thread of someone who felt different about it, too see what I could learn from them. You said you were first inspired to write the story in King Williams Town. As someone born in the town did that make it easier to tell such a bold story? Masande; It did. First of all I moved in back home and that gave me enough time to work on it. Secondly, it put me in immediate contact with some of the themes I was trying to explore, such as poverty and neglect. You dug deep into the scab that is HIV on the novel. What did you learn about the disease and everything that surrounds the pandemic? Masande: I suppose it would have to be the extent to which the illness is both socio-historical and socio-political in South Africa. Having known people who were infected personally, it was this positioning of the illness in our society’s fabric that was most educational, a position that hasn’t managed to shake of some of the difficulties it faced more than ten years ago, in the novel’s time setting, which can be seen in the TAC’s protests this week, calling for the government to release patents for some of the medication, allowing the production of generics, and providing greater and more affordable access to treatment. I believe you got an international publishing deal that includes an option to adapt, The Reactive, into a film. Can you tell more about the deal and how it came about? Masande; Two Dollar Radio, my United States publisher, is a press whose catalogue I’ve admired for a while. They risk publishing daring works with an ethos that centres on attentiveness towards each book they select for publication. They only publish two to three books year out of the multitude of manuscripts they receive, so there’s a lot of care and individual attention afforded to their authors. Having been aware of their work, I submitted my novel to them and after a month or so I heard back from them. They were very excited about the book and decided to buy the film option along with the North American rights. What would you say to a young writer from King Williams Town who hopes to make his mark on the literature landscape? Masande: Read as widely as possible, first for enjoyment, and then as a way to study the form. If you can, make use of the internet to connect to the global literary landscape, do that, and then use that knowledge to turn the focus to where you’re from. What words do you live by as an author? Masande: Read and revise. When all is said and done, what story do you hope your books will tell about you? Masande: That I was once here, and that I tried to detail that we were all once here. The Reactive is available at all leading book stores.

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                          A Woman In Search of her Truth

By: Thanduxolo “Thandz” Buti Some conversations are worth storing in a vault deep in the corners of your soul. Because everytime you dip inside of them to refresh your memory, they feel you with so much inspiration that leaves you full. Many of them could’ve occurred during chance encounters. But when you look back, you realise that they were chance encounters that had to be designed by the universe. I know because when I met a Nigerian poet by the name of Titilope Sonuga, I was awakened in some way.

I was meant to be attending a publishing workshop hosted by the independent publisher, Geko Publishers, but I walked away with a treasure.Titilope was one of the spoken word performers and she was also launching her anthology titled Abscess. She gave a heart stirring performance that shook the soles of my heart. With every word she uttered, I saw myself. I knew I had to say hi and have a little conversation with her. She was graceful, humble and had a smile that wrapped you up like a warm embrace. It was hard to believe that it was the same woman who was on stage so bewitched with poetry that she seemed to be giving some kind of testimony. Since our conversation her anthology has been part of my daily life. I travel with it, keep it on the side of my bed and I find myself quoting it so many times that my friends have even memorised some of the phrases. My favourite being: “Tell me who you are. What ancient rhythm does heart beat to? Do you listen? When you look at your body, do you see the God in it?Do you thank her?” This is conversation from 2013 but I am sharing it because I want to tell the world about this amazing poet that has been the beat of my heart for two years. Read and be inspired.

So how are you enjoying Johannesburg? Titilope: This is actually my second time here in Johannesburg but it’s my first time coming to perform. I was only here in Johannesburg for a couple of days and so I didn’t explore much culturally. I have however lived in Cape Town for five months in a writing residency and that was my real taste of South Africa. However, I love Johannesburg because it reminds me of my city, Lagos. There is an element of calmness, when you compare it to Lagos, but there is a buzzing arts scene. It’s such a very alive city and I love it. How do you psyche yourself when you are about to perform in another country? Titilope: Firstly, I think about what my intensions were when I was writing the poems. I always try to be honest because from Johannesburg, Lagos to Canada humans are all the same. Our experiences are quite similar so I don’t find myself having to make big adjustments when I’m performing for a new audience. I try and find comfort and honesty in what I am sharing and they just instantly connect. But there are pieces that I have written about me being an African that resonate more with African audiences than they do in other continents. So, when I am in Africa I always make sure I include those pieces. When did you first discover the power of your words?                              Titilope: From an early age I have always been someone who writes things down but my world changed in Grade 12. My teacher asked me to write a poem about the civil rights movement and because I was the only black kid, I felt like everyone was expecting me to write something epic. I worked so hard on that piece and when I shared it something happened that had never happened before. For the first time, I felt like what I had to say mattered. I loved that feeling and so I started writing more with the intention of sharing my words instead of hiding them in my journal. Your performance was quite mind blowing. What do you want to give your audience through your performances? Titilope: Thank you so much (laughs). I always say I take as much from the audience as they take from me. I think as I’m growing as a woman and a poet, I’m trying to be more mindful about what I say on stage. I don’t want to just say the words but I want to give the audience an experience and make them feel. I always go back to that place I was in when I wrote the poem and that way I still get that emotion and that truth of the words. When I share and I hear an ‘MMMh’, I get the feeling that someone resonates with the story and that what I had to say awakened something in them. You just launched your new anthology, Abscess.  What’s your intention with this anthology? Titilope: We are telling the truth as it is. I truly wanted it to be about women who are telling the truth about their life experiences. You know when you are going through something and you realise that someone else has been through the same ordeal; it gives you some sort of comfort.  In essence Abscess is an attempt at telling these stories that are hidden in hopes that people will pick up the book and be able to relate and feel something too.

What’s your favourite poem from the anthology? Titilope: Well, the book starts off with a lot of digging and eventually ends up in a very triumphant place. Close to the end there is a poem called, Creation Story,and it’s about loving authentically.  I think that is the ultimate story of life, two people loving each other in the most purest way.

What do you think is the state of poetry in Africa? Titilope: I think it’s very much alive. I always find most of my inspiration as a poet comes from poets of African descent. I believe some of the best storytellers are from Africa. Something in our culture has taught us how to tell our stories in the most powerful ways. And I love African literature in general. It makes me proud to be an African woman.

This is the first I am being introduced to you and your work. What would like people who experience your work to describe you in a conversation? Titilope: Great question. I would like to be described as a woman in search of her truth. I hope that my poetry reminds all of us that we are travellers who are trying to get to the other side. I want people to feel like I am one of them. If I am described as someone who tells the truth then I would be humbled because that would mean that I am re-telling what all of us feel on a daily basis. I also feel like all of us are poets on this earth.

What’s your favourite book of all time? Titilope: I love Toni Morrison. When you are reading her books, it feels like you are reading poetry. The Bluest Eyes has to be my ultimate book. She doesn’t just tell a story, she finds the most distilled version of what she is trying to say. Many people always think that using a lot of words tells the story but Toni Morrison in the fewest words possible just delivers immense emotion.

I love music and I always tell people that nothing inspires me like music. So tell me which musician inspires you the most? Titilope: Lauryn Hill. I love the Miseducation of Lauryn Hill and also dig the unplugged album, which a lot of people hated. I loved that album because it was just honest.

Lastly! When you’re long gone, what would like people to feel when they read your work? Titilope: Love! When I’m writing I always have the desire to reach the highest expression of love. I am like Mrs. Love and everything to me has to be love, love, love. As artists everything we do has to go back to a place of love otherwise it will die. The people whose work has outlived them you always feel the purity in their work, even now. You can feel it, you can touch it and taste it, and I hope I can be one of those people.

Titilope’s anthology, Abscess, is available at selected book stores for R80.

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Main Photo By: Mpho Mokgadi

                  “Black Artists Must Learn to Collaborate”

By: Thandz Buti Minenkulu Ngoyi arises from the new breed of talented and innovative young black printmaking artists who are redefining the art game in Johannesburg. He is a Printmaking graduate from Artist Proof Studio and now is famously known as a Zinester, Publisher and the co-founder of the artists’ workshop studio, Alphabet Zoo. The workshop, which he founded with fellow artist Isaac Zavale, erects a platform for young artists to share their skills and incorporates Printmaking, Zines, publications, art, illustration and Stop-motion.

I met Minenkulu during one of his group exhibitions in Johannesburg titled, Somethings Must Fall, produced under the “Assemblage Mentorship Programme”. His work was poignant, authentic and cunningly led you into an inner-dialogue about the recent monuments debacle in South Africa. I was enthralled and I knew I had to have a conversation with him. Part of the reason I admired Minenkulu was his philosophy on artist collaborations. He doesn’t just talk the talk but with his workshop company, Alphabet Zoo, he is also walking the walk.

Me and Minenkulu talked about art as a career and the importance of collaborations, especially for your black artists.

So, would you proudly call yourself an artist? Minenkulu: Yes, I would and with confidence. I am many things but most of them are within the parameters of “Art”.

In this day and age, everyone likes to think of themselves as artists, especially in a city like Jozi. In your opinion, what would you say makes one an artist? Minenkulu: Definitely, these days we have the cool kids who just want the label because of the cool factor it seems to have [ha ha ha]. So now you get a lot of posers and then you find the real artists, who are more about the work more than anything else. I would call myself a real artist because I believe I am able to project a certain message with my work and get feedback. When you are able to use yourself or your craft to ignite something or some kind of dialogue, then I would say you’re an artist. When did you start getting vibrations or visions about being an artist? Minenkulu: It’s funny because most people always say when I was five or six and stuff, but I never got that. I would say my brother was a big influence in me becoming an artist. I just enjoyed drawing and I didn’t know that would lead to being an artist. It is only when I was in grade 11 that my art teacher advised me to aim for a distinction in Matric, which would enable me to go the art direction. I thought I would but actually I didn’t. But eventually I got an opportunity to be mentored by Sam Maduna for like half a year, which then led to an exhibition. The exhibition was called “Black Like Us” and then I was spotted from there. That’s when the artist light bulb started to flicker. I only really decided in 2009 when I was doing my first year in Printmaking but it was not an easy decision to come to. Well I have been in the predicament too. I know that choosing to embrace the art path is hard because chances of making it are slim to none, especially here in Mzansi. Did your parents encourage you to go towards the artistic path? Minenkulu: My dad really didn’t like it but now he has melted a bit but my mother has always been kinda supportive. In terms of making it, I always tell people that artists aren’t struggling with finance per se; the real struggle is always getting your name out there. Another struggle is being able to project your message in a way that will get audiences to respond it. Once you conquer those two then I believe that the path becomes easier. Getting my parents to understand the work is still a challenge for me, though.

Many artists doubt their ability and that sometimes is the main factor that cripples them before they even take off. Do you have moments when you really doubt yourself? Minenkulu: I have had plenty of those moments. I think its part of being an artist but you have to learn to channel it in a positive way. I also think sometimes working with people and being critiqued a lot can also bring those doubts but it can also help build you as an artist. For me if there is no doubt then you’re not really pushing yourself as an artist. So doubt is good but only if you allow it to push you out of your comfort zone.

Interesting. I love that because I have also been a victim of doubt in the past and I also believe that like fear it can either push you or crush you.  

Let’s go back a bit. We talked about how hard it is to make the decision to embrace the art career. But tell me when was the moment you first realised that this path could lead you into greatness. MInenkulu: What do they say again? The moment the penny dropped [Ha ha ha]

That’s the phrase I was looking for [Ha ha ha] Minenkulu: For me the penny dropped in 2012 when I  was invited by JAG [The Johannesburg Art Gallery] to do a show with Artist Proof titled, Coming of Age – 21 years of Artist Proof. Five of us were selected as emerging young artists to be part of the show. It was a great experience because I was going through a lot at that moment and so it put things in perspective for me. After that I was like nodding like; Yeah: I have arrived [ha ha ha ha].

Ha ha ha. You know I look at a young black artist like yourself who seems to be making great strides within the fine art sector and I feel a sense of pride. Have you had any experiences where fellow you black artists who wish to also become full-time fine artists coming to you in search of words of wisdom? Minenkulu: Thank you for that first statement. I do get a lot of young kids coming to me actually and most of the times they are oblivious to the amount of work it takes to be a fine artist. They don’t want to hear the three golden words: “Practise, practise, practise”. There is a great street artist from Brazil by the name of Fabio. He always used to advise artists to “exercise, exercise, exercise” but he couldn’t speak proper English and he meant “practise, practise, practise”, and it sort of became our joke [ha haha ha]. So you practise, practise, practise, you persevere and practise again. That is always what I pass on to the young kids.

Oh! It looks like our Americano’s are ready. Minenkulu: Great [Smiles]

Here we go. Minenkulu: Thanks! Hopefully this is my last cup because I have already had two cups already.

This is my fourth one [ha ha ha]. Minenkulu: Oh now I feel normal [ha ha ha]. I guess it comes with too much exercise, exercise, exercise.  

Ha ha ha ha. Minenkulu: So, yeah! to continue where we left off; after all that much practising, you do begin to step into the light. 

Truly! And many artists always say it takes a great deal of practise and dedication to get to a point where you start to discover your voice as an artist. How tough is it to discover your authentic voice as an artist? Minenkulu: You know how people always call us emerging or young artists no matter how old we are?

I have heard that a lot actually. Minenkulu: I believe that the journey towards finding your voice as an artist is a never ending journey. I feel like I haven’t found my voice yet. I do get people liking different themes that I explore through collaborations or group exhibitions and others which are my personal works. So some would say this is you, this is your style and others would point at another direction. I think as you continue to grow as an artist you’re always rediscovering your voice. It’s a journey.

You know when we are about to explore an artistic field as a career, we always think it’s going to be this fairytale with fireworks 24/7. I was one of those people and I discovered later that actually it also entails blood, sweat, more sweat and a lot of tears before the smile. Do you feel the same way? Minenkulu: I think we don’t know that when you’re in the industry there is so much that gets taken from you by Galleries, companies of affiliations and also chancers. Now that’s the reality before the fireworks.

It’s the business aspect that we always neglect because we say ‘I just want to create’. Minenkulu: That’s the grave mistake we all make as artists. We forget about the business and get lost in the fantasy. So as much as we practise, practise, we must also educate ourselves about the business part of art, which is also equally important. I haven’t signed with a gallery yet because it’s not always as clear cut as it seems.There are percentages being deducted and most times there are middle men and you end up losing. Sometimes I wish they told us man about the business politics in art when we were in school [Ha haha ha].

I had the same conversation with an accomplished photographer who feels the same way. He doesn’t want to be signed to any Gallery because of those reasons but at the same time he did acknowledge it’s tough to survive or work without a Gallery by your side. Minenkulu: I fully agree. I would say if you’re not signed to any Gallery then it’s important to be at your best professional game. Don’t burn your bridges and work with people who are also in-line with your vision. It’s very crucial to also be very honest with your work because whoever you work with sees that honesty.  So work with honesty and you’ll see doors begin to open.

You mentioned that you are co-founder of a studio called “Alphabet Zoo”, which is a workshop for artists. Why did you feel the need to create such a space? Minenkulu: Firstly because I am not a selfish artist. People tend to say that artists are selfish and I do understand where such statements come from. Because I am currently big on collaborations, I believe its always amazing to share with other artists. Hiding your skills from others is very selfish and it also has a way of coming back to bite you. The more you share with other artists, the more you learn and the more opportunities you open up for yourself.

Interestingly enough I hear that statement that artists are selfish all the time and apparently its artists who have made it that don’t like to collaborate. Is that true? Minenkulu: I actually know that artists who have “Made It” love to collaborate with young artists compared to those ones who are still trying to make it.

So it’s mostly the emerging artists that walk alone? Minenkulu: Definitely, because they believe that the fastest way to go up the ladder is to go at it alone. I think that is complete “Bullshit”, really. Because there more we stick together as emerging artist, the more platforms we would be able to create for ourselves.

So would you say your love for collaborations was inspired by the many people who took a chance on you and opened doors for you in the early stages of your career? Minenkulu: Oh man, a lot of people did and are still doing so. There are many organisations that helped me to get my name out there and most of them have been about promoting collaborations among young artists. I will mention organisations like Artist Proof, Assemblage, Goethe Institute and also Alphabet Zoo, but the list is endless. That is one of the main things about the workshop studios I co-founded is to help open doors or enrich other artists as well, because I am here because of that.

What would you say is the main thing every emerging artist should aim for so that they can be able to penetrate the art market? Minenekulu: Because I run a workshop and I believe in the sharing of skills, I would say try and collaborate with other artists. If you learn something, share it, and you’ll also be enriching yourself too.The more we collaborate and share, especially as black artists, the more we open up our own market and to repeat that will in turn create more opportunities for us.  

Do you have any words you live by? Minenkulu:Ungavalelani Ngaphandle because collaborating is the best way to go about achieving success as an artist.

Thank you so much Minenkulu that was great. Minenkulu: No, thank you. That was a very interesting chat man. I liked it.  For more info on Alphabet Zoo click here: Alphabet Zoo

[iingxoxo-blog]

                                             Tell Your Story

By: Thandz Buti

I remember a poem by Lebo Mashile called “Tell Your story. It went as follows: “Tell Your Story, Let it nourish you, Sustain You And Claim You. Tell You Story, Let it Feed You, Heal You And Release You. Tell Your Story, Let it Twist And Remix your Shattered Heart.  Tell Your Story, Until Your Past stops Tearing You Apart.”  

Sometimes the one thing that holds us back from stepping into the path of healing is allowing our life story put shackles on our hearts. Society teaches us to harbour our pains and cover our scars under our coats of self-denial and deception. Judgement confines us. Shame chips away at us one bite at a time. It is only when decide to stand stall and narrate our truth that we liberate ourselves. Our story becomes a spear that we use to walk through any darkness. Our story, no matter how dark, becomes our freedom song.

Fezisa Mdibi is a woman who walked through the darkness and after years of hiding her story in fear of judgment, she finally decided to break the chains and liberate herself. She reminded many women that owning your story can heal you.  

Fezisa Mdibi is a poet, writer and commentator from Mbizana in the Eastern Cape. She has written for popular publication locally and internationally. These include The Daily Marvick, Mail and Guardian and The Guardian (London). She is also famous for her blog ([email protected]) which continues to raise awareness on HIV/AIDS and Rape. Fezisa has been quite open about being raped when she was 15 by a family friend and a year later by well-known thug from Margate. The latter saw being infected with HIV at the age of 16, and after a dark depression, she rose and chose to tell her story. In celebration of women’s month, I chose her as an example of what it means break through the shackles of life and come out victorious.

I had a conversation with her at the recent “SA Book Fair” about her life journey.

I listened to you on the panel discussion talking so eloquently about your story. You said you waited ten yours before you opened up and started living your truth. What compelled to take that brave step? Fezisa: In 2009 I got a scholarship to go and study in India and they wanted a health clearance certificate, and that also included an HIV test. I went to a doctor and asked him to write a note not disclosing my status and I got the clearance and went to India. Four months later I found out that the University tests the foreign students and if you found to be positive, you get kicked out. After the discovery of my status I tried to get ambassadors to get involved but their hands were tied. They also had to respect the policies of the country. I came home very angry and I need to channel that anger and that’s when I decided to talk about my status.

Many people talk about the dark journey that awaits one after finding out that they are positive. It’s always seen as a death threat. Did you also see it as a death threat? Fezisa: Yes, because back in 2001, HIV was all about death. The person, who tested me, gave me atleast five years to live and I was just fifteen. It was hell after that. But then it gets better once you begin to see that nothing is really happening and you still you and very much alive.

I think it’s the same with me when I was diagnosed with Bipolar. Even though the two are not related in any way, I was also terrified by what awaited me on the other side. As a result, I went through a process of denial. Did you also go through the process of denial? Fezisa: Well, I was also diagnosed with bipolar and I was on medication for a while. But medication used to make me feel like shit. It completely erased my feelings. I was numb. So I stopped. In the beginning I also felt the same way and I stopped but had to go back. I guess our conditions were not on the same frequency because sometimes that’s the case. Fezisa: Maybe it was a misdiagnosis. I haven’t taken the medication since 2011 and I am completely fine. I am not really an expert in that field but with a change in my mentality I became fine. I think also I was just gravely depressed from the rape and being diagnosed with HIV, and I was just a teenager, I was not equipped to deal with such a heavy load. All I remember was that I had completely alienated me from the rest of the world. I would just lock myself up in my room. My mother was the one who thought I had Bipolar and so she sent me to psychiatrist. However I put myself in a trap because I went in there already having diagnosed myself. He asked me about ten questions and the prescribed the medication. So you were in the inner depths of darkness. What would you say was the moment when you were able to break away from that sate and begin to see the light? Fezisa:The weights got off my shoulders when I appeared on E-TV news and I had a whole segment where I just spoke about me and my ordeals. For years it was as if everyone could see through me, that I was hiding something. The moment I told my story I became free man. As soon as I told my story I got a tidal wave of support and messages. I realised then from other people sharing their stories with me that there are people who are going through the same thing and some their ordeals were worse than mine. The only time that I really felt the sanctions that come with being HIV was when I was kicked out of India but there are people who are married and as soon as they find out their status their partners kick them out.Once I put it out there, it became so much bigger than me. It kicked off my healing process. So telling your story began the whole process of enlightenment about the disease from hearing other people’s stories? Fezisa: Yes, I got a lot education about reactions, interactions and coping mechanisms when it comes to the disease. We think we know HIV but we don’t because the pamphlets only cover a small portion of information about the disease. What made you want to create a platform where you able to create awareness about HIV? Fezisa: I started researching about it and the more I discovered, the more I realised that I must share this information. I chose writing as my medium because it was more easier and it was also effective.

What is the most inspiring story you have heard from your interactions with other people suffering with HIV. Fezisa: I have so many stories but there was a girl I met at Cool Runnings. She just pulled me aside and told me that I had saved her cousins life. Her cousin had a growth in the neck and she was taking pills but they were not helping much. She told her cousin to follow me on Twitter and Facebook and do whatever it is that I am doing because I would update about how I stay healthy. She really got emotional and told me that she was now healthy because of me. That is just one of many. I have had people pull me aside and tell me how my story helped them the see that there is life beyond HIV. So in your writing about the pandemic what has been some of the most astonishing things you have come across? Fezisa: You know it was shocking to discover that the mainstream rarely wants to disclose the whole truth about HIV treatments.They don’t want to be associated with the unconventional ways or alternative ways of making sure you are able to stay healthy.

What would you say now is your intention with continuing to share your story? Fezisa: I share my story because when I was still in the early stages of dealing with HIV, I wish there was someone like me. I also want people to question more and not just take whatever they are being fed in regards to the disease. My intention is spark a dialogue and also raise questions.

Lastly, what would you say to someone who is currently walking the path that you walked? Fezisa: I would tell them it’s not the end, it’s the beginning. It’s also important to find support because it’s a tough journey and you need people or someone to lean on. But honestly don’t believe that it’s the end of life because it’s just the beginning.

You can follow Fezisa Mdibi’s blog to read more of her articles: [email protected]

[iingxoxo-blog]

                      Doing What You Love Is Freedom

By: Thandz Buti Discovering your life purpose is one of the most awakening moments in anyone’s life but following your gut and pursuing that purpose can be one of the toughest life assignments we battle with in our lives. Because of the pain and the struggle that comes with following what we consider to be our life mission, very few are daring enough to get in the ring and bleed for it, but those who do shimmer with light. To quote my favourite spiritual teacher, Caroline Myss: “Those who are living their purpose are easy to spot because their lives shine with meaning. Their perception of their life’s purpose gives them the strength to live through the rough times as well as to enjoy the good”. 

I can’t tell you how many times I have met people in the Joburg streets who are searching for their purpose or meaning in their lives but who end up in a job they loathe or who simply end up lost in the crippling cave of drugs. I saw Sfiso “Atomza” Buthelezi as a shimmering example of what following your dreams and living your purpose looks like. Like he says: “Sometimes it’s the choices we make that separate us from those who let others make choices on their behalf”.

Atomza is the guy in “The Muffinz” who possesses a very eclectic afro-futuristic style and bewitches audiences with his velvety and dreamy vocals. Despite the fame, Atomza seems to be oblivious to the fish bowl of fame that he is now swimming in. This made our conversation so smooth and highly entertaining. This is it, and I hope you learn as much as I did from it:

Firstly, the title of the new album is titled “Do What You Love”.  And I have to say, it’s quite a simple but profound statement. What is the deeper meaning behind it for you?

Atomza: Well it’s derived from our journey as individuals to where we are now as musicians. If you aware, some of us in the band were studying at UJ (University of Johannesburg) and we were studying various things that didn’t include music. We were taking the pretty safe route that is likely to guarantee one a permanent job (You Know). But things weren’t going well for us but luckily I managed to finish my degree. I forced myself to finish it because I started it. The other guy, Mthabisi “Mthae” Sibanda studied Accounting, left it went to Engineering, left that and went to Communications, and that’s where we met. We decided to form a band and it became the resident band at UJ and that’s when we first discovered that we could actually make money from music. We had like a small group of singers, sort of like a choir and we were also part of the bigger University choir. We traveled the world and it really opened my eyes about the possibilities with a music career. We continued to form little bands and that’s when I started learning how to play guitar.

But things really changed when I graduated in 2011 and I went to New York with the choir. When I came back I left the engineering firm I was interning at that time and I had a guaranteed job if I completed my studies. I went back home, I stayed for a week and then I packed my bags and left. Where were you going? Atomza: That’s exactly what my mother asked me (laughs). I told her I was going to the city to try and do my own thing. Ngavayake and that’s when it started, I told myself ‘I am going to do what I Love”. 

But when did you start feeling conflicted about which career path to follow? Atomza: Since I was young,man. I was a very smart when I was growing up and I always got good grades. So everyone expected me to follow the academic route which then leads to the corporate world. I sort of lived up to that till Varsity. But you know growing up I also used to be that kid who was always singing while other boys were playing soccer. I didn’t like sports because I didn’t want to get hurt (laughs). I didn’t understand why we had to be rough and stuff, why could we just sing man (Giggles)? In a way on the side I always went against the norm. I was a rebel with a cause. But even though I had a rebel in me I still obeyed at home. I became a proper rebellion when I got into varsity. That’s when I learned that I was powerful as an individual and that I was better than sitting in a cubical in some office. The feeling became intense when I started playing guitar and I was in my second year then. In that process I got a chance to go to Europe and that was in 2008. Aaah man, we were signing autographs and getting hosted by Mayors. It felt so good. We stayed there for about two months. Reminds me of what India Arie always says: “When it feels good, it usually is good.” Atomza: That is so true because that felt like the life I was supposed to be living. But then for the first time I failed. I failed my second year because I wasn’t studying anymore because I had caught the music bug.  I failed during my mid-year and my results came when I was all the way in Europe. That’s when it started becoming an issue at home.  You were invested in something else. You sort of like couldn’t help yourself. I know that feeling. Atomza: Yeah man. Like I would say let me practise my guitar for fifteen minutes and that would turn into an hour and eventually end up being three hours or more. It was not after i left varsity that I got the freedom to just like practise and play for as long as I wanted. 

Ofcourse when you are pursuing what you call your purpose, especially within the entertainment or creative sector, it’s tough because it doesn’t always bring in instant rewards. There also lots of moments of doubt and times when things are really not working out. Did you ever reach those moments when you thought of giving it up? Atomza: Ofcourse man. I remember there was a time when we used to perform in Melville. We used to make Melville so alive on Sundays. The place was always so packed. I remember one time we were playing at “The Loft” and it was so packed that we couldn’t get inside so we could perform. It was so ridiculous. I still don’t understand it, till this day. We would play from 20hoo o’clock till 02hoo in the morning and it would still be packed. But then the gigs would end and then you couldn’t get home and you also didn’t know where you were going to sleep. Yet you were just a star a few minutes ago. Also reality would hit home when you were alone and you realised that you actually not making any money. But the great thing is that I am pretty strong-willed person and I’ve always convinced myself that I could live like a Monk (laughs). I could live on basic resources. So when things got tough, I could get by. But let’s be real though. Yazi lento ifananani? I always apply it to emotional intelligence. If you know you can’t deal with blood then don’t be a Doctor, and if you’re not good with numbers then don’t be an Accountant. Your emotional intelligence needs to match whatever it is that you want to do and I think I have the emotional intelligence of an artist. I think I have been also been very open in my songs about my lows and my resilience. Definitely! I can hear it in your songs like The Next Superman, Soldierz and Ghetto that you were always reaching for freedom to able to do what it is you love and with freedom. Atomza: Yeah, Yeah, Yeah! It’s something that has always been there. I talk to my friends; we remind ourselves that we have always been reaching for something great. Even now with “The Muffinz” we’re not where we are even supposed to be but we understand that things take time. However I can still say the purpose is still very much there. We all make mistakes as we are trying to climb the ladder to get to success. I know I’ve made quite a lot. What would you say has been your biggest mistake in your journey towards success? Atomza: I would have to say its ‘Not Censoring Myself’. I can look back and laugh at some things but some of them had a greater impact on our business and sometimes on me.  

Was that because you trusted people a lot? Atomza: Most of it had to do with me speaking my mind a lot and you know our minds are closed for a reason (Laughs). I now believe that it’s not everyone who has to hear or experience what you are trying to project.  

What sort of things are we talking about, if I may ask? Atomza: I spoke out a lot in regards to politics and sometimes it closed some doors for us. I was still young and very radical and militant but I sort of lacked the diplomacy in order maintain curtain business relationships in the industry. I just wanted to create art for art sake and perform my music not because I am connected to a certain party but because I am good at my craft. 

I think that’s how it’s supposed to be too. I believe artists should get the gigs because they are good but not because of political connections but unfortunately we live in a world that’s about who you know and less about talent. You said to me before this conversation that you believe in something higher but you can’t describe what it is, and you don’t have to. But do you mind explaining briefly, what exactly is this thing that has kept you fighting even when life knocked you down? Atomza: It’s life man. I believe that there is certain path that is laid out for everyone. Let me rephrase that and say ‘there is a certain destination that has been made out for everyone but you choose the path’. I believe you choose how you’re going to man-oeuvre around. Things happen in life and sometimes we don’t have a choice and that’s my thing about my belief system, it’s very complex. At times I want to be simplistic and say: ‘No, it’s every decision we make that carries us forward’, because I look at my life and the life of the people around me and the decisions I made and the decisions they failed to make. So I say well this thing could be based on choices but sometimes I acknowledge that we don’t choose and life unfolds the way it’s supposed to. As I said, it’s complex. It’s just my system and it works for me. However, I respect other people’s beliefs. Well I can relate to the complexity because I believe in a lot of things but I am spiritual. I gather you’re like me; you’re fighting the religion system?

Atomza: Oh that one I fought it a long time ago. It’s just Bullshit if you ask me.

Ha haha (laughs). So how would advise a fellow artist who is where you were when you first started out, filled with confusion and doubts? Atomza: I find that one of the most difficult questions to answer because I believe that deep down you know what you have to do. It’s just a matter of just listening to yourself. I really don’t like the concept of giving out advice or telling people what to do. At the end of the day everyone is going to do exactly what they want to do. The spirit inside you knows exactly what it is that you have to do.

How does it feel to be living your purpose? Atomza: You know it’s good because this is what I am passionate about now but eventually I want to influence people’s lives on a grand level. Music sort of gives me that platform to have a positive influence in society but I would love to take it into a whole new level man, because essentially that’s what my purpose was all about, to do what I love and to influence people’s lives positively. As I said, I might evolve but the essence of the purpose will always be rooted in that and so it feels liberating to do that in some way.

You I have always been interested in the creative process of artists. A few weeks ago I was talking to another great artist and he said that painting is a great form of prayer for him,it so sacred that he doesn’t want anyone in the house when he’s painting. He just wants peace because then he can get that direct communication with God. Is it similar or different for you? Atomza: That is very interesting. For me my creative process is different and it sort of reflects my belief system.

So you don’t burn any incense, have the room dim and light candles? Atomza:(laughs) my creative process is not rigid. Sometimes it happens unexpectedly, perhaps while I am cooking and I’ll quickly grab my book and I have a little studio at my place and I go there to record some ideas that come to me in such instances. I don’t have rituals or routines. Inspiration comes when it comes. But the nice thing is that when you reach a certain position as an artist, you able to draw inspiration from even the most mundane things. You don’t have to wait for it, you can just call on it whenever you want to work and it just comes.   Well it looks like we’ve ran out of time. So lastly, how would you describe where you are right now in your life? Atomza: I am in a highly transitional space man. There is a big change that is happening within me and I can’t really pin point it just yet.  I can feel that it’s a holistic change– Spiritually, mentally and physically. I feel so alive and fresh man. So even though I am still waiting for clarity I am still doing because that’s how sometimes you find your answers. I am also a new father and that’s also a very interesting addition into my life.

Congratulations!! Have you felt the big change that every parent talks about that comes with having a child? Atomza: I think it’s relatively still new. I am still just enjoying her man and I am very very present father. Perhaps that’s why I am feeling like I am in a transitional phase but I am still just enjoying the process instead of trying to analyse it. The great thing about my job is that it allows me to be there. I am like on an unofficial maternity leave (laughs), which is great man.

Maybe that’s where the big shift is happening because now it’s not just about you; she is also your purpose Atomza: You know my life has never really been about just me. I have always tried to do as much as I can for other people or also incorporate them into my decision making process. From everything in my life, music is the only thing I ever did for myself but it’s also not for myself because it’s also for the people that listen and get inspired by the music. It’s never been about me because that’s how I was raised. I was taught to share and I was always reminded that I am part of a community and I am not just existing in some vacuum. Mother tells me now that we always had a basket full of fruit in my home but we could never have the whole fruit, we had to cut into half and share. So this is something that’s deeply engraved in me and I hope I can also pass it on to my child. So sharing myself is part of my DNA. Lastly, truly lastly this time around, (ha haha ha). What is your utmost favourite quote? Atomza: Aaaah I have so many. Okay perhaps this is my favourite: “Aluta Continua Vitoria écerta”. They always just say “Aluta Continua” which means “The Struggle Continues” but they never finish it off because the complete phrase is “The Struggle continues but victory is certain”. So even if you go through shit trying to find and live your purpose, there is always victory at the end.

The Muffinz’ new album “Do What You Love” is available on iTunes and in all leading music outlets.

[iingxoxo-blog]

                                 “Moments make art”

Thokozani Mthiyane is a multi-disciplinary artist. His art encompasses poetry, photography, writing and photography. Although he was born in Durban, he is quite a globe trotter. He currently resides in Nigeria and documents the culture and lifestyle of some of African countries like Nigeria, Senegal and Swaziland, to name a few.

I met Thokozani on social networks and we started conversing about art, life, books and everything under the sun. Since then I have grown fond of him as an artist and most importantly as a human being. During our conversation he shares his thoughts on Xenophobia, art, poetry, travelling and life.

Thank you for agreeing to indulge in a conversation with me. While I would’ve preferred to have it face to face, for a globe trotter like you, it’s pretty hard to nip you down. 

So how did this adventure of travelling to other countries begin? Thokozani: It began with a love of a woman.

Which countries have you enjoyed that made you feel like you’re home and what would you say invoked that feeling?  Thokozani:I live in Nigeria. Lagos is more like home now, even more than Johannesburg – I also love Dakar, and I could live there. It is an amazing city that has so much to teach in terms of history and the arts.

How has living in other countries in Africa opened up your eyes about the continent? Thokozani: The continent is too vast and in need of self actualisation. The human condition on the part of the continent I have been to raises a lot of questions and my word is: ‘black people have a lot to answer for.’

Do you have conversations about the Xenophobia attacks during your travels and what’s the main perception that is shared by fellow Africans about South Africa? Thokozani: All the time. Xenophobia is a misnomer; I don’t see it that way. But then again violence is violence and it is part of the South African narrative. If it was xenophobia them why does it only occurs among poor people and some places not the whole country. In terms of travelling, South Africans don’t travel in numbers because they don’t need to – that is if immigration equates to travelling. For me the so called xenophobic attacks are more than that – a complex socio-economic issue that needs more attention than I have strength for.

I’ve seen you post a lot of beautiful pictures on Social Media about your travels. What sort of return do you get from documenting your experiences? Thokozani: Wow! What sort of return? I have never thought about it that way – it is an existential situation where by moments are captured for future references and an affirmation of being. Through your documentation of Africa, what have you discovered about the continent that we seem to overlook? Thokozani: I am hardly documenting Africa. Currently I leave in Nigeria and I have been for the last say four years – then from here I travel to neighbouring countries whenever I get an opportunity. I can actually count the countries I have visited – Ghana, Senegal and then the states here in Nigeria and also the southern hemisphere, countries like Mozambique and Swaziland. However I do absorb linguistic sounds, music, crafts and arts. My main focus is portraiture and street photography, as for painting, it has a lot of aspects and I am currently exploring the mask and history of where I am, Nigeria in particular. Considering that you’ve been spending most of your time in Nigeria, more than here at home, do you still consider South Africa your home?Thokozani: It is a very alienating home I must say. We still need to find ourselves outside the apartheid canon that has deformed our souls for this long. The thing is we are a living a lie hence we do not know ourselves. South Africa is a mere direction, a country without a name, negotiated on pain of others – home yes it is home and always will be.

You know what I admire most about you is that you are a holistic artist [If there is such a thing]. You are a poet, a writer, a photographer and a painter. How do you weave all of them together? Thokozani: Moments make art – so does the mind and tools. It is all a process of learning how to look and making sense of one’s world.

You’re an amazing artist and even though I have never been to any of your exhibitions, I have seen quite a few of your pieces online. What is the essence of your paintings? Thokozani: I am still figuring that out. Emerson reminds us that: “art is the soul of a man made visible – it is partly that and partly other things.”

These days many people are calling themselves Poets, in your view what makes a Poet? Thokozani: Samuel Coleridge says: “Poetry are good words in good order”, I don’t know if that does really make poetry, but as for a poet; one must write good words with inspired thoughts.

Going back a little bit, I read somewhere that your journey as an artist began with you watching artists Sfiso KaMkabe and Thami Mjali work. Can you tell me about that experience? Thokozani: S’fiso and Thami are senior artists from Clermont, Durban –who inspired a lot of us o create – so we hung around them while they were working or even socialising. The conversations they had were a well of information and knowledge. Their place became a haven from all the early nineties chaos we had to deal with. As for poetry, I can’t really say when and how but from early childhood I had a fascination with words and then in my teens I discovered the art of verse rhyming and matter, that was like magic and the sound was something else for it added to the voice. The rest is personal history.

Now that you are an established artist, what is the message that you consciously want to share with your work? Thokozani: Now that I am an established artist? Lol! No, I wouldn’t say I am. I am still looking for that symbol, that voice, that image. The thing is one is human before one is an artist and being an artist is always a becoming a new sense of self actualisation and realisation. I just do what I do, for I have an opportunity to – otherwise the quest is being the perfect human that I can be.

Do you have quotes or mantras that you live by? I know one of my favourites is “Nothing happens until you decide” – by William Hutchison Murray. Thokozani: No I don’t. But then every situation calls for a word to assert it –“art is the healer”.

Thank you so much. I’m looking forward to meeting you. Hopefully when you come back we can have coffee at my favourite coffee bar in Jozi, Double Shot, and resume our conversation.

Thokozani : Thank You so much!!