‘Digital Feng Shui’ – Can It Change Our Relationship with Tech and Social Media?

It’s currently ‘fashion month’ — the so-called “January of the fashion industry” — and coincidentally the time of year that I find myself the least interested in being engaged online. I don’t know if it’s a sense of avoidance —an attempt to escape the intense feelings of ennui and listlessness born from my desire to covet fashion — or if it’s just that this month, above any other, feels the most energetically bombarding and my body and brain, independent of my mind, have decided that engaging in a small dose of apathy is actually a useful kind of protective barrier that they biologically employ. 

I don’t really know why, but it’s a bit irreconcilable considering fashion has been one of the central loves of my life since, well, I attempted to klomp around in my god-mother’s kitten heels circa 1997 as one of my first acts of achievement. 

I don’t think we weren’t meant to be so frequently exposed to such an overwhelming barrage of digital stimuli. Ironically, a TikTok arrived on my FYP that resonates with a very specific kind of psychological hygiene we all have to begin to integrate, one way or another: Digital Feng Shui.

An ancient Chinese practice, Feng Shui has traditionally been applied to material environments with an intention rooted in harmonising people with their surrounding space. The term ‘feng shui’ translates to ‘wind’ (feng) and ‘water’ (shui), representing the flow of energy (or ‘chi’) in nature. According to Feng Shui, the layout, design, and organisation of a space—whether a home, office, or garden—can affect the health, happiness, and prosperity of the people who occupy it.

Imagery by Pixabay, via Pexels

Imagery by Karolina Grabowska, via Pexels 

It is the ritualisation of arranging the material objects that surround us, and like much of the innovative realisations arising from the East; it’s all about guiding unseen energy, positively, throughout our experience and within ourselves. Applying the approach of Feng Shui, as @Arca.so explained in their aforementioned TikTok, could be the difference between chaotically navigating digital spaces and actually forging a dynamic, principled approach to our relationship with the fastest growing environment that we exist within. Between endless social apps and switching between devices, how can we approach these meta-realities with more balance? As CEC editor and content producer, Grace Crooks, so poignantly said, “we need internet ecologies that are nourishing to us.” 

One of the first to coin this phrase, writer Tracy E. McDowell wrote in her piece on Digital Feng Shui that “In the digital age, we are bombarded with an overwhelming amount of information, and our attention is constantly divided between different devices and platforms. This “digital overwhelm” can lead to a feeling of burnout, dissociation, and distraction, and negatively affects mental health and well-being. Creating balance in the digital world can help us to navigate this overwhelming landscape and find a sense of calm and focus. Just as in feng shui, the goal is to create a harmonious environment that promotes well-being and prosperity.”

Digital Feng-Shui is about clearing out the clutter, and making intentional efforts to bring balance to the digital environments that we occupy. We want to create a purposeful approach to online engagement, and focus on curating a digital environment that brings joy, peace, calmness, and curiosity to our lives. 

Let’s map out how we might be able to do this:

We can start by observing the emotions triggered when consuming digital content and noting which apps, websites, or publications genuinely enhance our well-being. Once we identify these positive sources, the next step is to create a space that encourages positive engagement. Similar to feng shui’s focus on arranging spaces to direct energy, setting up bookmarks or app folders specifically for these resources will make them more accessible. This intentional organisation helps prevent us from slipping into passive habits like doom scrolling by giving us a purposeful entry point when we reach for our devices.

Dedicating mindful time to engage with this content, supported by screen time trackers, further helps limit exposure to draining material. I don’t know about you, but my weekly screen time update on Sundays from Apple is a competition I set with myself each week to reduce. By consciously replacing mindless scrolling with content that aligns with our interests, we can nurture active engagement and regularly reassessing our digital habits ensures that our choices continue to bring joy, curiosity, and balance into our online experience.

In the world of platform and app creation, developers are increasingly recognising the demand for soft, calm, and low-stimulus digital environments—spaces that stand in contrast to the high-intensity, overstimulating digital landscapes often found in social media and other attention-driven platforms. These digital spaces focus on reducing mental strain and encouraging more mindful, intentional interactions. Are.na, for example, is a minimalist, creative platform that is committed to being ad-free, in which users curate and collect information across the web, collating them into individual projects and group collaborations. Purposefully so, Are.na is very bare-bones in its design; intended to provide users a blank, decluttered canvas that can weave together visuals, texts and other inspirational build-blocks for nourishing creative ideas. 

Then, there’s Cosmos — one of the latest mood-board apps that titles itself as a ‘discovery engine for creatives’ that ‘brings order to your creative universe’. Similarly, the intention of the platform is visually-centric and ad-free. Uniquely, Cosmos and Are.na feel like their own portals; both platforms prioritise simplicity and user autonomy, making them feel like distinct, immersive digital universes where creators can focus on their ideas without the overstimulation common in other digital spaces. Their UX is designed to evoke a sense of exploration and creative flow. By allowing users to seamlessly collect, arrange, and share content, these platforms act as gateways to a personalised creative experience, one in which users actually gain control – rather than give away control — over how they interact with and structure their digital environments. In this way, they offer a quiet refuge from the intensity of traditional social media, cultivating a slower, more thoughtful form of digital engagement. Very Digital Feng Shui!

Imagery by Castorlystock, via Pexels

Imagery by Anton, via Pexels

We’re not about to become monastic in our digital use and in fact, we’re going to continue seeing the integration deepen between ourselves and technology. It’s ironic, of course, that we’re trying to solve digital dependence with more apps. Yet, we also know there’s no true replacement for getting into nature, moving our bodies, or connecting with our community. 

Technology alone can’t substitute those essential human experiences. However, if we can create intentional digital spaces that nurture us rather than drain us, we can avoid falling into the trap of listlessness that comes from mindless scrolling. It could be as simple as finally cleaning up your Spotify to include playlists for every kind of mood (maybe add some meditative, binaural tracks?) or limiting yourself to structured tech-time, for leisure and self-nourishment. The idea is to take small steps that transform how we use technology, allowing it to support our well-being rather than becoming a source of distraction or stress. 

After all, technology has arisen from us, and while it may sometimes feel like an abstract, behemothic force looming over our lives, we still possess immense agency in how we can interact with it. We have the power to create boundaries, harness its potential wisely, and ultimately take personal responsibility for shaping our relationship with it. Digital Feng Shui feels like a profound navigational philosophy for understanding how we interact with technology in the present and future. By applying the core principles of feng shui—balance, flow, and mindful arrangement of spaces—to our digital environments, we’re intentionally designing our digital ecosystems to enhance the flow of information and minimise the clutter of overstimulation. 

Whether it’s through decluttering our app interfaces, managing notifications, or curating content that nourishes us, it’s about making the digital world a more harmonious extension of our lives. This philosophy acknowledges our deepening relationship with technology while reminding us of our capacity to create balance within it — we’re curious, how might you take steps to employ more balance in your digital experience?

Written by Holly Beaton

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

Tiktok star, Lusanda releases “When You’re Around”

Born in Durban and raised in Johannesburg, Lusanda’s earliest memories are filled with music and movement. She grew up dancing (a classically trained ballerina since age five), playing marimbas, and singing in choirs before eventually enrolling in choreography studies at the University of Cape Town. Music was always in the background, but it wasn’t until she started posting TikTok covers that her voice found its way to the forefront.

In 2023, one spontaneous upload in particular – a rendition of Outkast’s modern classic “Hey Ya” – set the wheels in motion for a new chapter in her life. The video garnered millions of views in a matter of weeks. Offers started pouring in from music producers including one to collaborate on a track, “Echoes”, with rising R&B singer/songwriter Manana and Amapiano it girl Uncle Waffles. By January this year, Lusanda found herself in the studio recording, honing her voice and learning the art of songwriting. 

“I’ve spent the last year really figuring out how I wanted my music to feel – focusing on my pen, finding my sound, and working with incredible people who push me creatively,” she says.

Listen to “When You’re Around” here

Magro releases his second single “Need a Friend” feat. RAH

 

The second single taken from Magro’s forthcoming ‘Tokyo Tree’ EP features vocals from Rapturous, otherwise known as RAH (of RAH & The Ruffcats fame) rapping and singing over shuffling broken beats and warm jazz-tinged keys.

Magro originally hails from Ludwigsburg, close to Stuttgart, in southern Germany. Having grown up around music, and learnt both piano and drums as a child, this musical prodigy moved to Berlin in 2015 to take in its vibrant music scene and feed off of his love for hip hop and soul music. It was here that he honed his craft as a producer, and Magro was born.

“Producing has opened up a new musical world for me, because I’ve learned to listen in a completely different way.” Magro

The aptly titled Need A Friend was originally produced by Magro as an instrumental cut, until RAH wrote lyrics and added his distinctive, smooth part-sung, part-rapped vocal, somewhat reminiscent of Anderson.Paak. It’s a song that sums up the pair’s relationship and celebrates the joy of having a friend who understands you and that you can rely on. RAH’s flow sits perfectly over Magro’s tight rolling drums and optimistic keys.

Listen to “Need a Friend” here

Press release courtesy of Only Good Stuff

Fred Everything and James Alexander Bright release ‘Breathe’ (Rocco Rodamaal Remixes)

With new remixes from Rocco Rodamaal, ‘Breathe’ is the second single from Fred Everything’s album “Love, Care, Kindness & Hope”, featuring UK singer/songwriter James Alexander Bright.

The original connection came from a Groove Armada song that Fred remixed (Talk Talk) which featured James on vocals. James is known for his work on !K7 and more recently with a new album on Athens Of The North. ‘Breathe’ was built around a shuffly broken beat, a driving bass line and deep chords. The track also features Wayne Tennant on backing vocals and Pete Whitfield on Strings. The original was championed by Colleen “Cosmo” Murphy on her Balearic Breakfast show as well as supported by Black Coffee, Jazzanova, Peter Kruder, Rainer Trueby.

Listen to “Breathe” here

Press release courtesy of Only Good Stuff

Craft launches ‘Crafted Conversations’ – a series of interactive workshops to financially upskill gig workers

Managing money can be daunting, right? Especially as a freelancer or entrepreneur. It’s hard enough navigating work finances, let alone finding the right mentors to guide you. Enter Craft.

Craft is a platform for financial management specifically for freelancers, entrepreneurs, and small businesses. They’ve partnered with Joburg-based agency Mamakashaka to create ‘Crafted Conversations’ – a series of monthly interactive talks and workshops which aim to demystify the financial side of business management, inspire and inform business practices.

Tebogo Malcolm Mokgope, co-founder and creative director of Refuse Clothing, will open the series as the first speaker on 27 September 2024. With extensive experience across various roles in the fashion industry, working for major brands, he is known for pushing the boundaries of design while prioritising environmentally responsible practices. His focus on sustainable and Afrofuturistic fashion, coupled with his insights into innovation and understanding of the industry, kicks off the series. 

Next, Natasha Lorde, a highly skilled and expert tax specialist and property advisor, will offer valuable guidance on financial planning, business strategy, and wealth management. 

Rounding off the sessions, Dr. Anesu Mbizvo and Banesa Tseki from The Nest Space will share how their inclusive, sustainable business practices have helped establish The Nest Space as a leader in the wellness industry, building a powerful brand while promoting conscious living.

Craft believes in unlocking financial freedom as a key to entrepreneurial success. Their platform is designed to provide gig workers and small business owners with equitable access to essential financial tools that simplify and enrich day-to-day operations. Craft has a variety of plans depending on your needs—from a no-fee option to R500 for premium services.

With over 7,000 gig workers already using Craft, the platform offers quoting and invoicing, payment tracking, a gentle reminder system, and more. Their core values are being human-centred; challenging the status quo; being experimental and data-driven, and encouraging entrepreneurship. This drives them to continually innovate and provide tools that make financial management easier and smarter.

Attendees to ‘Craft Conversations’ will have the chance to engage with the Craft platform firsthand through a personalised live experience at their Craft Booth. This interactive space will allow guests to explore the platform’s features and intuitive tools, and discover how Craft can integrate into their business practices, offering real-time solutions to their financial management needs.

Craft is committed to fostering a vibrant community of entrepreneurs and freelancers who are passionate about their work and driven to succeed. By attending ‘Craft Conversations’ on 27 September, 1 November or 29 November, you’ll gain valuable insights, practical tips and also connect with like-minded individuals who are on the same journey.

Register for Craft Financial and RSVP for the first event here.

 

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

Darkroom Contemporary presents their immersive performance, ‘autoplay’

Following the success with ULTRA at the National Arts Festival, Darkroom Contemporary Dance Theatre presents a new full-length work titled ‘autoplay’ by Louise Coetzer. 

Autoplay is produced by multiple award-winning Darkroom Contemporary Dance Theatre and will be performed until 28 September at a uniquely transformed site within Longkloof Studios in Cape Town.

This hybrid work blends dance, Live Art performance, sound installation and digital art to bring dance theatre to a range of alternate dimensions. Autoplay is a surreal encounter between human and machine. The performance conjures a moving landscape that ebbs, shifts and transforms as it frames the experience, presenting a

breathtaking and multi-discipline production, with the calibre for which Darkroom Contemporary have become renowned.

“We wanted to create an expressly contemporary experience, set in the heart of the city, that dovetails into our desire to present dance out of traditional spaces,” says Louise Coetzer, co-founder and Artistic Director of Darkroom Contemporary, and director of autoplay.

She continues, “We confront traditional notions of identity and autonomy, in an era where our lives have become intricately woven into the fabric of a digital landscape. Through its interaction with Artificial Intelligence and machine learning, this charged game of musical chairs confronts questions of agency, autonomy, influence and the blurred boundaries between free will and manipulation in a digital age.”

The performance features a new original score by renowned music artists Brydon Bolton (Benguela) and Njabulo Phungula, with vocalist Inge Beckmann (Lark, Beast).

Combining organic and manufactured soundscapes, the score fuses digital and analogue processing which invite the audience into this surreal game, while experimenting with the viewers’ perception.

Choreography, direction and set design are by Louise Coetzer. autoplay is performed by Bronwyn Craddock, Darion Adams, Vuyelwa Phota and Gabrielle Fairhead.

Upcoming show dates and times: 20, 21, 25, 26, 27 and 28 September at 8pm

22 and 24 September: 4pm 

Tickets: available on Quicket at R250 

 

Press Release courtesy of Darkroom Contemporary

 

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

‘A GESTURE OF BALANCE’ – WOOLWORTHS PRESENTS #STYLEBYSA WITH SHELLEY MOKOENA

Continuing the bold and brilliant move by Woolworths with their #STYLEBYSA series, we’re in a new chapter of spring for the co-collaborative campaign that showcases the nuanced creativity and personal style among South African talent. This initiative celebrates diverse perspectives between an iconic South African brand and its collaborators, as it remains our month-by-month case study in key approaches that can inform our wardrobes — as styled by the creatives themselves, their way. 

The return of the sun brings with it newfound inklings of optimism and renewal — spring is arriving, and we have to be sartorially prepared. With the continuation of #STYLEBYSA, we are certainly readying ourselves as we peeking into the impeccably tonal and sophisticated universe of Shelley Mokoena. Founder of luxury womenswear brand Connade, creative director and artist, Shelley’s distinct personal taste is a deeply thoughtful expression of how she articulates the world around her. Her style extends across personal fashion, interior design, art, and most crucially, infusing the rituals of everyday living with beauty.

Imagery courtesy of Woolworths
Shelley’s foundational career as an interior designer sees her distinct aesthetic founded on principles of form, function and spatial awareness; with the body and clothing as her mediums. Similarly, Shelley’s design approach is rooted in the exploration of organic forms and sculptural construction techniques. Who better, then, to demonstrate Woolworths’ focus on linen — a season-defining fabric that embodies natural elegance and versatility, as it perfectly aligns with Shelley’s refined aesthetic?

Yūgen (幽玄) is a fundamental concept in traditional Japanese aesthetics, emphasising a profound, subtle beauty that eludes easy definition. Often translated as ‘mystery’ or ‘deep grace’, Yūgen reflects an awareness of the universe that evokes an emotional response without relying on overt explanations or displays. This philosophy feels fitting in understanding Shelley’s aesthetic perspective, with her work continually inviting an engagement of the imagination and emotions.

Imagery courtesy of Woolworths
Like Yūgen, Shelley’s style embodies understated elegance, valuing simplicity that carries profound meaning, seen in her thoughtful use of colour — and intentional emphasis on monochrome —  along with layering techniques and simple accessories. As Shelley notes on her influential use of tonal hues, “monochrome and neutrals are my trusted colour palette because they’re timeless and even as you are growing and evolving as a person, you maintain a sense of style that is unique to you.”

Shelley’s approach resonates with Yūgen’s concept of transience and impermanence. This changing of the seasons is all about capturing the beauty of fleeting moments, as the shift from winter to spring is an emphasis on the ephemeral nature of all things. This suggestive mystery, and the cycles of nature, creates a space for introspection in how we wear what we wear and our choices for our personal style, as we lean into intentional approaches, guided by the seasonal drops from Woolies Fashion. It is why, when viewing Shelley’s work and her expression for #STYLEBYSA, one might be moved by the gesture of her imagery in inviting harmony and balance for the season ahead. 

As Shelley reflects, her sense of style is deeply connected to her roots: “the first person that instilled my love for fashion—and just beautiful things—is my mom. She’s always been impeccably dressed and effortlessly stylish, so I definitely inherited that from her!” This influence from her mother ignited her approach to fashion, and her nurtured appreciation for timeless elegance and thoughtful design, evident in her creative work today.

This month, Woolies is leading with linen and the crisp white hues of a warm-ready wardrobe. Perfect for the season, these breathable fabrics and light tones offer both comfort and sophistication. From tailored pieces to relaxed silhouettes, Shelley Mokoena is our icon in embodying effortless simplicity. We’re at peace. 

 

SHOP SHELLEY’S #STYLEBYSA EDIT HERE

 

Written by: Holly Beaton
For more news, visit the Connect Everything Collective homepage www.ceconline.co.za

‘If you get it, you get it.’ Consumer inspired creativity with Omega Footwear

Omega is a KZN-based footwear brand with over 50 years of history. The brand is committed to keeping its tradition of old-world workmanship but have found themselves in an interesting position recently – they’re fully led by their consumers. This has resulted in a sudden resurgence and an exponential growth in sales based on black South African youth claiming the shoe with contemporary style. Celebrities are wearing Omega’s of their own accord and bringing an organic wave of supporters with them. That being said, it’s not only famous people bringing this footwear brand into the limelight, it’s the iterations of colour recently developed, steering away from the traditional terracotta suede palette – the style is not for everyone but they’re adamant that that doesn’t matter because, ‘if you get it, you get it.

Further to their long history, Omega shares, “The strength of township culture is undeniable. From the well-dressed Amapantsula gangsters of the 1930s with their jazz connections; through to the reinvented Amapantsula of the 1990s and their Kwaito vibe; and on to the hip hop loving Izikhothane showmen of the 2000s.” These fusions of fashion, music and dance create truly South African cultures, uniquely indigenous and removed from European and Western trends.

They continue, “More recently it is Amabhinca with Maskandi and AfroPop music that are creating a movement within the townships and beyond; encouraging people to stick to their roots, to embrace African attire, to embrace their own style and heritage but wearing it in a modern way.” 

Imagery courtesy of Omega

Once known as the ‘taxi-man shoe’, it was the ‘well-to-do uncle’ who wore this Omega style of shoe, showing his wealth in the artfully woven sandals. Today, more and more musicians and celebrities are wearing the Omega brand and they’re choosing to do so with no advertising or influencer relationships – which speaks volume of the brand’s unique craftsmanship and design. What’s more, they’re not just for men – Omega have reiterated that the shoe is for anyone.

About the Omega resurgence, Managing Director Adrian Maree shares, “Omega has had a real reinvention in the last few years. We were always of the opinion that we wouldn’t pay people to wear our product, so it was when musician Sjava styled Omegas with a suit at the South African Music Awards, things just skyrocketed. The youth embraced it.”

At around the same time, Head Creative Designer Mlindelwa Ndlovu started experimenting with colour, branching out from their tan, to red, electric blue, bright pink, gold and even colour combinations – which is all to say quite significant considering Mlindelwa is colour blind.

Mlindelwa shares that growing up in a township in KZN during the time of rife political violence, the gift his father gave him before he died was a box of crayons. When he applied for the job at Omega, part of his submitted application was the design of an Omega shoe made purely out of paper – 15 years on, he’s an invaluable creative asset to the company, which shows as the brand grows, so does the community it fosters.

Stitched by hand with premium materials, the brand has a history of five decades of crafting this shoe. Adrian continues, “It’s always been known for its quality but I want to say it’s more than that: it was created by people, it was created by the consumer, the audience has given it life and meaning and placed a story behind it. From generations, to the youth dressing it up in totally unconventional ways. We’ve let the consumer talk and we’ve listened.”

From South African music culture, with icons like Black Coffee and Bravo Le Roux through to township culture; the way they shoot the product is gritty and honours its location. Adrian shares, “You’d never see Omega shoes shot on a beach in Cape Town because that’s not us. It’s got to be raw and it’s got to be pictured where it’s actually found. That’s given us an authenticity which you cannot fabricate or force.

On the other hand, they share some challenges they’ve faced with regards to public image, sharing “We’ve still got to change a lot of people’s minds to show them that it’s a niche brand.” Having said that, it seems they’ve garnered incredible support and in fact they have their hands full with their factory in Pietermaritzburg being at capacity – a common response from consumers being “We can’t find the shoes!” – I suppose, scarcity drives demand, right?

Imagery courtesy of Omega, photography by @agisanangreezy

Imagery courtesy of Omega featuring NGCEBO 

This is something that is 100% a genuinely South African created product. We’ve created something authentic and real and we want to take that and show it to the world? I don’t want to go produce this offshore to cut costs or change capacity. I want this to be a locally made product that supports the culture it emerged from. We’re going to have to scale accordingly, which is tricky, but again, scarcity can be a good thing.

Their approach to marketing could be considered guerilla – they don’t have an agency coordinating content or campaign shoots, but they rather give away products to people who speak the brand language naturally – and often, these people already have a pair of Omegas. In the case of Trippy Catalyst’, a ‘thank you’ came in the form of a custom label for that extra skip in their step. Omega harks an important message, which authentic brands are realising and proliferating: you do not have to subscribe to European fashions but you can create your own from a customer who has a vision. Creativity can be our own, it can exist anywhere. Listen to what the people want and although it’s not for everyone – if you get it, you get it. When asked what we can look forward to from Omega, they shared, “A lot more colour.

Written by Grace Crooks

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

Dora Morelenbaum releases ‘Caco’ and ‘Essa Confusão’

Here is the first radio single taken from Dora Morelenbaum’s forthcoming debut solo album, Pique. One of the leading lights of Rio’s new musical wave and a member of Latin Grammy award-winning band, Bala Desejo, Pique sees Dora embrace a freedom through fresh new forms. A snapshot into the album as a whole, ‘Caco’ and ‘Essa Confusão’ showcase the funk-driven, groovier side to Dora’s songwriting, alongside those signature, celestial songs that her first solo EP demonstrated. With co-production courtesy of Ana Frango Elétrico and a whole host of Brazil’s finest involved, including Dora’s parents, these expertly and elegantly crafted tracks are a shining example of the creativity that has reached a new boiling point in Brazil.

Listen to ‘Caco + Essa Confusão’ here

Press release courtesy of Only Good Stuff

Mackwood releases ‘Thunder’ feat. Eerf Evil & Kianja

One area where the UK is indisputably a world leader is cultural cross-pollination. Mackwood is an excellent example of their collective genius flowering. 

 Drummer, producer, songwriter and bandleader Mackwood announces details of his debut album Master Changes, out 17th October via 5dB Records. The announcement comes accompanied by new single ‘Thunder’, featuring rapper and Silhouettes Project founder Eerf Evil and acclaimed singer-songwriter and Omar collaborator Kianja.

Inspired by the UK’s rich electronic and soundsystem culture, Mackwood warps what we usually understand as jazz into thrilling new shapes and unpredictable forms, melding modern production with live instrumentation from his 6 piece band at West London’s 5dB Studios. Named after a sci-fi novel about a nuclear apocalypse, Master Changes, is influenced not only by a vast range of music, spanning from Curtis Mayfield to Nubya Garcia and Holst to Four Tet; but also by literature and wider conversations on identity, connection and the human condition. 

Listen to ‘Thunder’ here

Press release courtesy of Only Good Stuff