Farhot releases ‘HOOYOO’ with Siriusmo from his upcoming EP

Jun 6, 2025 | New Release, Music

On ‘HOOYOO’, the second single taken from his upcoming EP ‘RAQS (105-118BPM’, Farhot teams up with electronic maverick Siriusmo for a dancefloor track.

Rooted in Somali grooves and flipping a sample from 4 Mars’ “Dhulka Hooyo”, the track fuses East African rhythms with bold synths, chopped vocals, and raw percussive energy. It’s wild, playful, and unmistakably Farhot—bridging cultures through sound with style and intent.

Afghanistan born, Hamburg based producer, artist and founder of Kabul Fire Records, Farhot has been on the scene for over a decade now. He began his career working and touring with singer Nneka also producing most of her albums to date. Farhot productions – and more so his own releases as an artist – carry his personal signature sound, while not limiting himself to a certain genre or style. Still, it’s safe to say that he’s firmly rooted in hip-hop culture. Farhot is one half of producer duo “Die Achse” alongside longtime-friend and collaborator Bazzazian. His impressive body of work includes productions for artists like Giggs, Kano, Isaiah Rashad, Talib Kweli, Selah Sue, 113, LOC, Haftbefehl, Xatar – and at last his own releases of Kabul Fire Vol. 1 & 2 – from which the later of the two has been honored by The Guardian as their album of the month.

Listen to ‘HOOYOO’ here

Press release courtesy of Only Good Stuff

Batundi releases ‘Naliya’ a Debut with Collaborators Msaki and TRESOR

Jun 6, 2025 | New Release, Music

Batundi, the Congolese-born, South African-based artist shaping a fresh wave of African dance music, arrives with intention on his new single “Naliya”, a love song featuring two of the continent’s most revered musical forces, Msaki and TRESOR.

“Naliya” marks a major milestone as the debut single released under Jacquel Dance, the newly launched dance imprint by TRESOR’s Jacquel Entertainment Group. A fusion of African pop, electronic house, and soul-stirring songwriting, “Naliya” signals the emergence of a bold new voice on the global music stage: one rooted in rhythm, culture, and fearless experimentation. 

For Batundi, whose journey has taken him from Goma in the DRC to Nairobi, Kampala and now Johannesburg, “Naliya” is a deeply felt exploration of heartbreak, memory and healing. “We spent many days building this track slowly and beautifully,” says Batundi. “We focused on crafting melodies and placing words with intention. It was a patient, emotional process, and one that truly reflects my spirit as an artist.”

Anchored by Batundi’s electronic production sensibility and elevated by the unmistakable voices of Msaki and TRESOR, “Naliya” moves with elegance and energy. A sonic tribute to love’s highs, lows, and enduring imprint. It builds on the legacy of “Sondela”, his earlier collaboration with TRESOR, while pushing the boundaries of African dance music toward new emotional and sonic territory.

With a growing list of accomplishments including co-producing “Fountains” by Drake ft. Tems and “We Caa Done” by Popcaan ft. Drake; Batundi is no stranger to global studios. But with “Naliya”, he steps forward not just as a producer, but as a full-fledged artist with a story to tell and a sound of his own.

Signed to TRESOR’s Jacquel Entertainment Group and serving as an in-house producer and engineer, Batundi brings a singular vision to the future of African pop. His production on TRESOR’s Nostalgia album, which won Best Pop Album at the 2019 South African Music Awards, laid the foundation. Now, with Jacquel Dance, that vision has room to thrive.

“This song is a celebration of love, healing, and lifetime connections despite the obstacles,” says Batundi. “It’s my honour to have created it alongside two of Africa’s greatest musical minds. This is just the beginning.”

Listen to ‘Naliya’ here

Connect with Batundi:

X: @batundimusic

Instagram: @batundimusic

TikTok: @batundimusic

 

Press release courtesy of Only Good Stuff

The Value Asking: An Interview with Artist Xhanti Zwelendaba

Jun 5, 2025 | Interviews, Art

We’ve all watched a stupefying number of conversations unfold, some blooming into repartee and others wilting into awkward silences. Some of the most fruitful dialogues are introduced by those who pose questions, through a series of open invitations. Conversations can, like relationships, start to sink when they sit stagnant. It might seem simple to wallow in the lulls, but for artist Xhanti Zwelendaba the depth of his curiosity jump-starts what can only be seen as perpetual progress. His questions, often non-verbal but rather suggested through visual cues are a necessary and rare excavation into personal and societal self-reflection.   

Xhanti grew up in the Eastern Cape and his initial interest in art stemmed from watching Dragon Ball Z, with his school teacher challenging him to draw subjects other than Goku and Frieza – he shared “It was in grade 6 or 7 where my curiosity began and I realized there’s more to art than just copying things.” He later studied law at his mother’s insistence but eventually pursued art at Michaelis after receiving a scholarship, working primarily in sculpture and printmaking. Being on campus meant he was exposed to diverse perspectives and contexts, where fellow students were fueling their curiosity about differing understandings of the world. This prompted him to create art that poses questions rather than providing answers. For Xhanti, making art was “another form of language, one [he] can’t articulate in any written or spoken form, so [he decided] to create objects to evoke all these questions”.

Photograph of Xhanti Zwelendaba by Luke Kuisis
‘Untitled (Bale)’ by Xhanti Zwelendaba and Rowan Smith
‘Untitled (Amabhokobhoko)’ by Xhanti Zwelendaba
The critical topics of land use, representation, historical injustices, legacies of colonialism and apartheid, South African identity as well as broader socio-political reflections; Xhanti’s work speaks to the overlaps and relationships between these subjects. When asked about his identity being imbued in his work, Xhanti says, “I have many identities, creating a constant tension.” He explains that various aspects of his identity, “being black, being interested in traditional qualities, being Xhosa, and living in a capitalist system”, come through in his pieces, not in a way that his identity is imbued into his work but by “allowing the work to have its own identity”. Reflecting on this, we talk of his collaboration of with Rowan Smith – a square pile of crushed, hydraulically compacted braais ‘Untitled (bale)’ representing Xhanti’s views on the homogenisation of South African Heritage Day being reduced to ‘Braai Day’.

Today, it is significant to witness contemporary creatives exploring notions of fixed identities, decolonial themes and challenging systemic ideologies in order to find new ways of understanding ourselves and our intersecting contexts. Xhanti has collaborated with many artists working in similar thematic realms. When asked about what informs who he chooses to collaborate with, he says “I don’t have a specific process for choosing collaborators, it happens spontaneously with people whose work or thought process I admire. But, you’ve got to be somewhat interesting, funny, smart and you also have to have tough skin.” While always open to collaboration and having worked collaboratively throughout his artmaking career, Xhanti anticipates his next body of work will focus on expressing more of his individualistic ideas, saying “I don’t think I’m going to collaborate again for a while. There are some creative ideas that I think are quite difficult to have with another person. The next  body of work will likely be just my ideas and my thoughts – I’m dedicated to exploring why I have these thoughts. And yeah, I’m just not going to be a little bitch about it.”

Many of Xhanti’s works, although spanning multiple mediums including sculpture, installation, performance, tapestries, print and video are untitled, followed by an identifier. When asked about this naming style, Xhanti’s view is that titles are somewhat unnecessary. “If I thought about it beforehand,” he says, “I would have titled all my works with a number. The work should speak for itself, and naming is more of a concession to people wanting an identifier. Even the term “untitled” feels like a title. Names may be assigned later or just not exist. Not everything has to be compartmentalised, named, boxed, categorised. So it’s not a matter of a protest for naming. It’s just I didn’t think of a name.”

Not only has Xhanti been a practitioner for over two decades, including a 3 month residency in Leipzig, he’s also taught art in academia. About his experiences of teaching, he adds, “It’s nice to be in an academic space, to be thinking with new thinkers. There are some brilliant people out there. My teaching style was to always let people do whatever they want and let them teach each other. It’s been interesting to see how people engage: with each other, with work, with the institute and with me.

I’m also learning from them. I’m giving them enough room to develop their identities and character – not to have to get a green light from me but be able to oppose an idea. I encourage people to speak out loud and voice exactly how they feel and not worry about whether or not they will get a mark at the end of it. It’s not about the grade, it’s about the work.”

One of Xhanti’s earlier works that has stayed with me personally is ‘IsiXhosa 2nd Additional Language (How to Click)’. The video he created captures the essence of his artistic style with precision: it’s quick-witted, hard-hitting, humorous and poignant.  Xhanti speaks about this work being created spontaneously – when asked if this is usually how his concepts and ideas come about, or whether they are born out of research and a longer development process, he shares “this work happened spontaneously because of people trying to pronounce my name. My work differs, there are times where I’m consciously reading and trying to find something out. Most of my work comes from conversations, observations, finding something funny or finding dark areas in humor.” 

“I feel the more organic works are the ones that are interesting, because I also get bored. Sometimes I see materials or objects and just think about those objects – think about their relation to me. That’s where something interesting can happen.”

‘Thaba Nchu’ by Xhanti Zwelendaba and Ben Stanwix. Photography courtesy of RESERVOIR

‘Thaba Nchu’ by Xhanti Zwelendaba and Ben Stanwix. Photography courtesy of RESERVOIR

Photography of ‘Animal, Vegetable, Mineral’ courtesy of RESERVOIR

Untitled ‘Amabhokobhoko’ (collaboration with Rowan Smith) and the Stamp series (collaboration with Ben Stanwix) are two examples of how Xhanti use striking contradictions or contrasts superimposed into one visual. In the case of the former, Xhanti’s drawing attention to the relationship between the 1995 World Cup victory (and subsequent nation-building) and the reality of South Africa in a space of transition and tension, being on the brink of civil war. Subjects are taken out of their place to tell an extremely impactful new narrative, or to draw attention to the contradictions that may be difficult to see otherwise. “I’m not trying to manipulate things to a point where I’m trying to change history. I’m just trying to show more sides to a story in one image.”

When asked what he would hope people take away from engaging with his work, in the context of placement in South African society, he says: “My ego isn’t that big. I’m not just thinking that what I’m making is so important. I’m making because I’m curious. So, I hope someone will be as curious as I am or even more curious and then just keep conversations going, keep the dialogue going. I have no aspirations. I just want to create something that starts the conversation. The conversation has to start somewhere.”

‘Animal Vegetable Mineral’ is an upcoming collaborative exhibition with Ben Stanwix at Reservoir. The title is designed to be abstract and akin to the game Twenty Questions, where the objective is to guess what it is. The title reflects the multifaceted nature of the work. The exhibition consists of eleven different components which have been in development since January this year. About the exhibition and how viewers might engage with it, he shares, “I’ve been trying to be very abstract recently. It’s kind of like all these ideas are finally coming into A THING. So it’s just kind of playing on the idea of curiosity – asking ‘what are they trying to say?’ Then you have to actually break it down to a certain point when you get to an answer.” The categories ‘animal, vegetable and mineral’ are a metaphor for trying to understand patterns or ways of getting to grips with something abstract – to see what it could mean to you.

In society, we often talk about being vulnerable, about answering honestly, however, there’s also a real, certain vulnerability in asking questions. The value in this may be to push a little more against your best instinct, letting another person answer how they will and if they will, revealing that there is always more to discover, that there is an infinite amount of unearthed information. Asking questions suggests, like Xhanti does in his quiet confidence, that you are comfortable contending. 

‘Animal, Vegetable, Mineral’ exhibition with Ben Stanwix is open at RESERVOIR until 4 July 2025, 7th Floor, Bree Castle House, 68 Bree St, Cape Town City Centre. 

Follow Xhanti Zwelendaba on Instagram here

 

Written by Grace Crooks

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

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Vans Taps Into Y2K Nostalgia For The Update Of Their Iconic Hylane Silhouette

Jun 4, 2025 | Fashion, Community

The Vans Hylane taps into a potent kind of nostalgia; one born in the golden era of Y2K skate culture, when VHS edits ruled, social media and smartphones were virtually non-existent, and skate shoes were big, bold, and built to last.

The original Hylane silhouette, inspired by the 1999 Upland, was part of that moment; worn by riders who embodied the raw, DIY spirit of the era. Hooked on MTV and a kind of non-conformist attitude that sometimes feels lost nowadays, the Hylane is a silhouette that honours the culture and mindset of a generation that shaped skateboarding into the global force it is today.

All imagery courtesy of Vans

Though it was a you-had-to-be-there moment—even if your only front-row seat was through a VHS skate video or late-night TV segment—Vans is keeping the spirit alive. With the Hylane, the brand brings that Y2K skate energy to a new generation, expanding the silhouette’s story with fresh colourways and a sharper edge. The retro-futuristic style is back in updated colourways that are dialed in for skate-inspired looks, and everything in between. 

Rooted in late-90s skateboarding and reimagined for today, the Hylane takes cues from the original 1999 Upland silhouette. Chunky, cushioned, and unapologetically nostalgic, it hits that sweet spot between function and fashion. It’s a defiant nudge against the minimalist, hyper-sleek arc of today’s sneaker culture — a reminder from Vans that the OG puffed-out skate tongue deserves its renaissance. Glossed Side Stripes™, 3D logos, and embroidered hits return as design pillars that have shaped streetwear’s DNA in ways we’re still unpacking. Beneath this new iteration of the Hylane sits a reverse waffle outsole, a Cold Cement Cupsole for long-haul durability, and padded collars built for comfort. Vans is crystal clear with its technical details, as always.

With the love for Y2K looks and chunky sneakers in full swing, the Hylane fits right in as an emblem of a bygone era and a marker for the future. These new colorways bring a modern energy to a familiar form, keeping the Hylane’s identity intact while pushing the palette into new territory. 

The Vans Hylane is now available at Vans retailers and online.

All imagery courtesy of Vans

About Vans

Vans®, a VF Corporation (NYSE: VFC) brand, is the original action sports footwear, apparel and accessories brand. Vans® authentic collections are sold in 84 countries through a network of subsidiaries, distributors and international offices. Vans® has over 2 000 retail locations globally including owned, concession and partnership

doors. The Vans® brand promotes creative self-expression in youth culture across action sports, art, music and street culture and delivers progressive platforms such as the Vans Park Series, Vans Triple Crown of Surfing®, Vans Pool Party, Vans Custom Culture, and Vans’ cultural hub and international music venue, House of Vans.

 

Vans, “Off The Wall” Since ’66

vans.co.za

youtube.com/vans

instagram.com/vans_za

twitter.com/vans66_za

facebook.com/vanssouthafrica

Written by Holly Bell Beaton

 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

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ART THEMES | THEME FIVE: All That Glitters

Jun 2, 2025 | Creatives, Art

The word ‘pareidolia’ is used for finding familiar forms that appear to us in places where meaning does not necessarily exist. Some of my personal favourites examples of this include: the profile of Mahatma Gandhi that was spotted on the surface of Mars (here) or the Mother Theresa cinnamon bun (here). Whether attributed to human hoax, natural accident, or some divine or paranormal force, all of these allegedly unauthored images can complicate distinctions between design and chance; real and imagined; made and found—reminding us that meaning isn’t something fixed inside an object, but something that emerges from an attentive interaction with it.

Without going too deeply into seeing things as they aren’t, or employing Rorschach’s inkblot test in order to understand what conclusions can be drawn for the human psyche– for the purposes of this piece, we’re looking towards what we see, what we understand to see and the intended message behind. In all of these cases, there is certainly an author behind these artworks, but there is also more depth to each story than something solidly fixed upon first glance. This iteration of Art Themes explores the balance between the physical and the symbolic. On the material realm: glitter, a shimmering, sparkling plastic material while glamorous, celebratory and distracting can also explore the metaphorical notion that ‘All that glitters is not gold’. This suggests the deeper meaning that external appearance isn’t always reliable, or simply isn’t always what is intended. 

I’m always interested in deliberately unusual modes of observing, where we nurture our capacity to see beyond what it is that we think we see and even beyond what we are supposed to see. With that, let’s chassé over to these five artists who may work with a glittery subject matter, but upon inspection reveal so much more. 

Andy James ‘Candy Flip’, photography courtesy of the artist

Andy James (Marrakech)

‘Candy Flip’, 2024, Tinsel.

Andy James is a UK born, Morocco-based multidisciplinary artist investigating the tension between autonomy and community. He seeks esoteric symbols in familiar aesthetics, ritualism in habitual behaviour and overlooked binary social structures. Their practice is reliant on perspectives of being an insider, an outsider and an other, all at once.

One of his performative works ‘Candy Flip’ explores the furry underbelly of the binary structures forming society. Here, the artist explores the notion of visibility through a djellaba – a traditional Moroccan garment with long sleeves and a hood symbolising respectability through modesty. The djellabas cultural popularity might render the wearers homogenous, yet subtle manipulation of the garment across the country suggests an Avril Lavigne-esque approach to subverting the regimentation of school uniforms. 

Embracing this nostalgia, Andy James presents a djellaba embroidered entirely with imported pink tinsel and emblazoned with a shocking red acid smiley. Visibility and modesty interchange as a new form emerges from a fully covered body. Andy James shares, “Flicks of laser bright colour whip the smell of industrial plastic up the viewers nose evoking memories of childhood toys and seasonal festivities.” The binary themes at play amplify one another, hence the name ‘Candy Flip’, a reference to mixing MDMA with ecstasy. 

Andy James’s work on a visual level alone is captivating, especially considering it was documented on top of Pico Volcano, the highest point in Portugal – an unusual marriage of material, subversion, nostalgia and night life.

Wallen Mapondera, ‘Hurongwa (Plan)’, Photography courtesy of Smac

Wallen Mapondera (Zimbabwe)

‘Hurongwa (Plan)’, 2024, Waxed Thread, Metal Rod and Cardboard

For Wallen Mapondera’s solo exhibition, ‘Kura Uone’, presented by SMAC Gallery in Cape Town in February 2025, the artist unveils a most introspective body of work touching on various themes that have shaped his studio practice to date. ‘Kura Uone’, a common Shona phrase meaning ‘mature and then see’, serves as a poignant reminder of the trials that accompany the transition into adulthood. It is a foreboding of the material tests, obligations that await as we take on responsibilities as adults.

Materiality plays a crucial role in Mapondera’s body of work. His use of found materials, particularly cardboard and textiles, is a response to Zimbabwe’s economic realities. The hyperinflation of the early 2000s made purchasing traditional art materials prohibitively expensive, forcing artists like Mapondera to innovate with readily available materials. This constraint became a catalyst for his practice leading to his signature style of transforming ordinary objects into complex, textured artworks.

In his work ‘Hurongwa (Plan)’, his relationship with his mother is at the heart of the piece. What appears to be the shape of a large glistening knitting needle represents the core of his work. About the exhibition as a whole, Mapondera said, “[My mother’s] role as a cross-border trader, crafting doilies and other objects to sell in South Africa, forms the cornerstone of this series. Through her journey of creation and ritualistic practices, she imparted a rich legacy of resilience and artistry. The act of crafting, packing, and traversing borders was imbued with a performativity, laden with hopes, prayers, and cultural significance that resonates in [my] work.”

Igor Tsvetkov and Tanya Pioniker, ‘Love is… Red Flag’, Imagery courtesy of the artists

Igor Tsvetkov and Tanya Pioniker (Both based in Berlin)

‘Love is… Red Flag’, 2024, multimedia 

Igor is an animator and filmmaker, specialising in stop-frame hand-drawn animated visuals. This process is extremely time-consuming and the results strike a balance of organic and futuristic. 

“For my works I draw images from the hidden corners of the human soul – from what is commonly called transcendent. That is why my works focus on passions and inner demons. I often explore themes of dreams, death, love, sexuality, violence. However, as a ‘combat unit’ I am primarily focused on fighting social constructs – those imposed norms that strip the individual of access to genuine happiness. Therefore, my works become a surreal fusion in which apparently radical themes take on new meaning. Through these images, I aim to guide the viewer in the search for truth and the pursuit of inner freedom.” – Igor Tsvetkov

The collaborative project with Tanya Pioniker — ‘Love is… Red Flag’ — is dedicated to exploring how the magical and rational concepts of love intertwine in modern reality. One of the key features of the project is its conceptual nature. At its core lies a unique logical narrative constructed as a series of 10 interconnected works that tell the story of the development of romantic relationships between people.

Within the series, they also incorporated elements of alchemical and other mystical systems, as well as botanical and religious imagery that precisely correspond to the various stages of relationship development. This is why all ten works resemble a timeline of ancient mystical initiation.

For Tanya Pioniker, the project merges their artistic practices: graphic works on paper and traditional hand-drawn animation. By merging their methods, the resulting project exists — like contemporary people themselves — simultaneously in two dimensions: the physical and the digital. It’s a quite unusual format, not fitting into the conventional “white cube” gallery space, which is why they are looking for a suitable venue for the public presentation of their project once it is fully completed. 

“What I love most about this project is that it not only engages with current issues, but is also deeply intimate — since we are not only co-authors, but also partners in love. I believe this beautifully reflects the core idea of the project: that in order to create something together, we must truly listen, collaborate, and find shared ground.” – Tanya Poiniker

Hylton Nel, Glazed Ceramic Stoneware. Imagery courtesy of the artist.

Larissa Zaidan (Brazil)

‘I, Mackallya’, 2018, Photography

In Larissa Zaidan’s photographic series ‘I, Mackaylla’, this Brazilian photographer captures the glamour and the isolation of the drag queen world in São Paulo, Brazil. Larissa Zaidan began her career in photojournalism at VICE Brazil in 2016. At VICE, she mainly documented youth culture and the LGBTQIA+ universe, photographing and directing documentaries such as the series on sex called “Transe”.

By day, Larissa would capture the colorful plasticity of Mackaylla’s transformation, and by night the glamour. The drag queen became Larissa’s muse, and after spending eight months together, Larissa moved beyond Mackaylla and got to know her creator, Vinicius Santana. This project helped to develop Larissa’s artistic style: photography through intimacy.

Their friendship was sealed with trust, intimacy, and tenderness. “It was more than simply photographing a drag queen, because I’m part of her life as much as she’s part of mine,” Larissa explains.

Mackaylla is a product of traditional Brazilian drag queen culture, dating back to the 1960s. She doesn’t try to be the perfect embodiment of femininity, nor emulate someone that we could be familiar with. Larissa tells Marie Declercq that she believes “it is essential to make my photos as accessible as I can for the people captured in them. My work is not made only for the outside gaze, but for every corner that the visual arts don’t reach. Brazilian youth have a unique charisma, the same charisma I found in Mackaylla.”

In each of the artworks discussed in this piece, a contradiction to ‘pareidolia’ becomes apparent: it is not that we have found the face of an icon where it shouldn’t be, but rather that meaning in objects can be found everywhere – especially in artworks with intersecting layers seeped with personal storytelling. A piece of found shiny litter, a makeup look put on only at night, an animation made by hand or an outfit made of tinsel – all these pieces are deeply rooted in meaning that goes beyond the visual, but represents more than what meets the eye, every time attention is given to it.

 

Written by: Grace Crooks

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

Latitudes and rain collaborate with six local artists to reimagine their latest 5g range

May 30, 2025 | Lifestyle, Art

The 2025 RMB Latitudes Art Fair took place at the Shepstone Gardens in Johannesburg from 23–25 May 2025. The Fair has become a standout event on Johannesburg’s cultural calendar, celebrated for its unique, immersive approach to experiencing contemporary African art. 

Part of what made the Fair special — beyond the art — was how people moved through it. The experience unfolded across indoor and outdoor spaces, encouraging visitors to wander, pause, and engage. This became even more valuable as the environment invited guests to explore art in a dynamic and multi-sensory way.

rain, the Fair’s official 5G connectivity partner, made that movement seamless. Their the101 pro™ smart router offered high-speed 5G wifi throughout the space, letting guests stay connected without interruption. No queues, no logins — just a network that kept up.

In a setting shaped by light, scale, and texture, documentation became part of the experience. And with stable connectivity, capturing and sharing those moments felt natural, not forced.

rain is a brand that has always been committed to celebrating local creativity and talent, and to reiterate this, they unveiled the new 101 art skins collection, featuring work by six local artists: Amy Ayanda Lester, Davina de Beer, Balekane Legoabe, Nessi Penman, Nkhensani Mkhari, and Peter Eastman. rain also showcased another collaboration at the fair—their ‘state of the art’ piece created by local artist Black Koki, featuring his bold, original work designed exclusively for the the101™ 5G smart range.

Photograph of Nkhensani Mkhari. All imagery courtesy of rain

Photograph of Davina De Beer. All imagery courtesy of rain

Photograph of Balekane Legoabe. All imagery courtesy of rain

 About the Artists:

Amy Ayanda Lester is a Cape Town-based painter and printmaker, working in bold colour and abstract, loose forms. She finds inspiration in the local landscape, particularly in the flora, colours and people. Her art frequently features proteas, fynbos, and the iconic mountain silhouette, drawing from her family’s experience of connection to the land.

Davina de Beer is a South African multimedia visual artist based in Spain and South Africa. In her current studio work she uses muted colours alongside vivid blues and greens in paintings informed by patterns found in tile designs in Andalusia, Spain. The subdued colours together with dripping paint and faded imagery speak of memory and loss.

Photograph of Amy Ayanda Lester. All imagery courtesy of rain

Photograph of Nessi Penman. All imagery courtesy of rain

Photograph of Peter Eastman. All imagery courtesy of rain

Balekane Legoabe is an artist, curator, illustrator, motion designer, art teacher and reiki practitioner based in Cape Town, South Africa. Her work explores the relationship between nature, spirituality and identity through the interrogation of personal and collective histories. She gets visual inspiration from ancient rock art and cave paintings; African, Eastern and Western mythology, as well as language, metaphor, ritual and family. 

Nessi Penman is an impressionist, contemporary painter. Her artistic technique involves the application of heavy impasto layers of oil paint, resulting in textured and multi-dimensional artwork. Through her paintings, she aspires to evoke a sense of tranquillity and foster a deep appreciation for the natural world. 

Nkhensani Mkhari is a South African nomadic artist. His diverse body of work is distinguished by an observation of his surroundings and an ongoing investigation of the artistic medium’s foundations. Drawing inspiration from the vibrant cultural and social landscapes of South Africa, Mkhari’s art delves into themes of identity, community, and the human condition.

Peter Eastman is a painter based in South Africa. Over the last few years, his substrate of choice has been aluminium to which he applies amongst other things enamel, resin, wax, graphite and oil paint. His subject matter is the natural world, which he uses to express ideas about memory, erosion, decay, growth and time.

Black Koki is a South African born visual artist. Crafted from experiences making drawings, painting and street art, his current artistic practice is post-graffiti, reflecting an interest in the relationship between space and data. He investigates warped spaces and textures that seem to define an urban reality augmented by the digital world. 

“At Latitudes, our mission is to make art accessible while championing opportunities for local artists, and we’re proud to continue this journey with rain,” said Roberta Coci, co-founder of Latitudes. “As the official connectivity partner of the 2025 RMB Latitudes Art Fair, rain once again provided free wifi to over 9 000 visitors, ensuring seamless connection throughout the event. But they went beyond infrastructure: through an inspired collaboration with six local Latitudes artists, rain launched a new collection of router skins that bring art directly into people’s homes. It’s a powerful example of how local brands can use their platforms to celebrate South African creativity and foster a deeper love of art across the country.”

The the101 skins art collection will be available to new rainOne customers starting June 2025.

For more information, visit rain.co.za

 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

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Urbs & Cutex release ‘Wherever You Are’, from their upcoming album

May 30, 2025 | New Release, Music

‘Wherever You Are’ is the first teaser single from Urbs & Cutex’s upcoming album “On Our Way”, to be released on 13 of June 2025.

After a hiatus of almost a quarter of a century Vienna’s beat maestros Urbs & Cutex return with what is effectively their first ever rap song featuring New York MC T.R.A.C. (of Visioneers fame). Continuing exactly where they left 22 years earlier ‘Wherever You Are’ sets the mood – a smooth yet uplifting party anthem for all and an appetizer for their upcoming album On Our Way.

About the upcoming album “On Our Way”:

After no less than 22 years Vienna’s veteran musicians Urbs & Cutex release their third album “On Our Way”. Full of a laid-back mood and uplifting beats this surprising release finds them in fine form, staying true to their trademark sound while subtly expanding and evolving to create a unique blend of HipHop and Downtempo.

Urbs & Cutex (pronounced Cut Ex) are a duo from Vienna specialising in laid-back instrumental music that combines classic East Coast Hip Hop with elements of Triphop and Downtempo. Both started out as DJs in the early 90s making their first steps in production separately before connecting to form what is considered one of the defining groups out of Vienna’s rich electronic scene of the period. The two albums released in the early 2000s are being rediscovered by new generations of listeners and have accumulated millions of plays on various streaming platforms.

After a hiatus of 22 years, several solo albums (amongst others Urbs’ solo outings “Toujours Le Meme Film” and “Geheimland”) and dozens of singles, remixes and collaborations they join forces again to find their mojo still fully intact, continuing exactly where they had stopped two decades earlier. With charming stubbornness they create music that will sound retro to some and timeless to others. “We search for everlasting truths” they calmly state. The album begins with the familiar style of their 2003 album “Peace Talks!”, combining soulful and jazzy loops with dope HipHop beats, even surprising us with what is the first rap part on any of their albums courtesy of New York’s T.R.A.C. (of Visioneers fame).

A few songs in the style evolves into something new and entirely unique, as they use elaborate arrangements and artful layering of samples to create songs that go beyond mere loops prevalent in HipHop.

Over the duration of 14 tracks Urbs & Cutex expertly balance uplifting moments with deep and hypnotic sequences. They create a laid-back atmosphere but manage to avoid the dullness of chillout music and the stale uniformity of modern Lo-fi and Boom Bap.

 

Listen to ‘Wherever You Are’ here

 

Press Release courtesy of Beat Department 

Charles Webster releases ‘Free’ and ‘Many Blessings’

May 30, 2025 | New Release, Music

Presenting the next two singles from Charles Webster‘s forthcoming album ‘Charles Webster And The South African Connection – From The Hill’: ‘Free’ with Atmos Blaq and ‘Many Blessings’ with China Charmeleon and Girly.

Following his lead single, ‘Bakulindele’ featuring Muzi, Charles Webster returns with the next two instalments of his collaborative project on Stay True Sounds. This entire album is crafted with beats sent by some of the finest talents in South Africa’s underground music scene and refined at Flame Studios in Johannesburg.

 

‘Free’, is a deep, immersive journey into the expansive electronic textures that Webster’s best known for. This time, the legendary producer joins forces with Atmos Blaq, one of the most exciting names in South Africa’s 3-step music movement. Hailing from Dobsonville, Soweto, Atmos Blaq is a future-facing producer redefining the landscape of South African electronic music. A unique collaboration, ‘Free’ is a track rich in texture that floats freely through ambient tones and spacious sounds while highlighting the driving three-kick drum rhythm that defines 3-step. This partnership merges Webster’s seasoned creations as an OG producer with Atmos Blaq’s raw creativity. “It’s not about making a hit,” Webster reflects in the pair’s studio chats. “When music comes from the heart, people connect with it.” Atmos Blaq adds, “I got to be free… we created magic.” The magic is unmistakable in ‘Free’, a tune that captures the essence of both artists by bridging generations, cultures, and creative minds to create one incredible soundscape.

The third single ‘Many Blessings’ is a House piece that showcases remarkable artistry and musical synergy. This track delivers an immersive experience, seamlessly blending organic and electronic elements that echo Webster’s legendary Café de Flore remix while reflecting his deep connection to South Africa’s vibrant house music scene. Featuring the ethereal vocals of Girly from Delft Western Cape, Nkulu Keys’ emotive chords, and Chris Moolman’s rich basslines, Many Blessings achieves a balanced mix of South African rhythms and European electronic influences. “Working on ‘Many Blessings’ was a joy… very natural and alive with ideas and emotion. Collaborating with talented musicians and vocalists truly makes the whole process a delight.” — Charles Webster. A true sonic journey, ‘Many Blessings’ celebrates the rich musical heritage of Johannesburg and Cape Town. 

 

Listen to ‘Many Blessings’ and ‘Free’ here

 

Press release courtesy of Only Good Stuff

The Textured Legacy Of Mohair in South Africa

May 29, 2025 | Fashion, Interlude

Mohair carries with it the rhythm of the Karoo. The story goes that in 1838, the Sultan of Turkey gifted 12 infertile Angora rams and one ewe to South Africa; unbeknown to everyone, the ewe aboard the ship was pregnant and thus the first lineage of Angora goats were born in South Africa. Today, amidst the erosion of our textile industry due to rapid globalisation and market competition, the shorn coats of Angora goats and its resulting lustrous mohair wool remains one of our strongest textile stories. This month’s chapter of Interlude is a glance at this luscious fibre, and some of the key figures associated with celebrating its use today.

This topic is broad and as my disclaimer for Interlude perennially remains; this Chapter is by no means exhaustive; may it simply spark your appreciation for an inimitable yarn adorning South African textile legacy. 

Mohair is rooted in a landscape that teaches stillness, patience, and endurance, across large swathes of the arid landscapes of the Karoo. Sheared from the coats of Angora goats, mohair is one of our most extraordinary exports: the fibre is light yet strong, luminous yet grounded. Its journey from the arid plains of the Eastern and Western Cape to the ateliers of Paris, London, and Tokyo traces a lineage of labour and land, colonisation and liberation.  

Lukhanyo Mdingi’s Bridges Collection, photographed by Johno Mellish, via lukhanyomdingi.com Archives

Angora Goats, courtesy of Mohair South Africa’s Press Kit via mohair.co.za

South Africa is the world’s leading producer of mohair, responsible for approximately 51% of global supply. This is an incredible feat, and a prized jewel in our textile, fashion and design spaces; and working with mohair for South African designers has become a kind of rite of passage. Most of our Angora goats are farmed in the Karoo, where the extreme climate—hot, dry summers and cold winters—combined with semi-desert vegetation, creates the ideal conditions for growing premium fleece. These goats have been selectively bred and genetically refined for generations in the pursuit of perfection, resulting in a fibre that is renowned for its quality and consistency.

Twice a year, Angora goats are sheared by hand—an art passed down across generations. From there, the mohair goes through a meticulous series of processes: shearing, classing, scouring, carding, combing, and spinning. Each stage requires knowledge and care. The result is a fibre that holds colour richly, resists creasing, and maintains its shape with graceful ease. Though soft and delicate to the touch, mohair holds that stunning ability intrinsic to most animal-based fibres of resilience. 

The story of mohair is a narrative of intimacy—between farmers and their flocks, between makers and the potential of materiality. This intimacy is supported and protected by Mohair South Africa, the industry body that oversees quality and ethical standards from farm to fashion. Through their traceability programme, mohair threads can be linked to a specific farm; with their important advocacy ensuring transparency, protecting animal welfare, and preserving rural livelihoods.

Beyond standards and quality, Mohair South Africa is also investing in the future of the industry. One of their key missions is to support emerging Black South African mohair farmers, partnering with those who meet the criteria and helping them establish themselves within the wider mohair sector. This initiative is essential to creating a more inclusive and sustainable industry that reflects our broader social and political transformation as a country, and as the organisation itself explains, “we unite a vibrant and passionate network of stakeholders across the farm-to-fashion supply chain. Our unwavering commitment to sustainable farming practices, research and development, and education and training for farmers positions us as a key player in the global mohair market.”

As I’ve noted, and in a country where textile manufacturing has been heavily eroded, mohair remains a living exception. It offers continuity where other fibres have faded. Designers drawn to its tactility are working with a material that offers both creative potential and ethical weight, and through local production, mohair sustains farms, millworkers, weavers, and tailors. It touches many hands before it becomes a finished garment.

Among those who have worked most thoughtfully with mohair is Lukhanyo Mdingi, whose collections trace the intersection of heritage, process, and emotion. In his work, mohair appeared in finely finished coats, softly latticed dresses, fluid silhouettes, and tactile layers—developed in collaboration with rural artisans and spinners. Since his first collection over a decade ago, Lukhanyo’s commitment to artisanship in both process and creativity saw him visiting farms, listening to the stories embedded in every skein, and always allowing the fibre and the hands that make to guide the design process. As we know, Lukhanyo’s work has appeared internationally from Milan to Paris, and his LVMH win in 2021 brought intense visibility to South African mohair, among many other techniques and textile innovations, to the world stage.

Mohair Weaving, courtesy of Mohair South Africa’s Press Kit via mohair.co.za

Fransiena Moos for Frances VH Mohair, titled ‘Voorskoot Vygie’, photographed by Ané Strydom, via francesvh.com

Frances VH, the label of designer Frances van Hasselt, offers another interpretation altogether. Raised on a mohair farm, Frances understands the fibre intimately, both technically and emotionally. Made together with women artisans in the Eastern Cape, Frances’ designs play with sculptural silhouettes, negative space, and experimental weaves, allowing mohair to take on unexpected textures and tones. Always centering the people of the Karoo to whom Frances owes her lineage, she continues to showcase the incredible diversity of mohair in innumerable ways. I am currently head over heels for her recently launched kidswear collaboration with Big Little Store; kaleidoscopic mohair jackets for little ones, have you ever?

Cape Town-based Mors Design approaches mohair from the vantage point of functional comfort. Their collections span fashion and interior, from oversized scarves and knit jerseys, to these incredible mohair bonnets. Each piece invites touch, and mohair as its central and only textile retains its sense of place, anchoring the studio’s work in a local kind of luxury.

In the hands of these designers, mohair hums with continuity, charting a future legacy of softness, slowness and respect amidst the beckoning chaos of fast-fashion and hyper-consumptive fashion manufacturing. Mohair remains still and reminds us to be steady in our approach; treasuring what we own with authorship and care. 

For Fall 2013, Stella McCartney collaborated with mohair and textile manipulators to create the ‘Bryce’ Ivory Mohair Faux Fur Jacket—a cruelty-free response to the plush silhouette of traditional fur. Similarly innovative, Issey Miyake’s 2025 ‘EASE AND EASED’ collection drew inspiration from the shape of a kamigoromo (a paper kimono), using hemp washi paper for the base, with hemp as the warp and a mohair-wool blend for the weft—merging ancient form with future-facing fibre design. 

These designers have been drawn to the fibre’s softness and sheen, and to the traceability and ethics behind it. One of the most striking global moments for South African mohair came in Dior’s Fall 2022 menswear collection, where mohair appeared in tailored outerwear and oversized knits. Kim Jones, Dior’s creative director at the time, would go on to celebrate the Karoo even more broadly through a collaboration with South African ceramicist Hylton Nel; the Dior Men’s Spring/Summer 2025 collection, unveiled in June 2024. Drawing inspiration from Nel’s whimsical ceramic works, the collection featured motifs and elements that celebrated the Karoo region’s artistry. 

These applications affirm mohair’s range, and point to South African mohair’s integrity beginning on the land. Mohair farming depends on regenerative agricultural cycles—a necessity in a region in which drought is a constant concern. Many South African farmers are adopting practices that preserve soil health, conserve water, and rotate pastures, ensuring that the goats remain healthy and the ecosystem resilient. Well-cared-for goats live longer and produce finer fleece. The fibre itself holds the imprint of this attention—its sheen and strength a reflection of the wellbeing of both the animals and the environment. We have much to learn from the deep interconnectedness of fibres: how they are grown and cared for, and how they eventually arrive in the garments we wear or the textiles we wrap ourselves in.

As autumn settles across the southern hemisphere, mohair is returning to our wardrobes and interiors. It arrives as a textured presence—rich in memory and gentle in its assertion. In a season that invites layering, mohair offers anchoring and a resistance to excess, that we as South Africans can be deeply proud of and root for. 

To me, mohair embodies our future—a fashion future that is rooted in care and aligned with nature. As the fashion world reimagines its systems, mohair stands ready. It holds a memory of land and our history, and championing mohair offers a case study about where South African fashion can go when we are guided by clarity of vision and a willingness to listen.

 

Written by Holly Bell Beaton

 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

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Community & The Divine Feminine: Inside The Alien Universe Of Khan Khalii

May 26, 2025 | Interviews, Music

One of life’s most frustrating yet intriguing facets is striking a delicate balance of our celestial energies. By that, I’m referring to the push and pull of the divine masculine and feminine. My interest in the divine feminine is sparked by how it is heralded as the home for fertility, creativity and intuition. For Tongaat-born-Pretoria-based singer and songwriter Nontokozo Qhobosheane, affectionately known as Khan Khalii, the sanctimonious frequency found in musical expression is how she channels her divine feminine through song, bold narrative and community.

With a rich catalogue boasting projects like “Gods Never Die, Vol. 1,” “Sooner,”  and collaborations like “VERSIONS Doubles, Vol.1,” “Moonlight,” “Oasis Park III”, and “VERSIONS Soundtrack, Pt 2” Khan’s artistry is nuanced by ethereal soundscapes that are complemented by emotive, raw storytelling. Blending Soul, R&B, and experimental textures, her music feels almost ritualistic — immersive, genre-defying, and deeply spiritual. Listening becomes a trance-like experience: part ancestral healing, part cosmic drift.

Her latest opus, “Lumeria”, serves as a marker of her artistic growth and conceptual brilliance. The serene seven-track offering is the first of a four-part concept universe set in an angelic alien world inhabited only by women. Through exploring grief, growth and transformation, we are warped into a sonic journey where we confront our shadows, facilitating much-needed inner work, grappling with the seven stages of grief at every turn to emerge from the listening experience with a renewed sense of strength.

Photography by Neo Lesego Kgotlagomang

Photography by Sibu Ngcobo of Everything Films

Khan’s feminine divinity unravels in her sense of community and business acumen, and this is evident through her being selected as one of thirty-five global fellows for the Versions Fellowship, Digital Lab Africa Music Cohort 2023, the Bridgefire Program, In The City, Basha Uhuru and Fak’ugesi African Digital innovation Festival where she contributed to the music industry through initiatives that use music to advocate for social justice, cross-disciplinary collaboration, digital innovation and more.

Above and beyond her impressive corporate profile, my favourite initiative of hers is Khan’s Korner, which started during COVID on Clubhouse, a workshop series for women and queer creatives focused on demystifying the music business and empowering marginalised voices through prioritising wellness and empowering her budding community with the skills, the tools and the education to navigating an extremely turbulent and uncertain industry riddled with entrepreneurial hurdles.

Curious about the genius behind the spiritual evolution, I shared an interesting conversation about her beginnings, the concept behind “Lumeria,” how certain songs shape her artistry and the misconceptions she deals with as an artist who is gaining international recognition. 

Take me back to the beginning. Please tell us about who you are and the journey you went on growing up that led to you creating music?

Khan Khalii: “My name is Khan Khalii. I’m a singer, songwriter, and music producer. I was born in Tongaat, KZN, but grew up in Pretoria. Music has always been central to my life—I spent much of my childhood in choir. I tried drama, too, but being naturally shy, it didn’t quite work out for me.

Growing up, I immersed myself in music, watching countless videos on VH1 and MTV Base. I also devoted time to writing poetry, which became an essential creative outlet. Deep down, I always knew music would be my path, even if I wasn’t sure exactly how it would happen.

My musical influences are diverse but meaningful. In high school, I connected deeply with The Soulquarians. Artists like Jill Scott, Erykah Badu, and Simphiwe Dana hold a special place in my heart. I also went through a significant Lebo Mathosa phase back then. I’ve consistently been drawn to artists who are unapologetically different and Black—I could see reflections of myself in them.

For me, making music is truly an act of worship. When I write, I feel closest to God, and with every song, I experience a kind of rebirth. The only way I can describe it is that I feel like I’m in church—it’s that sacred and transformative.”

Lumeria is set in an angelic alien universe inhabited only by women. What inspired this specific vision, and what does this setting allow you to express that a more conventional approach wouldn’t?

Khan Khalii: “The soundscape I was creating needed to exist entirely in a different universe—there was no way it could belong in our normal day-to-day reality. This creative direction coincided with a difficult period in my life. I was going through an existential crisis after losing my best friend, my cousin, and several family members in succession.

So, the idea emerged to create music that would belong to another universe altogether. When you’re building worlds, you naturally need to envision the beings who inhabit them. I’ve always felt safest around women, which inspired me to imagine a universe where only women existed.

During COVID, I went down an astrology rabbit hole and stumbled upon Lemuria—a mystical land that exists in mythology. Though my knowledge isn’t extensive, this discovery resonated with me. It made me reflect on the historical absence of Black women in science fiction until relatively recently.

That realisation sparked something deeper. I wanted to create a world where Black female alien superheroes would listen to this kind of music and feel cool and beautiful—a universe where they could truly belong and see themselves represented.”

Watch “Lesedi Laka” here

Photography by Sibu Ngcobo of Everything Films

Photography by Neo Lesego Kgotlagomang

“Imprint,” “Blood On My Hands,” “Phehello’s Interlude”, and “ILY” are some of my favourite tracks from “Lumeria”. What unique elements in each of these songs do you feel best represent different facets of your artistic identity?

Khan Khalii: “Wow. Okay. With ‘Phehello’s Interlude’, that’s a very special song for me. I didn’t think people would connect to it the way they have. That track contains the last voice note my best friend had sent to me—literally the last time we ever spoke. So, I’d say that represents a very sentimental, intentional, and sincere element of my artistry.

For ‘Imprint,’ it’s very love-coded and emotional—quite mushy. Ironically, I don’t like ‘Imprint’ that much, though it’s become one of the songs people connect with most. I understand why, though. The song is essentially about a love that didn’t reach its full potential but didn’t materialise or work out. Many people have had those experiences, so with ‘Imprint,’ I’d say the key element is relatability.

‘Blood On My Hands’ was an extremely challenging song to write. The process took over a year, starting back in 2023. I needed to figure out the soundscape first, and once I felt comfortable with that, I had to determine what story I was trying to tell within it. The song is about someone being gaslit and figuring out how to leave someone who’s hurting them. That may also be relatability, but it’s much more cinematic. Yes, I would categorise that one as representing my cinematic side.

And ‘ILY’—I wrote that song for my best friend Phehello before he passed away. He was going through a challenging period of depression and felt like the whole world was turning against him. It wasn’t a good time for my friend, and the only way I could truly show Phehello how much I cared was to write this song for him. I wanted him to know that no matter what happened in life or his challenges, I would always create a safe space where he could come over, hang out, and just forget about his problems for a while.

‘ILY’ represents safety because so many people walk around feeling unloved, unappreciated, and invisible. I wrote it for anyone who feels unseen, unheard, or underappreciated. Often, the most sincere, kindest, and hardest-working people get pushed aside because they might not have the most bravado, aren’t the loudest, or just prefer observing from the background. ‘ILY’ is truly for the wallflowers. I really believe that.”

As a South African artist gaining international attention, what misconceptions about African music do you most often encounter, and how does your work challenge those perceptions?

Khan Khalii: “From my experience working with international producers, particularly in the Afro House and House music space, I’ve encountered a persistent assumption that I must sing in Zulu. It feels like an unconscious prerequisite even when it’s not explicitly stated.

There’s this underlying perception that Africans are a monolith, and we all must conform to certain expectations. Yes, I do incorporate traditional elements in my music, but it seems there’s an expectation that you must be strictly ‘traditional’ or what some might call ‘Afrocentric.’ What I find challenging is the lack of room for exploring what being African truly means. Artists like Tyla, Bongeziwe Mabandla, and Desire Marea have really broken those boundaries. But when you’re primarily viewed as just a vocalist, you’re expected to deliver a certain type of sound.

I often think, ‘What if I want to write differently? What if the song calls for a different approach?’ These are the challenges I’ve faced over the past couple of years—making people understand that our country has tremendous diversity. We’re all different, and while it’s our duty as African artists, especially South African artists, to be custodians of our culture, it shouldn’t happen in a way that strips us of our individualism and identity or panders to these limiting stereotypes.”

Thank you for joining us for this interview. Before you go, could you let us know what the rest of 2025 holds for you and what’s next for Khan Khali?

Khan Khalii:  “What’s next for me is the ‘Lumeria’ show happening in August, which I’m really excited about. Before that, I’ll be releasing part two of ‘Lumeria’ in July, along with a couple of music videos. So those are the main projects I’m focusing on right now.”

Stream “Lumeria” here

 

Connect With Khan Khali

X (formerly Twitter): @khankhalii

Instagram: @khankhalii

Tik Tok: @Khankhalii_

YouTube: @khankhaliiofficial4574

 

Written by Cedric Dladla 

For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

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