Between 10 and 5 The South African creative showcase 2014-12-19T08:40:38Z http://10and5.com/feed/atom/ WordPress Uno De Waal http://www.10and5.com <![CDATA[Open Your City with Heineken and WIN]]> http://10and5.com/?p=96690 2014-12-19T08:40:38Z 2014-12-19T06:45:51Z

This summer Heineken wants you to discover the hottest spots in your city with the Open Your City app while putting you in the running to win an epic 72-hour adventure in Shanghai.

The post Open Your City with Heineken and WIN appeared first on Between 10 and 5.

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You may have noticed that the Heineken bottles look a little different lately. These limited-edition Heineken City bottles, each featuring one of 6 bustling cities: New York, Shanghai, Rio de Janeiro, London, Amsterdam and Johannesburg, preceded the launch of the “Open Your City” campaign.

 

This summer Heineken wants you to discover the hottest spots in your city with the Open Your City app. Create adventures of international scale, and unlock others to put yourself in the running for an epic 72-hour adventure in Shanghai. Even cooler, with every adventure you create you receive an entry into the weekly draw for a Samsung Galaxy S5.

 

To get you started, the team at Between 10and5 has created our own adventures of some of our favourite places on the Heineken Open Your City app. Visit openyourcity.co.za on your smartphone, find us on there and use our guide to open your city.

 

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Check out our guide to the best coffee stops, art galleries and other interesting places to shop.

 

HOW CAN YOU WIN?

 

Follow the three simple steps to create your own adventures, share them on Twitter and tag @10and5 to increase your chances of winning – we have ten daily prizes to give away for readers of 10and5. Get exploring between today and 25 December 2014 and show us what your city’s got.

 

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Alix-Rose Cowie <![CDATA[2014 HIGHLIGHTS // The Ones We Loved]]> http://10and5.com/?p=96093 2014-12-12T14:10:55Z 2014-12-12T14:10:55Z

With just an hour to go until we call it a year - and what a year it has been! - here is the final instalment of our 2014 HIGHLIGHTS.

The post 2014 HIGHLIGHTS // The Ones We Loved appeared first on Between 10 and 5.

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With just an hour to go until we call it a year – and what a year it has been! – here is the final instalment of our 2014 HIGHLIGHTS. We kicked things off with the posts most viewed by you. Then we poured over past posts to identity 9 trends in art and design that defined 2014. After that we turned the spotlight onto the words that accompany the pictures and chose our favourite excerpts from the many many interviews we’ve published this year. Earlier today we posted the best of our Friday Oh Wow feature. For the last edition we’ve chosen the ones that we loved – loved to see for the first time, loved to put together, loved to share with you and loved to look at again. We published over 1000 articles in 2014 so this was no easy task. We hope you enjoy.

 

 

2BOP’s Teaser Video for their ‘Litephase 02′ Collection 

 

 

2BOP’s recently launched ‘Litephase 02′ collection commemorates the 10th anniversary of the apparel brand. And for it they reworked and remixed their favourite pieces from the past. This is their teaser video that came out ahead of the lookbook and collection. We’ve watched it weekly since it was first released.

 

Credits:

 

Talent: B-boy Bax | Directors: Brad Abrahams & Eeb Hajee | Production: Andre Bird | Shot & Edited by Jess James Harris | Second Camera: Neil Burton

 

 

Ulrich Knoblauch’s Photographs of Fashion Week – Fall/Winter and Spring/Summer

 

Jason Wu F/W 2014

Jason Wu F/W 2014

MARC by Marc Jacobs SS15

MARC by Marc Jacobs SS15

 

In the first half of the year, fashion photographer and Self-Service Magazine’s go-to guy, Ulrich Knoblauch, visited the major Fall Winter 2014 fashion weeks and arrived home with some spectacular backstage close-ups of the collections in beautiful detail. The second half of 2014 brought with it a return visit for Ulrich who produced more incredible backstage images, this time of the Spring Summer collections.

 

 

‘For What It’s Worth’ by Dillon Marsh

 

Dillon Marsh Dillon Marsh

 

Soon after the country’s first ever commercial mine (the Blue Mine) began operating in Springbok in 1852, more mines opened as copper deposits were discovered in the surrounding areas. As workers settled nearby, the development of small towns in a relatively remote area of the country was boosted. By 2007, however, most of these mines had run their course and production had stopped almost completely resulting in an uncertain future for the towns and people of the region. In May this year photographer Dillon Marsh presented the first set in a broader series of striking images that combine photography and computer generated elements in an effort to visualise the output of these mines. The full body of work is currently on show at Brundyn+ in Cape Town.

 

 

Fantasma’s Debut Music Video for Eye of the Sun

 

Click here to view the embedded video.

 

Right from the start there has been a strong visual aspect to Fantasma, a ‘superband’ fronted by Afro-futurist artist Spoek Mathambo. The producer/singer/rapper recruited diverse members from across South Africa – electronica producer DJ Spoko, traditional Zulu instrumentalist Bhekisenzo Cele and psychedelic rock guitarist Andre Geldenhuys – converging in a sound that’s unlike anything we’ve heard before. We were first introduced to the group in April this year, through a series of photographs by Kent Andreasen. Fantasma’s latest visual offering – released only a few days ago – is a new music video for ‘Eye of the Sun’, the lead song off their debut EP featuring Moonchild.

 

Credits:

 

Director: Travys Owen | Wardrobe and Styling: Gabrielle Kannemeyer | Cinematography: Stan Kaplan and Travys Owen | Editing and post production: Dylan Wrankmore | Additional effects: Sabrina Ratté | Produced by: Sevi Spanoudi at Black Major

 

 

Gerald Machona | Experiencing Foreignness 

 

Gerald Machona

 

One of our interviews leading up to the FNB Joburg Art Fair in August was with Gerald Machona, a Zimbabwean-born multidisciplinary artist. One of the most notable aspects of his work is his innovative use of foreign currency (particularly decommissioned Zimbabwean dollars) as an aesthetic material. We see this in works such as ‘Ndiri Afronaut’ or ‘Ndiri Cross Border Trader’ – which both formed part of his solo exhibition Vabvakure (People from Far Away). Created in response to the violent xenophobic attacks that swept South Africa in 2008, the exhibition explored the notion of ‘foreignness’ or what it feels like to be a ‘foreigner’ living in South Africa.

 

 

Awkward Forms and Boundless Creativity in the work of Anmari Honiball

 

Anmari Honiball Anmari Honiball

 

Anmari Honiball‘s designs transcend trend and convention to flit gorgeously on the line between where art meets fashion. She describes her garments as a combination of “awkward form” and “personal comfort”, and lets each collection develop and evolve organically from its original source, be that coloured play-dough, or the migratory patterns of butterflies.

 

All ramp photos courtesy of SDR Photo

 

 

 Run Jose | A Biopic directed by Dave Meinert 

 

 

After being abducted from a marketplace as a child and forced to kill, Jose Joao had a vision in a dream one night and made the radical decision to risk almost certain death to act on it. He shared his remarkable story in a biopic directed by Dave Meinert of MacDuff Films, released in July this year. Since, the short film which aims to foster a dialogue about the effects of war, was chosen as a Vimeo Staff Pick and will be showing at CineSud in France in February 2015. Currently there is a Thundfund campaign running to raise funds to get Jose to CineSud to present his life’s story in person. Help him get there.

 

Credits:

 

Director: Dave Meinert | DP: Michael Cleary | Editor: Lucian Barnard | MacDuff Films

 

 

The Sleepers “Mine” Music Video

 

 

Cape Town progressive rock band The Sleepers returned in 2014 with a haunting music video for their new single, ‘Mine’. Off the radar for the last while, the band has spent several years in ‘self-imposed exile’ fine-tuning a new sound. Mine, the first offering of this new chapter, is described as “a stark, introspective and dizzyingly powerful track”. Take a look at their beautiful website too. Fitting for their current direction is this incredible music video/short film photographed, edited, produced and directed by Craig Ferguson of The Public Pool.

 

Credits:

 

Photographed, edited, produced and directed by Craig Ferguson with assistance from But Corpaci, Tannan Woods and James Ord. Aerial visuals by Skylab Productions

 

 

A Collection of Works by Black Koki

 

Black Koki 'Don't Worry'

Black Koki ‘Don’t Worry’

Black Koki 'Don't Give Up'

Black Koki ‘Don’t Give Up’

 

One look and it’s immediately clear that artist, illustrator and designer Black Koki lacks nothing when it comes to the imagination. Employing a mix of traditional and modern techniques, his work is filled with curious-looking characters layered with symbolism. To create it, he either works independently or together with fellow artist and long-time collaborator Ello as Love and Hate – a multidisciplinary visual studio that the two of them began in 2004. Ten years later we checked in with him to hear more about the many things he does and makes.

 

 

Soweto Rising by Noxolo Mafu and Lilian Magari

 

 

Filmmakers Noxolo Mafu and Lilian Magari study together in Grahamstown, but it’s an area further north that caught their interest for their debut documentary. Described as ‘a dialogue on street culture in Johannesburg’ Soweto Rising succeeds in providing an authentic and insightful look at a community that has been a birth place for political activism, trendsetting and cultural phenomena. Through the words of Soweto’s own Wandile Zondo (co-founder of the clothing concept store, Thesis), Mkay Frash (Hunting For Kicks, Boyz n Bucks) and Izikhothane members such as Don Dada, among others, the film tracks the influence of Soweto as a former “township” space on the pulse of contemporary street culture in Johannesburg. Not just another documentary film about Johannesburg.

 

 

 Skrillex ‘Raggabomb’ Music Video by Terence Neale

 

Click here to view the embedded video.

 

The music video for Ragga BombSkrillex‘s collaboration with British jungle group Ragga Twins, debuted in April this year and went on the win numerous awards throughout the coarse of the year. The video was directed by SA’s own Terence Neale of Egg Films and shot in a post-apocalyptic Johannesburg and Alexandra. The video features rival, scavenger, street crews in a burning city where fierce dance groups are preparing for an upcoming showdown. The feuding gangs eventually meet for an epic light sabre battle cheerleaded by drum majorettes and glow-in-the-dark mouthed dancers.

 

Credits:

 

Production Company: Egg Films | Director: Terence Neale | Executive Producer: Colin Howard | Producer: Rozanne Rocha-Gray | Line Producer: Devi Lazanas | DP: Michael Ragen | Art Direction: Michael Linders + Wendy Fredrikson | Costume Design: Elmi Badenhorst + Richard de Jager + Sandra Smit | Choreographer: David Mathamela | Editor: Evy Katz, Left Post Production | Colourist:  Craig Simonetti, Pudding | Visual Effects and Online Supervisor:  Jean du Plessis, Blade Works Post Production & BFX

 

 

Carla Liesching | Adrift Between Here and Somewhere

 

IN-which-Mmakgosi-is-the-wreck-of-Hope In-which-Nicole-Sends-a-Signal-to-the-Outside

 

In early 2014 Carla Liesching, a South African born but New York based photographer, returned home for a solo show at the new Brundyn+ gallery. Carla’s work explores the gaps in between – the uncertain spaces where ambiguity resides and where new realisations of the self begin to emerge. Her photographs traverse an imaginary terrain, populated by uncertain interlopers, adrift on a sea of discovery.

 

 

The Varied Work of Olivié Keck

 

Olivie Keck Olivie Keck

 

Olivié Keck is a print maker who also works in embroidery, ink, installation, sculpture, and drawing. She’s also a professional illustrator on the side. Looking at her work, the common theme appears to be variety. But within this experimentation is a careful consideration – of these myriad mediums so that they’re by no means frivolous, and the honing and refining of ideas and concepts. In her illustration work, Olivié works by the motto ‘If in doubt, just do it loud’. The result is, well, bold, but also playful, humorous, and when in colour, delightfully bright.

 

 

Adriaan Kuiters + Jody Paulsen Winter and Summer Collections. 

 

Adriaan Kuiters + Jody Paulsen Adriaan Kuiters + Jody Paulsen

 

We were wowed all year round by the collaborative collections of fashion designer Keith Henning and artist Jody Paulsen in 2014. For Winter their range featured exciting new prints developed by the duo, bold graphic knitwear, and colourful statement pieces, together with more classic black and checked pieces. Summer brought a new direction whiled simultaneously maintaining the sporty meets arty look that the two are known for. Their fascination with Japanese design is continued in wrap dresses, shirt dresses, mens trousers and a jumpsuit. The black and white looks in the collection are about creating classic pieces that can be pieced together in ways that feel new.

 

 

‘I Was Born Yesterday’ by Michael Taylor

 

Michael-Taylor-Caution-to-the-wind Michael-Taylor-Sea-legs

 

Michael Taylor’s “I Was Born Yesterday” opened at Whatiftheworld in September. The body of work follows the happenings (and mis-happenings) of stereotyped gentlemen tribes who come together in a spectacular staged race. The preliminary sketches that eventually gave way to each final image pervade the surface as visible traces of movement. The movement of men who, appearing theatrically in a colourful tableaux, are spread out in scenes of “nonsense rituals, uncomfortable teaming, unseemly gestures and small misadventures”. Caught in live action like this they come across as confident, youthful and eager, but their portraits indicate otherwise.

 

 

David Southwood | Peripheral Economies and the Urban Landscape

 

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Born in Pietermaritzburg, David Southwood has been a practicing photographer for over a dedade – roughly the same amount of time he has spent observing, participating in and photographing the Milnerton flea market. In 2011 a collection of these photographs were published by Fourthwall Books, forming a powerful record of an outskirt economy seeking to earn a living through trade in secondhand goods. Making up another notable portion of his body of work is Roads to Places, which is divided into the series Nothing in Particular, In Between and N1 Highway. For the latter David avoids the spectacular or obvious to present an awkward, often empty public stage comprised of events, personalities and traces of habitation encountered while travelling the N1. His most recent project, Stowaways, examines the lives of a community of Tanzanian stowaways living under the National Road One in Cape Town. We interviewed him this year to find out about all of these, and what’s next.

 

 

‘Tradition’ by Xavier Vahed

 

 

We interviewed young South African photographer Xavier Vahed in September this year. His extensive portfolio consists of work across many genres within the field of photography, even extending to include film. Tradition, an exhibited project of his including both mediums still remains one of the personal high points in his career so far. It also happens to be a highlights of ours this year.

 

Credits:

 

Written & directed by Xavier Vahed | Lighting & videography by Devin Carter | Starring Richard Lyster & Yolanda Hordyk | Music by Dinah Washington

 

 

Graphic Design by Gabrielle Guy

 

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Book design is a kind of art in and of itself, and nowhere more so than in the case of art publication design. Here, the design choices and intricacies of the printing process itself impart meaning and create another experience for the reader between the book they hold in their hands and the artworks themselves. Cape Town based graphic designer, Gabrielle Guy, specialises in the layout and design of art books, publications and custom monographs. She has worked with many of South Africa’s most renowned artist, galleries, curators and arts editors, and has developed a reputation for her careful attention to detail and considered approach.

 

 

Exploring Surreal Landscapes with Sarah Biggs

 

Sarah-Biggs_A-long-way-off_2014_Oil-on-canvas_65x100cm Sarah-Biggs_Its-all-relative_2014_Oil-on-canvas_150x90cm

 

With a gentle yet definite touch, Sarah Biggs paints surreal landscapes of hazy colour – sometimes dotted with a faint figure or few on a private quest of searching and discovery. At other times they’re left to exist without the presence of life-like forms, and the spaces at once familiar and foreign become the subject. Only a year after graduating from the Michaelis School of Fine Art, Sarah stands out as one of South Africa’s emerging contemporary artists whose work is characterized, in part, by highly unusual and often surprising colour choices.

 

 

Okmalumkoolkat’s ‘Holy Oxygen’ Music Video Directed

 

 

 

The music video for ‘Holy Oxygen’, Okmalumkoolkat‘s latest single, opens with the words of Mother Theresa: “The biggest disease today is not leprosy or tuberculosis, but rather the feeling of being unwanted, uncared for, and deserted by everybody”. In the footage that follows, we see Okmalumkoolkat’s Smiso Zwane as part of an alienated society who are under quarantine because of illness or social dysfunction. Discontent with their status as outsiders, the plastic-wrapped roamers journey out of  the gritty wasteland to form an asylum where everyone is equally accepted.

 

Credits:

 

Director: Wim Steytler | Cinematography: Wim Steytler and Peter Tischhauser | Editor: Marcelle Mouton (Deepend Post Production) | Stylists: Jana + Koos | Fixer: Kenosi Dlamini | Production Manager: Jacqui Buthelezi | Producer: Johnny Mabeba | Executive Producer: Gary King | Production Company: Picture Tree

 

 

Stylist Gabrielle Kannemeyer 

 

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As part of our Young South Africa series this year, we interviewed stylist Gabrielle Kannemeyer whose scope of work produced this year is astonishing. An art student turned vintage clothing entrepreneur turned stylist-to-watch, she lends her imagination, vision and impeccable taste to images made in collaboration with some of Cape Town’s most exciting young photographers, while building up a killer portfolio of her own. Her work has been published in a host of international publications – both online and in print.

 

 

Animated Illustrations by Frané Els

 

 

Frané Els is a character designer, illustrator and animator from Potchefstroom with a bright future ahead of her. She’s currently completing her fourth year of study at North-West University, and recently bagged herself a Gold Craft Loerie at this year’s ceremony for her experimental typeface,UBUZU (which is the Zulu for ‘faces’). Look out for more from her right here in 2015.

 

 

Photographer Caroline Mackintosh

 

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Caroline Mackintosh has had an incredible 2014 and we’ve kept you updated with her latest a few times along the way. Having been signed to Supernova and having shot for the likes of Oyster and VICE US all during the past year, her career is rapidly taking off. We first chatted to her this year to ask her about her photography, her process and her future plans in our Young South Africa series. More recently we shared some of the shoots she produced while travelling Europe and the States, and just yesterday she put together our last #NowPlaying of 2014.

 

 

Zaki Ibrahim ‘Draw The Line’ Music Video

 

 

Growing up as what she describes as a “citizen of the world,” singer-songwriter Zaki Ibrahim spent her childhood living at different times in Canada, South Africa, the United Kingdom, France and Lebanon. She released a music video for one of the tracks, Draw The Line, in July this year. She says, “The draw the line story does show me, but not exactly. Coming from the Cape Flats and overcoming an environment with challenges such as poverty, drugs, sexual assault, and Post-Apartheid conditioning is no easy feat. Creating your own path and shining your light through adversity, taking everything that you’ve experienced and everything you are, is what the song is about.”

 

 

‘My Heritage, My Inheritance’ | A Fashion Film for MAXHOSA by Laduma

 

Click here to view the embedded video.

 

We premiered “My Heritage, My Inheritance”, a fashion film for Laduma Ngxokolo’s knitwear brand MAXHOSA by Laduma in April this year. After his resounding success of the 2014 A/W Collection seen at Mercedes-Benz Fashion Week Joburg, and the brand’s expansion into womenswear and homeware, Laduma hoped the film would convey the concept behind his brand while at the same time showcasing the beauty and quality of his products. The film was shot in one 22-hour day at Panavision Studios in Cape Town and is a collaboration with director TAKEZITO (Batandwa Alperstein).

 

 

This Is Africa | A Proud Campaign for DStv

 

Click here to view the embedded video.

 

DStv’s This Is Africa campaign was released last month to an overwhelmingly positive response. The TV ad/online video is all about showcasing the African continent in a good light. The brand message, “This is Africa. Not how they see it, but how we know it.” reflects the current sentiment of our generation. The message is about breaking down the negative stereotypes, and encouraging people to see the beauty, creativity and potential that exists among African youth. The campaign was made by Ogilvy & Mather Johannesburg.

 

Credits:

 

ECD: Neo Mashigo, Mariana O’Kelly | Creative Director: Sibusiso Sitole | Writer: Kamogelo Sesing, Vuyo Mphantsa | Art Director: Marcus Moshapalo, Innocent Mukheli | Agency Producer: Simone Bosman | Client Service: Sabi Macu | Production House: Bomb Shelter Productions | Director: Teboho Mahlatsi | Producer: Marc Harrison

 

 

Photography by Gabriella Achadinha 

 

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Originally from Bloemfontein, Gabriella Achadinha relocated to Cape Town in 2009 to study Film Production at AFDA. Hereafter she completed her honours in Film and Media Marketing at UCT and is currently working as a freelance production coordinator. While her passion for photography was not as immediate as her love for film, Gabriella now spends the majority of her spare time taking photographs and is building up a beautiful collection of images in the process. We spoke with her in April this year and then shared more of her beautiful photos series in August.

 

 

Arid | A Short Fashion Film by Tao Farren-Hefer and Kent Andreasen

 

 

Earlier this year filmmaker/photographers Kent Andreasen and Tao-Farren Hefer, stylist Gabrielle Kannemeyer, hair and make-up artist Emma Launder and model Giannina Antonette headed out of the city to shoot stills for the very first edition of Pylot magazine, a new UK-based publication that features only analogue photography with zero-beauty retouching. They decided to go the extra mile by making a short fashion film to add another dimension to the project. So, while Kent shot stills, Tao filmed the arid surrounds, the little bits of life it offered up, and Giannina in motion bringing the frozen moments in Kent’s images to life. The resulting film is a beautiful collection of subtle gestures, visual tricks and is, in a way, a unique behind the scenes glimpse of the original shoot.

 

 

Asylum of the Birds | A Short Film by Roger Ballen

 

Click here to view the embedded video.

 

We’re ending off on a bit of a disturbing note, with this brilliant short directed by Ben Jay Crossman which accompanied the launch of Roger Ballen’s new book of photographs, Asylum of the Birds, in March. With nods to the Surrealist classic Un Chien Andalou and that scene in John Waters’ ultra-grotesque Pink Flamingos, it’s a weird and unsettling journey into the subterranean nightmarish world where the characters and creatures of his photographs reside. It’s an internal world made real, which compounds and confuses what exactly ‘real’ is.

 

 

Thanks for sharing the year with us! We’d love to know what your favourites of 2014 were, let us know in the comments.

 

Find all the 2014 Highlights: from most-viewed posts to trends in art and design to insights from the interviews we’ve shared to the best of Oh Wow. 

 

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Jessica Hunkin <![CDATA[2014 HIGHLIGHTS // The Wows]]> http://10and5.com/?p=96323 2014-12-12T11:42:07Z 2014-12-12T11:34:58Z

From the simple and striking to the bizarre, bold and outlandish – these are The Wows of 2014 presented in a mash-up of visuals and sounds for you to enjoy.

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2014 Highlights - The Wows

 

This year we’ve said Oh Wow! approximately (okay, exactly) 45 times – each Friday to be specific, in our weekly round-up of cooool. For part 4 of our 2014 HIGHLIGHTS we thought it would be fun to revisit all of our weekly Oh Wows, make a selection of the stand out work, and compile it into one super scrollable mash-up of visuals and sounds for you to enjoy. From the simple and striking to the bizarre, bold and outlandish – these are The Wows of 2014.

 

An arresting portrait from the series ‘Albus’ by Justin Dingwall:

 

'Albus' by Justin Dingwall

 

Nina Torr‘s signature illustrated dreamscapes in ‘The Wonders of the Universe':

 

2 Wonders-of-the-Universe by Nina-Torr

 

The curious and abstract eye of photographer Johno Mellish:

 

18 Johno-Melish-1

 

A dreamy editorial by photography duo, Elford/De La Forêt:

 

8 ElfordDe-La-Forêt

 

Other-worldly beauty captured by fashion photographer Lea Colombo:

 

3 Sofya-Titova-Photographed-by-Lea-Colombo-for-Fiasco-Magazine-7

 

Detail of Athi-Patra Ruga‘s ‘Approved Model of the New Azania’, which forms part of the Uncertain Terms group show:

 

9 'Approved Model of the New Azania' by Athi-Patra Ruga

 

Stark, offbeat images of Tsagana Barvantsikova shot by Lindsay Hamlyn:

 

51 Lindsay-Hamlyn-3

 

Andrew McGibbon‘s fantastic ‘Slitherstition‘ series of snake portraits:

 

4 'Slitherstition' by Andrew McGibbon (18)

 

The album cover for Desmond and the Tutus‘ ‘Enjoy Yourself’ with illustrations by Johan de Lange:

 

desmond-and-the-tutus Enjoy Yourself

 

A bizarre scene as seen by Patrick John and Chloe O’Doherty during their ‘Out the Office‘ US road trip:

 

23 Out-the-Office-3

 

A ‘Holographic Periscope’ in GIF form by imaginative illustrator, Jean de Wet:

 

Holographic Periscope by Jean de Wet

 

Caroline Mackintosh (photographer) Fani Segerman (model and stylist) ‘Violating Worcester’ together:

 

6 Violating Worcester by Caroline Mackintosh

 

An installation image from Jana + Koos‘ exhibition ‘City of Gold Diggers‘ in New York City:

 

26 Jana-+-Koos-City-of-Gold-Diggers-3

 

‘Magic Hats’ directed by Jake Summer featuring Jabu and JR, two life-long dancers from Soweto:

 

 

Portrait of a blue-eyed girl by painter John Murray:

 

5 Portrait by John Murray

 

A book of conceptual illustrations by Lize-Marie Dreyer based on Mary Frye’s poem ‘Dodendans':

 

31 Lize-Marie-Dreyer-5

 

Mignonne Krijno feat. a sculptural arrangement of wooden panels in Nico Krijno‘s ‘Construction':

 

34 Nico-Krijno-construction-3

 

Tracks from Fantasma‘s ‘Eye of the Sun’ EP:

 

 

 

Inside the Cango caves captured by by Wikus de Wet on the ‘Twenty Journey‘:

 

30  Wikus-de-Wet-inside-the-Cango-Caves

 

A pink haired Nastassja photographed in studio by Betina du Toit:

 

45 Betina-du-Toit-3

 

Nicole Liebenberg‘s man wrestling a tiger, which formed part of our first ‘Take Me Home‘ print sale:

 

Nicole-Liebenberg-620x438

 

Xanthi Georgiades shot by Katja Marr, with styling and collage GIFs by Peter Georgiades:

 

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A (neatly) exploded bicycle from South African Bicycle Builders’, an exhibition curated by Nic Grobler and Stan Engelbrecht:

 

34 Exploded-bicycle-print-from-South-African-Bicycle-Builders-an-exhibition-of-locally-built-bicycle-frames-Curated-by-Nic-Grobler-Stan-Engelbrecht

 

Daniel Ting Chong‘s slick and colourful branding for Manifold:

 

Branding for Mänifold by Daniel Ting Chong (3)

 

Stolen Pony, a solo project by The Frown’s Eve Rakow:

 

Stolen-Pony

 

 

Giannina Antonette photographed by Adriaan Louw, with styling by Marica Smit:

 

54 Giannina-Antonette-by-Adriaan-Louw

 

The video for Miami Horror’s single ‘Wild Motion (Set It Free)’, directed by Sebastian Borckenhagen:

 

 

Poster by Michael Tymbios for Sacha Fulton’s film ‘Hands Folding Hands':

 

13 A poster by Micheal Tymbios for Sacha Sultan‘s film Hands Folding Heads

 

Julia Campbell Gillies in ‘Bound’, a series photographed by Katja Marr and styled by Peter Georgiades:

 

20 BOUND, a series photographed by Katja Marr

 

‘In Our Hands’, a catalogue of interviews with 8 artisans created by Werner Goss Ross:

 

Werner-Van-Goss-Ross→In-Our-Hands-3

 

Tony Gum photographed in studio by Sipho Mpongo:

 

Tony-Gum-by-Sipho-Mpongo-2

 

From ‘Symptom’, a series of intriguing paintings by John-Michael Metelerkamp:

 

28 Symptom-Series-John-Michael-Metelerkamp-2

 

Gateway Drugs‘ first single ‘Give Me Your Love’ with track artwork  by Ian Jepson:

 

 

MUTI‘s illustrated cover for a weekend edition of The Washington Post:

 

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Brilliant image pairings in Luca Vincenzo‘s diptychs:

 

Luca-Vincenzo-2

 

Sylvia in the ‘Pink Ladies’, a shoot by photographed by Ashley Marie for Gaschette:

 

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One of a series of bespoke beer labels for Maven Craft Beer by Rudi de Wet:

 

Maven_Eye-Candy_Final_1000px_1000

 

‘All Eyes On Me’ from a series of magazine drawings Ninjabreadboy:

 

All-eyes-on-me_Ninjabreadboy

 

Striking studio images in ‘The Chiaroscuro’ photographed by Travys Owen for HUF Magazine:

 

27  The-Chiaroscuro-photography-by-Travys-Owen-for-HUF-Magazine-8

 

Illustrated animations by Lize-Marie Dreyer and Marli Fourie created for a collaborative project:

 

 

 

Coloured Poetry‘, a tumblr placing coloured “poems” over Nat Geo-type imagery:

 

11 Coloured Poetry

 

Cover art by Tom Parker for Seferino, the personal project of Geoffrey Brink:

 

50 Seferino

 

 

A beautiful image of Aluad Deng Anei, by Francois Visser:

 

17 Francois-Visser-1

 

Martin Mezzabotta‘s lowbrow parody zine, ‘Coping with Dumb':

 

Coping-With-Dumb-by-Martin-Mezzabotta-1

 

‘Explore the Rubble Shore’, an illustration by Jean de Wet:

 

Explore the Rubble Shore by Jean de Wet

 

KISUA‘s streamlined ‘Hariri’ range photographed by Misha Taylor:

 

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The ‘Pow Wow 2014 Calendar’ by Publicis Machine (team credits here):

 

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A blinking Nicolaas van Reenen, aka Fever Trails, in a GIF by Kent Andreasen:

 

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A wildly colourful poster by Daniel Ting Chong for Puma Happy Holidays:

 

56 Puma-Happy-Holiday-Poster-by-Daniel-Ting-Chong

 

And that’s a wrap! Check out the rest of our 2014 HIGHLIGHTS and stay tuned for the fifth and final instalment later today.

 

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Rebecca Looringh Van Beeck <![CDATA[Sylvan Aztok’s Debut Music Video by Fly on the Wall]]> http://10and5.com/?p=96591 2014-12-12T10:51:09Z 2014-12-12T10:51:03Z

Sylvan Aztok's musical debut is accompanied by a crazy, expressive and exploratory short film made by Fly on the Wall's Bryan Little.

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Sylvan Aztok is an exciting addition to SA’s electronic music scene with the majority of his sounds coming from self-recorded clips. His debut album just launched on okayafrica who describe his music as “a fauvist’s fantasia of smelted forms, decomposed elements of jazz, African and Eastern folk, trip-hop and sound design”. A multi-instrumentalist who loves making beats (always tapping his fingers to a rhythm), he describes himself as a “Cape Town based, vuddu rave, drift fabric, electronic music producer who has devoted his heart and mind to the dreamality”. To accompany his musical debut, Bryan Little, filmmaker and director from Fly on the Wall, has crafted a music video / short film for Sylvan’s track ‘Martian Jungle 7’.

 

With it’s low-res and collaged finish, it’s a perfect fit for Sylvan Aztok’s (aka Simon Kohler’s) granular and layered music, and for Bryan it’s an inspired step outside of his comfort zone. People are moving, dancing, and the music moves, instructing and charging each scene. The video morphs Africa with Europe, with religion, sacrifice and celebration. And each sourced clip has a story, but together they tell a tale of human life – a life of exploration and expression.

 

The video, entitled ‘Liggaam / lughawe’ (body / airport), is an evocative portrayal of limbs in motion. Bryan explains that it’s “a preparatory sketch exploring our ancient and intrinsic compulsion towards finding god…Since time began, all over the world, men and woman reach out earnest and open fingertips towards the unknown. Our bodies are conduits through which hope, desire and fear are channelled and expressed.” Ending with a quote from Temple Grandin, “Where do they go? One minute they are here and then they are just meat.”

 

www.sylvanaztok.com

 

Sylvan Aztok’s ‘S Z’ album cover by Swain Hoogervorst.

 

 

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Alix-Rose Cowie <![CDATA[Featured: From London to Durban through Alistair Redding’s Photography]]> http://10and5.com/?p=96322 2014-12-12T07:20:32Z 2014-12-12T07:00:28Z

Alistair Redding is a South African living and photographing in London, where he has been based for seven years.

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Zwelethu

 

Alistair Redding is a South African living and photographing in London, where he has been based for seven years. On his various return trips home he has captured beautiful street portraits of and in Durban. On his most recent visit he shot a fashion editorial highlighting the work of local fashion designers which he sent through to us to publish. When we had a look through his portfolio, however, there was so much more that we wanted to show you! These are some of our favourites of his along with a conversation with Alistair where we find out how he came to be a photographer, what he enjoys about exploring various styles and genres within the medium, and what’s next.

 

What is it about photography that made you want to pursue it as a career?

 

I loved the process of photography and I liked the challenge of getting everything right in an instant. The challenge of focussing your attention to a five hundredth of a second and producing something people would find meaningful and engaging.

 

How did you go about learning the craft?

 

I came from a moving image background so I knew some of the basic principles. Ironically enough I never grew up with cameras, I never owned one growing up and I have never been that trigger happy with my phone etc. I became infatuated with photography when I started taking pictures with a very old medium format camera from the 50s with a focus mechanism in feet, and a viewfinder, so you had to work out how far away the subject was before you took the picture. These limitations helped me to take some of my favourite photographs and the other benefit was that it made you really think hard before taking a picture. I had always enjoyed photographs but when I started to make my own in this deliberate way I felt it was a good direction for me. I then created my own little photographic projects and one thing led to another.

 

Would you say you’ve developed a personal style? And if so, how would you describe it?

 

I don’t know that I have my own style yet, I don’t think it’s up to me to say whether I have a style or not – that’s for other people to decide. I just have ideas which I try to execute and there are certain things I like. At the moment I am revelling in colour and I think my exploration of colour will continue. I think I am just wired in a way that makes it difficult to settle down to one way of working, so it may be a bit difficult to pin down my style for some time to come.

 

You’ve photographed fashion and documentary – please tell us about what you enjoy about each and what your process is for each?

 

I like reportage because it’s just me on the street speaking to people and getting them in front of the camera. There is a thrill in the unknown, photographing people who have no idea who you are or what you’re trying to do but at the same time engaging with them and getting a little window into their lives. I do tend to direct my subjects when I am on the street; that way I feel that I am able to get them into a more neutral space and to bring out what I find interesting about them. So I wouldn’t call this work strictly documentary in nature. In my more recent work I take my portraits in a uniform way so that the subject becomes the central point and they are all presented equally so that there is this idea of the democracy of the subject when the images are presented together.

 

Regarding my fashion photography I feel as though I am still at the cusp of it and it is an exciting place to be, at the moment I enjoy working with other people i.e. stylists, magazines and designers and creating eye-catching work. I am sure this side of my work is going to continue to blossom in the coming years.

 

Real FriendsAlistair Redding London People

 

What’s the most valuable thing you’ve learnt in your career so far?

 

The most valuable thing for me is to trust my ideas and instincts and to work hard to realise them.

 

How long have you lived in London, and how has the change of country impacted the way you see or capture things?

 

I have been living in London for 7 years. London has a rich cultural life, you are able to see great art easily and there is a great deal of importance placed on the cultural life of the city. People from all over go to London, you feel very connected to the world. Because of this you are able to absorb a lot of different ideas and experiences, it can feel like an overload sometimes but I really enjoy all the stimulation.  It’s also an easy place to photograph on the street, easier than South Africa, but perhaps because of this I find it can also be a little less exciting. Living in London has given me a great perspective on South Africa and how unique it is, this means that when I come here I am able to see it again afresh.

 

South Africa has a proud photography tradition especially during the apartheid era where images were an important weapon against injustice and inequality. And I think this has continued today with so many South African photographers producing exceptional and thought provoking work and I think there is a thirst for this in London.

 

Please tell us about some of your most recent projects:

 

I am busy with my street photography project in Durban capturing street portraits of pedestrians, traders and street ‘sangomas’. I have also been shooting with local fashion designers in Durban showcasing their great work. One of my recently completed shoots combined the work of local designers and the Woza Moya NGO which helps those affected by HIV Aids, they have a wonderful store where they sell local arts and crafts and the beautiful beadwork I used in the shoot.

 

Alistair Redding Woza Moya Alistair Redding Woza Moya Alistair Redding Woza Moya

 

Stylist: Marial Kaplan, Make up: Emma Launder, Model Akhona from Ice models.

Top image – Dress: Londy Lembede, Earrings, necklaces and bag: Woza Moya shop, Shoes: MRP

Bottom two images – Sleaveless top: Thembeka ‘Yadah’ Vilakazi, Beadwork: Woza Moya shop, Massai Tartan: Davine’s African Shoppe, Necklace Mariel Kaplan

 

Please tell us about the making of The History of Apple Pie’s music video? What was different about the making of a film?

 

Shooting the video was a lot of fun and a great deal of work. I will be shooting more video projects in the near future and it is something I really enjoy. The process is not dissimilar to shooting stills, except you don’t have the freedom to move around so much so you have to get all your shots worked out carefully beforehand.  And at the same time you have to be prepared to improvise if there is a great new idea or something unexpected happens. I think this is very true for photography too, great accidents are like visual diamonds. As Robert Altman said, “Think about five of your favourite moments in any of my films and I can guarantee that they were accidents”. There is a portrait of a woman carrying her child in my 6×6 London series where she is looking directly at the camera. This was a total accident, I liked the way she was holding her daughter and walking but as I walked up to her and took the picture she turned around and gave me this great look! I was very lucky.

 

 

What are you currently working on? And what’s next?

 

I am continuing with my street portraits as well as working on some short video works and a fashion film with local fashion designers. And I have some exciting projects lined up for the new year plus another analogue shoot for Pylot Magazine in London.

 

Stay updated at alistairredding.com 

 

Alistair ReddingAlistair ReddingDurban StreetsDurban StreetsDurban StreetsMeat Clothing Meat Clothing6 x 6 London 6 x 6 LondonPreachers Preachers Preachers

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Rebecca Looringh Van Beeck <![CDATA[kulula.com’s New ‘Check-in from anywhere!’ Campaign]]> http://10and5.com/?p=96026 2014-12-12T07:07:41Z 2014-12-11T13:00:02Z

A holiday campaign by King James for kulula.com featuring Siv Ngesi, Jack Parow and a remote-controlled bed.

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Click here to view the embedded video.

 

What do you think of when we say: lime green, rubber duck, airport, motorised bed, and bubble bath? These are all brought together in true kulula style in the airline’s latest holiday campaign, ‘Check-in from anywhere!’. kulula (from the Zulu word meaning ‘easy’) always does ‘cheesy’ so well, and South Africans love it. When you first see the remote-controlled bed and bath with Siv Ngesi and Jack Parow wooing the crowd in the campaign video, it’s difficult holding back a chuckle. And the point is made clear: you don’t need to stand in long lines to check-in with kulula.com, you can do it from home, at your office, or (as they’ve publicly demonstrated) while you’re taking a bath.

 

Noticing how most South Africans are happy booking their flights online but apprehensive when it comes to checking-in online, kulula.com briefed their agency, King James to come up with a way of informing people, who were unnecessarily queuing at the airport check-in counters, that it would be much faster, easier and more convenient for them to rather just skip the queue and check-in online from anywhere, i.e. the comfort of their own home, bed, couch, office, or deck chair.To come up with the campaign idea, King James questioned how the virtual world of online check-in can be made tangible. We asked the agency about the difficulties selling and producing the campaign. They said:

 

Selling the idea to kulula.com was actually pretty easy. Most conventional airlines would just put up an instructional message on a poster or banner, but (fortunately for us) kulula.com doesn’t really do normal. We had to come up with something different. So when we told them that we wanted to put their online check-in message on a bath, and then put that bath on wheels, and enable it to move around with a remote control – they were in from the get-go. Convincing an airport to let you drive around in a bed and bath for a couple weeks obviously requires a bit more convincing, but kulula.com has a great relationship with all of the airports and got them onboard.

 

Apart from actually having to build a working remote-control bed and bath that would be strong enough to carry Siv Ngesi, Jack Parow, and all our promotion staff around the airport for a couple weeks, it went very smoothly. We had a great team covering every aspect of the campaign, and a client that gave us their full support from the word go.

 

kulula airport activation kulula airport activation

 

 

kulula.com’s online check-in has also been revamped and improved. Boarding passes are emailed to you and when you get to the airport all you have to do is drop your bags at the ‘bag drop’ counter (if you’re taking more than hand luggage). This is done quickly because no time is wasted capturing details or assigning seats.

 

Shaun Pozyn, Marketing Manager for kulula.com says, “Holiday season should be a fun time but often it’s stressful because there’s so much to do, in such a short time. We can’t manage your in-laws or do your Christmas shopping but we hope that our newly improved online check-in system can save you some time that can rather be spent with your family.”

 

If you want to go for a ride, the kulula bed and bath will be on display at O.R. Tambo International and Lanseria Airports respectively from Saturday, 13 December until mid January 2015.

 

Credits:

 

Advertising Agency: King James Group

Chief Creative Officer: Alistair King

Executive Creative Directors: Devin Kennedy, Matt Ross

Copywriter: Roderick McCall

Art Directors: Justin Enderstein, Graeme Bettles

Business Director: Melanie de Winnaar

Production Company: Audio Visual Alchemy

Agency Producer: Wesley Coller

Design and making of bed and bath: Stand-Up

 

 

kulula airport activation kulula airport activation kulula airport activation kulula airport activationkulula online check-in bath JHB pics (7)

 

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Jessica Hunkin <![CDATA[#NowPlaying: ‘Light Up Your Life’ by Caroline Mackintosh]]> http://10and5.com/?p=96205 2014-12-11T12:03:11Z 2014-12-11T12:00:06Z

'Light Up Your Life' is a collection of songs for summer dreaming chosen by photographer Caroline Mackintosh, for our last #NowPlaying of 2014.

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#NowPlaying - Light Up Your Life by Caroline Mackintosh

 

This year in #NowPlaying has been a great one – from ‘Songs for Looming Deadlines’ (to get you through many a late night working) to ‘The Whitest Playlist Alive’ (because you’ve always wondered what it sounds like when a moleskin and a banjo have babies). We also shared a scary-good Halloween playlist, ‘Boogie’, a mix about breaking up and making up called ‘He Said, She Said’ and even some ‘Music to Make Your Ears Bleed’, if that’s more your vibe.

 

Before we call it a wrap for 2014, we’ve got one last #NowPlaying to share with you: a collection of songs chosen by Caroline Mackintosh. We recently caught up with the free-spirited photographer after her time spent traversing the US, and one of her shoots from that trip was published on Oyster this week – it’s a beaut and her personal favourite to date, so we’ve included it below (just a bit nsfw, before you scroll down).

 

The playlist Caroline made for us today is called ‘Light Up Your Life’ and features Mac Demarco, The War On Drugs and No Joy as well as local acts Fantasma and Christian Tiger School. It’s a lovely mix of songs for summer dreaming that should do the trick no matter your preferred style of vacationing. Speaking of which, from us and the Stereophonics, have a nice (holi)day!

 

 

Tracklist:

 

  1. Ode to Viceroy – Mac Demarco
  2. Talamak – Toro y Moi
  3. The Suburbs (Arcade Fire Cover) – Mr little jeans
  4. I’m God [Lil B] – Clams casino
  5. Everglades – Christian Tiger School
  6. A Monument to Everything – Kindness mix (feat. Busiswa)
  7. Shesha Span (Hell Yeah) – Fantasma (feat. Ross McDonald)
  8. The Way (Blood Orange mix) – Friends
  9. Disappearing – The War On Drugs
  10. Secret powers – Yeo
  11. Hare Tarot Lies- No Joy
  12. Salad days- Mac Demarco
  13. Have a nice day – Steroephonics

 

Browse our archives for more #NowPlaying, or find the playlists directly on 8tracks.

 

Desert Star shot by Caroline Mackintosh, with styling by Scarlet Moreno:

 

Desert Star - Caroline Mackintosh (1)

Desert Star - Caroline Mackintosh (2)

Desert Star - Caroline Mackintosh (3)

Desert Star - Caroline Mackintosh (4)

Desert Star - Caroline Mackintosh (5)

Desert Star - Caroline Mackintosh (6)

Desert Star - Caroline Mackintosh (7)

Desert Star - Caroline Mackintosh (8)

Desert Star - Caroline Mackintosh (9)

Desert Star - Caroline Mackintosh (10)

Desert Star - Caroline Mackintosh (11)

 

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Jessica Hunkin <![CDATA[‘Bill of Rights’ | A Book by David Southwood]]> http://10and5.com/?p=96150 2014-12-11T09:58:38Z 2014-12-11T11:00:38Z

'Bill of Rights' is a book of photographs by David Southwood, presenting both the failures and the transformative power of the South African Bill of Rights.

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Bill of Right by David Southwood (1)

 

“But, what the law and legal rights can do, when invoked with creativity and integrity, is to play a humanising, expansive, and inspiring role in human society. The law can create the conditions for humans flourishing.” These are the words of Constitutional Court Judge Edwin Cameron, from the foreword of Bill of Rights. The book, published in November, is the culmination of a photographic exploration by David Southwood.

 

We interviewed David earlier this year about a few of his other long-term projects that came before this one. As a photographer, he is committed to presenting projects that are thorough and Bill of Rights is no exception. The book contains a combination of photographs and text, designed to present situations that direct the sensibility of a late high school reader, and upwards, towards the South African Bill of Rights. It does so in a way that presents the failures in the Bill or in its implementation, and on the other hand, it salutes the majorly transformative force the document exerts on individuals and institutions 20 years after the advent of Democracy in South Africa. Each photograph in Bill of Rights implies rights, or a right. A constellation of these are presented in the book alongside captions combining statistic, quote and observation to extend the relationship between the photographs and the rights being illustrated.

 

In the foreword, titled ‘What you can do with rights’, Judge Cameron goes on to say: “Through legal agency, even if applied imperfectly, material benefits can accrue to human lives. Legal rights can change social practice, by altering discourse. And most deeply, when applied with a seemly blend of ambition and caution, of hope and humility, the law can lay the foundation for moral agency and civic dignity. To deny these possibilities in the law is to take a too miserly, too cautious, and too crabbed a view of its potential – and of what we, as lawyers and judges can do. The law cannot offer transcendence from human toil and limitation. But it can offer us the chance to be better than ourselves. And that is surely something worth celebrating.”

 

Bill of Right by David Southwood (2)

Bill of Right by David Southwood (3)

Bill of Right by David Southwood (4)

Bill of Right by David Southwood (5)

Bill of Right by David Southwood (8)

 

Purchase Bill of Rights and other publications/prints by David Southwood through his online store.

Visit his website for more: www.davesouthwood.com

 

Selected photographs from Bill of Rights:

 

Zimbabwean man, Marabastad, February 2014

Zimbabwean man, Marabastad, February 2014

Durban beachfront, February, 2014

Durban beachfront, February, 2014

New Sanitation Blocks, BM Section, Khayelitsha, February 2014

New Sanitation Blocks, BM Section, Khayelitsha, February 2014

Blind Zimbabwean beggars' Roof, Ellis Park, March 2014

Blind Zimbabwean beggars’ Roof, Ellis Park, March 2014

Blind Zimbabwean beggars, Ellis Park, March 2014

Blind Zimbabwean beggars, Ellis Park, March 2014

Muizenberg beachfront, March 2014

Muizenberg beachfront, March 2014

Gay Pride march, Cape Town, March 2014

Gay Pride march, Cape Town, March 2014

Greenside High School, Johannesburg, April 2014

Greenside High School, Johannesburg, April 2014

Reginald Jooste and Francois Pienaar, Carnarvon, April 2014

Reginald Jooste and Francois Pienaar, Carnarvon, April 2014

Illegal immigrant, Fietas, April 2014

Illegal immigrant, Fietas, April 2014

Groot Kraal School, near Oudtshoorn, April 2014

Groot Kraal School, near Oudtshoorn, April 2014

Groot Kraal School, near Oudtshoorn, April 2014

Groot Kraal School, near Oudtshoorn, April 2014

H.F Verwoerd Tunnel, Limpopo, April 2014

H.F Verwoerd Tunnel, Limpopo, April 2014

Tendai Sout,recycler, pulling his trolley, Maboneng precinct, April 2014

Tendai Sout,recycler, pulling his trolley, Maboneng precinct, April 2014

Housing on land donated by the Government, Mew Way, May 2014

Housing on land donated by the Government, Mew Way, May 2014

 

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Layla Leiman <![CDATA[2014 HIGHLIGHTS // The Interviews]]> http://10and5.com/?p=95821 2014-12-11T10:06:43Z 2014-12-11T10:00:13Z

We turn the spotlight on the words that accompany the pictures and re-read the insightful, funny, honest, informative and inspiring interviews that we loved from 2014.

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Highlights: Interviews

 

Yesterday we shared the trends and themes in design and art that we’ve noticed over the course of the year. Today in part 3/5 of our Highlights of 2014 series, we’re turning the spotlight on the words that accompany the pictures to give you our highlights from the 100s of interviews that we’ve conducted and published over the year.

 

A major part of what we love about our job is being able to interview creatives across a myriad different fields to learn about their views, thoughts, processes, inspirations and challenges, experiences, opinions, backgrounds and hopes for the future. This year we’ve had the privilege of hearing from some of SA’s creative greats, newcomers, up-and-comers, rebels and professionals. They’ve shared their work with us and let us get to know the people behind the work.

 

Through our interviews we’ve gained firsthand insight into the projects that’ve shaped and defined the local creative landscape this year, and we’ve loved sharing this with you every day. These are the interviews of 2014 that stand out for us.

 

 

Award-winning novelist Lauren Beukes tells us how starting out in journalism gave her a backstage pass to the world and an open invitation to follow her curiosity. 

 

In pursuit of a story, I’ve spent time with electricity cable thieves and township vigilantes, but also got to interview Aids activists, doll collectors and one lisping dominatrix, dive with sharks, hang out at fancy rehabs and jump out of a plane.

 

It was awesome and I miss it – although I use the skills I picked up for my novels. Transcribing hours of interviews teaches you how people speak and what dialogue sings, because the line tells you deeper things about the person or their perspective on the world. I make a point of visiting the places I’m writing about and trying to get as deep as I can into them.

 

Lauren-Beukes-7-620x930

 

 

Francois Knoetze shows us how our trash speaks volumes about us through his sculpture and video art.

 

By sculpturally appropriating objects deemed useless, obsolete or out of date, into performative enactment – a form that itself originates within the fleeting present – the work aims at redramatising the acceleration in the willingness to discard unwanted matter. This trend is often mirrored in the hurriedness with which human beings are marginalised and rendered as waste in South Africa. Colonialism and Apartheid’s residual boundaries of socio-spatial exclusion, between a populace treated as surplus and an affluent consumer class, are (arguably) nowhere more noticeable and geographically defined than in Cape Town. The growing gap between rich and poor – exemplified by the heights of skyrocketing property value and depths of the city’s longdrops – is paralleled by the growing mounds of garbage that lie scattered around the peripheries of the city.

 

photo-by-anton-scholtz-Cape-Mongo-Paper-620x413

 

 

SA design legend Garth Walker speaks to us about his iconic experimental design publication ijusi, which pioneered an authentic visual language rooted in South African experiences. 

 

Real graphic design (not this digital shit) will return when people realise that digital looks crap. Technology may change, but human nature doesn’t. But it’s gonna be far harder to be heard (seen) than when I started out 35 years ago. Everyone is now a designer/photographer/musician/whatever, so one needs to find a client who understands you can do what they can’t. I think there will be a return to ‘hand work’ – we humans need beauty in our lives and that is the concept we designers need to hang onto. It will be a rough ride, but worth the journey. In the end, graphic design is what I do. It’s a way of life – not a job. It’s a calling (and we are very lucky to get that call).

 

ijusi-Magazine-Issue-29-The-Mandela-Issue-2-620x439 ijusi-Magazine-Issue-3-Towards-a-New-Visual-Language-1-620x439

 

 

Nicholas Eppel gets narrative about story telling and photography, and the magic hidden within the banal. 

 

A common theme that runs through the work is the focus on the lives and experiences of ordinary people. For me, Life – grand or plain – is storied. It is as much in the ordinary and unspectacular, as in the greater tragedies and joys, that these stories are found. There is a remarkable texture contained in everyday experience and in our constant determination to survive the passing of fortunes and time – in those points at which personal stories intersect with the larger political and socio-economic forces. For me these are the histories that are important. These are the histories that should be recorded. Not only the histories of the powerful, the famous and the victorious. Despite any changes in style or aesthetic that I might have, I think that this point continues to influence all the work I do.

 

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Nolan Oswald Dennis shares his uncertainties about popular memory, sanctioned history and information systems, and how this influences and manifests in his art

 

In 2009 my housemates were a brother and sister who would do something like this: they would argue about the merits of Mbeki’s recall by evoking Ghost in the Shell, the Treatment Action Campaign, Octavia E. Butler, three six Mafia, the Kenilworth Spar, The Sandman, WWE wrestling, Cowboy Bebop, Wu-Tang, Lesilo, Ronald Suresh Roberts, Naruto, Bram Fischer ad infinitum. This way of moving between fiction and fact, with the blurring of time, space and authority in their construction of a South African subjectivity completely changed my view of what is going on here in this place, and how I relate to it.

 

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Richard Finn Gregory talks to us about The Boers at the End of The World, a tiny community of Akrikaner descendants eking out a life in remote Patagonia. 

 

Being there was similarly surreal. Patagonia is a dramatic, sometimes harsh place where it certainly felt like being on the far side of the world – but at the same time, it reminded me of the Tankwa Karoo.  The way the old guys looked contrasted with how they sounded was also odd – they often dress like guachos (South American cowboys) with neck scarves, berets and bombacho riding trousers – but as soon as they started speaking to me, they sounded like Karoo farmers.  It was a strange mix of nostalgia and novelty.

 

Click here to view the embedded video.

 

 

Juanel de la Forêt explains working with her romantic and creative partner, Jesse-Leigh Elford as photography-production team Elford/De la Forêt

 

We’re not afraid to simmer and boil in order to arrive at a distilled clarity. Our polar personalities come together in this way, and that’s how we arrive at images that can have seemingly contradicting forces: strong yet delicate, composed yet perturbed, constructed yet mercurial. It takes work to find the common thread, otherwise the result will be schizophrenic. It also gives us the opportunity to create something together that we wouldn’t separately. During this process we don’t waste time candy-coating observations or dancing around each other’s sensitivities. What we do and what we have in each other is too precious to us to let egos erode it.

 

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Jenna Bass and Hannes Bernard relate tales of the bizarre and thrilling adventure of starting Jungle Jim, a bi-monthly African pulp fiction magazine that pushes the boundaries of cultural mash-ups and cheap, creative DIY publishing.  

 

If we want to copy anything from the West, I think it should be the focus on critical design, contextual awareness and a fuck-you-attitude to what we think is interesting, urgent or even popular, instead of importing aesthetics simply because their euro-ness, celebrity or association with big brands give us some sense of global recognition. I think the ultimate defining characteristic of the creative industry in SA is the ability to radically redefine how we imagine, see and produce ‘Africa’, and we should take advantage of that as it will have greater global currency in the long run.

 

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22 year old photographer, filmmaker, musician and writer Sibs Shongwe-La Mer speaks to us about teenage angst, boredom, young love and how creativity keeps him sane.  

 

I’ve left my life open to experiences instead of trying to normalise my life or condemn my curiosities. I think that’s a really important thing to aspire to as an artist. I know as much about Christmas at cheap strip clubs in Hillbrow as I do about falling for a girl in a boarding room in Paris. These dualities I cherish.

 

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Gavin Elder tells us about his wild career that’s taken him around the world shooting for the likes of ACDC, Duran Duran, Pink Floyd, Springbok Nude Girls,Felix Laband, Cypress Hill, Violent Femmes, Bush, David Bowie and artists Brett Murray, Jeff Koons, Friday Jibu, Giles Walker and Shepard Fairey. And he’s worked with the David Lynch.  

 

I started filming with a video camera and used to do basic editing using 2 VHS machines, pressing stop/start to make an edit (seems like the dark ages now!). I then got a job filming events and the company had an AVID editing system which I Iearned how to use. I picked up lighting and directing skills by just doing it, lots of trial and error of course. The skill set came out of necessity – when I am on the road and I want to view and create short edits it’s not realistic having an additional person, so I learnt to edit. If you love what you do, you find a way to gather the necessary skills to enable you to keep working.

 

Click here to view the embedded video.

 

 

Dave Southwood shares the lyrical stories behind his photographs like meeting the Tanzanian stowaways who live under Nelson Mandela boulevard.  

 

Boot prints, bottle tops, a sabre-tooth shard of metal featuring a handle made from wound-up plastic, the remains of an official travel document, the lower mandible of a cow, a half-submerged white packet flagging the spot. So this is what it feels like to be a Mars probe.

 

I come across what must be a bed and begin to read the scrawled notes at its foot, which supports a highway.

 

All of a sudden I realise that a ghostly armada of ships floats on a sea of graffitti. I can see inside the ships.

 

STOWAWAYS!

God bless da sea
Rashidi mwanza to sea
neva afrika again
Professor ngaribo Mzala
i like ship no like pussy Sea never dry
Opportunity never come twise
Escape from cape
Sex man chateka, from vingweta

 

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Tegan Bristow introduces us to interactive digital art, educates us on the buzz term ‘Afrofuturism’, and checks in on the local tech art scene.  

 

I suppose I’m an artist who has always been a geek at heart. I love maths and programming, technology for me is a medium. It is the place where I get my hands dirty, experiment and have fun.  In addition I think that it is vital to look critically as well as creatively at the medium that really has become an everyday event for most of us. We take too much of what is given to us in technology at face value, I believe that creative people should be challenging technology and how we use it, every day.

 

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Young photographer Hanro Havenga takes us on a custom jaunt down the streets of BestRand

 

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Sarita Immelman gets real about being a freelance illustrator and designer – making f*#!-ing cool friends, winning metal birds and choosing to disco. 

 

I was hooked on illustration the first time I managed to draw a picture that wasn’t a stick figure. It was a horse. I thought it meant I was going to be a painter with a loft studio, nude models and temper tantrums. The idea that artists get away with certain taboos because they have a “gift” was a very attractive one for me. Turns out that in the real world, the ability to draw a decent horse, usually gets you into an advertising studio where there’s only slightly less nudity. But the tantrums are glorious.

 

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Guy Neveling and Paul Cocks share snapshots from their long-term photography project chronicling the varied characters and characteristics of Main Road in Cape Town as it meanders from the city to the sea.   

 

I think sometimes the hardest part of keeping a project like this going is to go shoot when you are feeling completely uninspired. Not only uninspired in your subject matter but also uninspired with how you are shooting it and the images you are producing. There are times where you feel like everything you are shooting is cliché or boring or just trash and you have to learn to push through those times.

 

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Dinika Govender talks us through the many, many things that make up her day – from baking bespoke biscuits to crafting new media strategy, and pretty much everything else in between.  

 

Learning and growing in a democracy that is also trying to grow into its grown-up shoes is a tandem journey – and one that I try not to take for granted. This is a country blessed (#soblessed) with All the Beauty and the Beasts – which makes it a position of creative privilege for anyone with an interest in adding something meaningful to the world.

 

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Charles Harry Mackenzie speaks candidly about finding his creative voice in photography and writing and his current journey as “chronographer”, his title for someone who records life. 

 

For a long time I felt an unbearable amount of self loathing. Just as I have illustrated before, everything I do is all over the place, great for experimentation…terrible for a distinct style. I tried everything…and enjoyed everything. I would gloss over greats like Kent Andreasen and was always ready to throw a loaf of bread at my computer screen. I mean, it wouldn’t matter if I travelled into the obscure far reaches of the deep dark web, hopping between silk road and terrorist forums…if I saw a Kent Andreasen image lurking about I would immediately know that it was him. I felt jealous. Why is that mother fucker so cool?

 

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Jordan Metcalf tells us about being on the ground floor of an emerging design movement and a frontrunner of custom lettering. 

 

The biggest challenges are ones that the entire industry faces. People working in creative jobs are often led into believing that they are so lucky to be doing what they do that they should somehow bend themselves around impossible budgets, changes, requests and timelines, take on ‘opportunity’ or ‘portfolio’ jobs for free, or take one for the team now under the promise of future work. It’s a pervasive issue that often tilts the scales of value exchange hugely in favour of the employers, agencies and clients. I think the challenge for both young and established creatives is understanding the value of your skill, experience and expertise, and how it will be used by your clients and learning to quote accordingly. Creatives don’t have to think of money as an embarrassing, or shameful part of the process that they’d rather not think or talk about, or feel self-conscious about quantifying the value of their skills. You can be humble and do good work, but still make sure you’re building a sustainable living for yourself.

 

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Tristan Holmes chats with us about the transition from being in front of the camera to behind it and how limitations can often improve an idea. 

 

I like images that push and pull at the same time. Images that lull you in with their beauty but have an unsettling undercurrent brimming just beneath them. Some examples of this are more obtuse like in some of my music videos, others less so, but when given the freedom to, creating images that appeal to both the light and shadow in us is something I find appealing. I suppose I most definitely am not a resounding optimist nor a disillusioned fatalist, I find both points of view have their merits and inherent beauty, and I like exploring this.

 

Click here to view the embedded video.

 

 

Grant Payne talks shooting fast on the streets of Cape Town and learning to roll with whatever the moment throws at him.  

 

I would say my first gigs were the courage parties that used to happen in Durban. Two friends of mine used to throw them at the Winston hotel. The majority of  the crowd were teenagers getting totally obliterated and doing things that Musgrave mom and dad would never approve of. I couldn’t believe these kids would get dropped off by their parents, and get picked up later looking like gutter shit. I thought it was gold. I wanted to shoot that kind of stuff anyways and then people started paying me to do it. I saw some weird stuff go down in the dark of Durban. It was great. I think in terms of growing, I now have goals with my photography that I want to reach and that means I can’t stay out all night anymore.

 

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Roberto Millan shares a wry laugh with us about being a satirical cartoonist in SA.  

 

My favourite comic strip thus far is the one I’m currently busy with. It is for a monthly LGBTI publication (lesbian gay, bisexual, transgender and intersex) called the Pink Tongue. It’s called Squeers and is about two gay squirrels living in the oldest cultivated pear tree in the Cape Town Company’s Garden. The ‘rumoured to be dating’ couple live just above Squrew night club – a reference to a very popular gay bar on the Cape Town Pink Strip. The comic strip makes a legitimate and underrepresented social commentary within the context of South African cartooning, accompanied by various political references to LGBTI culture.

 

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Gaelen Pinnock explains his hybrid creative mix of architecture and photography and the conceptual possibilities this ‘grey area’ opens up.  

 

I spend a lot of time reducing and distilling. I want to tell a story using less, which I find quite challenging because the world is full of clutter. For the last few years I’ve sought out these scenes in the world and approached them with quite a static, straight-on composition, like they are elevational studies.

 

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Thommo Hart challenges us to get real by presenting us with a snapshot into the life of Siya Nzama, a tattoo artist finding innovative ways to express his creativity in the disadvantaged Copesville Township.  

 

I am not a fan of the South African clichés that portray South African society as this 1st World utopian nation light years ahead of Africa which our government and corporate businesses love to represent to the rest of the world. It gives a false sense of reality or a hyper reality in which most ordinary South Africans can’t live, thus creating an identity crisis and conflict within our society. The other clichés I tend to stay away from are the poverty and violence stricken stereotypes that riddle the visual displays of our local media and international media. As a result, I try and portray the visual representations of reality as if through the eyes of the people within that space and time that I am capturing.

 

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Catch all the 2014 HIGHLIGHTS here!

 

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Rebecca Looringh Van Beeck <![CDATA[Mama Marikana | A Documentary Film]]> http://10and5.com/?p=95534 2014-12-11T10:56:43Z 2014-12-11T09:38:27Z

Mama Marikana gives a voice to the women left behind after the 2012 massacre. We hear first hand from the director and producer about making the film.

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Marikana. As an event that saw a violent play off between strikers and policemen outside the Lonmin platinum mines near Rustenburg, it’s a word that haunts South Africa’s post-apartheid legacy. 34 strikers (mostly mineworkers) were killed, 78 injured. And in the preceding week, 10 more people were murdered, including 2 policemen and 2 security guards. The effects of the harrowing incident have leaked into arts, culture and politics, making many South Africans question and contribute to an extended conversation around wealth, power and privilege.

 

Every victim who died at the Marikana massacre had lives and had families. Mama Marikana is a documentary film that shares a different side to the story, giving a voice to the women left behind. Widows, mothers, sisters and community members have been forgotten but their struggle to move on, away from the event that changed their lives and their perspectives, continues. Working together, they provide a powerful voice to the women of the community through strength, agency and protest.

 

Mama Marikana follows five women: Primrose Nokulunga Sonti and Thumeka Magwangqana, leaders in Sikhala Sonke the Marikana Women’s group, Evelyn Seipati Mmeka a God-fearing mother of the community and Zameka Nungu, widow of the slain Jackson “Ace” Lehopa. The film follows the lives of theses women for two years, starting on the day of the Massacre, 16 August 2012, exposing “the growth of the Marikana Women’s Group, Sikhala Sonke, and a rise into parliament, personal sacrifices for the community and the empowerment of a victim” (Mama Marikana).

 

The director, Aliki Saragas, tells us that the film was inspired by an article she had read entitled ‘The Missing Women of Marikana’ by Camalita Naicker. We interviewed her and co-producer, Tessa Scott, to find out more, hearing first hand about the making of Mama Marikana.

 

Your story begins from the day of the massacre. How did you start the process so suddenly, or did you have to use other people’s footage?

 

Tessa: We started work on Mama Marikana at the beginning of 2014, but knew we needed footage from the past two years to properly tell this story.

 

Aliki: I managed to source archive material from the 2012 massacre and months that followed, as well as photographs from photojournalist, Greg Marinovich, and some footage filmed by Uhuru Productions, makers of the award-winning documentary Miners Shot Down.

 

 

And what was it like making a film over a 2 year period?

 

Tessa: During production, the crew spent much time filming in Marikana, getting to know the women at the centre of our story. Seeing the ins and outs of daily life in Marikana, spending time in their homes and filming intensely throughout the strike made us even more passionate, and we were sad to leave when filming was complete.

 

Aliki: The women’s story is so complex, nuanced and important for the history of Marikana. It needs to be pieced together in a way that expresses the power of their fight for justice and their community. It’s been a massive task condensing that into a film!

 

What message do you want people to leave with after watching the film?

 

Tessa: With Miner’s Shot Down being out there and being so powerful in its expository style of documentary making, we wanted to create something poetic and observational. We hope to show the humanity of the people living in Marikana and how they were affected by the massacre in their day to day lives. The film is about how these women are trying to turn their lives around, help their community cope and grow stronger in the wake of the massacre.

 

Aliki: From the beginning, I wanted this film to be an intimate portrait of the women that occupy the space of Marikana as well as their story over the past two years. The women’s struggles include dealing with the pain that the massacre left behind, their fight to empower themselves and their community beyond the tragedy, and rising from a disempowering page of post-Apartheid South African history. I want people to feel inspired and humbled by the women’s strength, as I am every day.

 

This must have been a difficult story to document, what were the challenges behind making the film?

 

Tessa: When we first visited the women of Sikhala Sonke and started exploring the complexities of telling their stories, we felt the weight of responsibility on us to represent them and the context of the massacre in a way that was fair and honest, but also knowing that we were tackling a very sensitive and politically complex topic.We were also entering people’s homes and asking them to allow us to film intimate parts of their lives. We had to be sensitive and aware of boundaries, and had to find the best way of navigating ourselves as a film crew in and around the Marikana community.

 

Aliki: The greatest challenge was emotionally coming to terms with the blatant face of injustice in the space of Marikana. From the widows re-living the memories of not knowing where their husbands were in the days following the massacre, to witnessing the immense hunger and desperation of the community during the strike in 2014. The political and economic ‘to-and-fro-ing’ in the media, between the unions and employers, was peppered with facts and statistics of lost revenue but didn’t represent or give justice to the humans affected.  Only when you see a child not being able to go to school due to hunger, does the desperation of the situation hit home.

 

 

How have you learnt from this experience?

 

Tessa: We spent many mornings filming at Thumeka’s home, a leader in Sikhala Sonke. She is an incredible woman. Filming her interactions with her family, preparing breakfast & getting her granddaughter ready for school, you really see the beauty of the everyday moments. She lives in a 5×3 square meter home with her daughter and granddaughter and faces everyday difficulties to get enough food and water for her family but is also doing speeches for Sikhala Sonke at universities, running meetings with support groups and doing interviews with the press, fighting for better living conditions for her community. It teaches you the power of human will and that the heights people can reach are not limited by their circumstances.

 

Aliki: This experience has changed my life. What I have learned from these women is that if you have a passion for making a difference and empowering your community you can do anything, no matter what your personal circumstances are. You can work your way up, into parliament, become educated and speak to Geneva over a Skype conference call without a matric certificate, and feed 500 people twice daily with no budget.

 

 

What memory stands out from the film making process?

 

T: We filmed Gift of the Givers coming to give packets of food to the people of Marikana during the strike. People waited in queues from 6am to 6pm, stood all day in the hot sun on a field next to the koppie where the massacre took place. There were so many people that at the end of the day not everyone was able to get food. It was heartbreaking to see people so desperate and after waiting 12hrs going home empty handed. It really made you realise how great their need is.

 

A: The memory of Seipati Mmeka who opened up a soup kitchen in Marikana during the strike, funded by her husband’s pension money, is one that touched my heart deeply.  One day when leaving her house she saw a lady had fallen in the street due to not having eaten for three days. This is when she knew her calling rested in feeding the community of Marikana, which she did so throughout the strike sometimes feeding 500 people twice daily. When I asked Seipati what she will do when the strike is over she said that she will continue with the soup kitchen, as some community members are still unemployed. She will continue feeding the people until her money runs out. I don’t think you find many people like that in this world. However, a few months after the strike her soup kitchen had to close. We are trying to raise awareness to reopen her soup kitchen – if anyone would like to get involved please contact me at aliki.saragas@gmail.com.

 

Have your perspectives surrounding the Marikana debate changed since making the documentary? – And if so, how?

 

Tessa: It is one thing to hear or read that poor living conditions lead to the strikes, but by making the film we wanted viewers to see and feel what the every day difficulties are for the women in our film. It makes you understand why they are fighting so hard and willing to risk so much for a better wage, and makes the events on 16 August 2012 all the more devastating.

 

Aliki: My perspectives on the debate haven’t changed. If anything, and after having spent so much time with these women, my opinion that the killing of so many mineworkers by the South African Police has become more and more unacceptable in a democratic space. I hope after two years some justice will be served and the women will get the closure they so desperately need.

 

Are there any plans for follow ups? How will this story live on, beyond the film?

 

Tessa: We’re aiming to create a full length feature film that we hope will travel through festivals and reach as wide an audience as possible.

 

Aliki: The crew and I have started a Thundafund campaign in order to kick start developing the film from my Masters’ thesis into a full-length feature film next year. It will include more of the story and go beyond 16th August 2014, following up on the women after the Commission has handed over its final report. If anyone would like to contribute in making the women of Marikana’s voices heard please visit our crowd-funding site at www.thundafund.com/mamamarikana.

 

Video Credits:

Director/Producer: Aliki Saragas
Director of Photography: Andreas Georghiou
Sound Recordist: Ying-Poi De Lacy
Co-Producer: Tessa Scott

 

 

 

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