‘Breaking Down Walls’ with Open Studios – a studio showcase presented by RESERVOIR

Feb 22, 2024 | Art, Community

I often tend to think of creative studios as these abstract and mysterious spaces; almost like an ephemeral secret, best kept at a distance between creators and audiences. Processes, in many ways, are extremely private – even more so, sacred. So, when an inconspicuous building on Bree St opened its doors last week in anticipation of last week’s annual Art Fair Week in Cape Town; it felt like breaking the fourth wall, revealing artists, their work and the potential of a collective community. 

Initiated by RESERVOIR – “Open Studios” is a curatorial project and gallery by Heinrich Groenewald and Shona van der Merwe  – each floor of the event brought a different energy to fore. Castle House is home to nine floors of over twenty creative studios; and everyone was welcome to meander up and down the building, peering around corners and up staircases, to immerse oneself into the studio spaces of some of Cape Town’s best loved creatives. The experience felt like a brave new world, indeed.  

Usually, we see the final outcome of artists’ processes; for Investec Cape Town Art Week, this is even more true for an immense showcase, as a culmination of a year’s long journey for its exhibiting artists and participating galleries. Open Studios however, brought something entirely different to the table, by asking audiences and visitors to consider the very beginning of how they  might conceptualise the act of making. As Heinrich explains, “as an exhibitor at the fair, we are encouraged to initiate an event that will form part of the special VIP programme hosted by the Investec Cape Town Art Fair. It always promises to be an incredibly stimulating week, with events scattered all over the city, and beyond! We wanted to do something really special this year. Bree Castle House, where RESERVOIR is located, is home to nine floors of artist and design studios. And in the spirit of our ethos of collaboration, we thought it might be a wonderful opportunity to involve the entire building and open the doors to more than 20 creative studios.”

Open Studios photographed by Sarah Keogh

I found myself involved in speculation throughout the various floors. I wondered whether the different choice of studio space for creatives, whether compact and intimate or open and expansive, might reflect the intricate relationship between their creative process, personality, and artistic practices. I think of the cosy, shared space of multimedia graphic artist Natan Fourie and artist Robert Plotz on the second floor; laid back, like casual alcoves, existing in what might be their respective homes. Or, jewellery design studio OH MY GOSS and artist Madeleine van Manen on the fifth floor;  might these artists developed their process best in the quietude of confined spaces, needing  their work to evolve with a sense of privacy and introspection? 

Then, there was the wide-open first floor of AKJP’s Keith Henning; with AKJP’s newly established bar acting as an anchor while people view the stunning process-and-praxis of Henning’s iconic, totemic sculptures. AKJP is one of the clearest examples I know of the established connection between design and community in the city. Other artists with open-plan studios, who might thrive on collaboration and working methodologies that encompass engagement, were the sixth floor hosts Studio Jana + Koos, and the duoship’s respective solo expressions, as Koooooos and Jana Hamman, along with Ruschka Du Toit’s incredible study in foliage and form, and clay-focused gallery Art Formes. 

On how a concept like Open Studios can inform relationships between artists, designers and audiences, Heinrich explains that “the idea of the VIP programme is to localise attention from the art crowds visiting the fair to the gallery presenting the event. By utilising one’s access to such platforms to also provide opportunity to individual’s who would otherwise not be included in these moments is a way of fostering community, and as a result, adding to the abundance that is already available. There is no purpose in filling yourself with your slice of the pie, and letting the rest go to waste. There is always more to share. In return, we were delighted by the enthusiastic involvement from all the studios. Every space was transformed to welcome visitors and provide a unique offering.” 

For RESERVOIR, the evening formed part of a celebration of their year-long residence on the seventh floor of the building. Having initially begun as a nomadic gallery, their permanent space is currently showcasing Anna van der Ploeg’s ‘Shorter This Time’, accompanied by a dialogue co-authored by Lucienne Bestall, Thulile Gamedze, Zayaan Khan, Bongani Kona, Margie Orford, Karin Schminke, Keely Shinners and Anna van der Ploeg; notes read, “All language is a verb and that verb is a wish and that wish is God. Example: Make me into a breaking thing; break me into a making thing.” and “Language moves like water in the wind, it finds the simplest route while simultaneously turning into vapour and also being thrown off its gravity path. Language bends in ways that light cannot. In the cave, darkness; in the dark, words.”

Open Studios photographed by Sarah Keogh

To descend or ascend upon Open Studios was the question; I heard people deciding to take the elevator to the ninth floor and work their way down – we, instead, worked our way up. On the final and ninth floor, Morné Visagie and Water Dixon’s (Caitlin Warther & Wendy Dixon) space had become a house party – in between Visagie’s preview of his upcoming solo in Antwerp and Dixon’s signature, alchemically mineral pieces – the energy of Open Studios culminated in abandon of trepidation and courteous protocol. A relief – and perhaps the point – for the people and spaces behind the works – and certainly us, as the viewers. Breaking the fourth wall at Open Studios was a study in openness; from viewership to engagement, from distinctions to community. 

Participating studios include:
AKJP Studio, Jana + Koos, Marsi van de Heuvel, Pierre Vermeulen, Morné Visagie, Johno Mellish, Michael Tymbios, Kasia Stefańczyk, Nicholas Hales, Keith Henning, Water Dixon, Natan Fourie, Madeleine van Manen, Robert Plotz, Art Formes, YunYoung Ahn, Natan Fourie, Craig Cameron-Mackintosh, Gabrielle Guy, Ruschka Du Toit, Plan B Design, OH MY GOSS.

Written by: Holly Beaton

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

Everyone Experiences Imposter Syndrome – Here Are Some Tools to Overcome it

Feb 21, 2024 | Lifestyle

I think it’s only fair that I preface this article with an admission, of sorts. Beyond the mod hair, crop tops, tattoos, cowboy boots and endlessly snarky remarks about the state of society – and in the shadow of pretentious love for Paris, Texas, Gaspar Noe and only taking photos on a point-and-shoot – I have not been completely honest with you. See, behind the carefully curated character I have painstakingly cultivated and presented publicly, is a boy who only recently feels like he’s become a man—a man who, more often than not, doesn’t like himself or his work very much. I struggle to find the words to explain the sheer amount of dread I experience when my work gets sent to my editor for review and is published for you all to read. Seldomly, I am pretty proud of what I have produced, proud of the prose used, all musical in its makeup and filled to the brim with anecdotes and tangents that, at least to my mind, make my writing human. This, however, is an exceedingly rare experience as, more often than not, the submission and publishing of an article only conjures up a singular sinking feeling, a sequence of self-talk that goes something like this, “It’s over, they’re all going to see that you a worthless piece of shit that has nothing of value to say. You’re a fraud, and they all know it. How embarrassing.” 

As I said before, I struggle to find the words, so I think I’ll borrow some that maybe some of you can relate to. On a rewatch of The Bear, in a particularly self-pitying state of mind after what I consider to be some of my worst writing, I was greeted by one of the best representations of imposter syndrome within my reading of it. Carmen (Jeremy Allen White) has a flashback of his time at his previous job in New York getting broken down by the Head Chef. The scene shows just how toxic an industry he finds himself in, but I always found the scene to resonate with the kind of self-talk I rather worryingly engage in regularly. 

HC: Why do you hire fucking idiots? Do you like working with fucking idiots?
Carmen: I’ll do better.
HC: Say, “yes, Chef.”
Carmen: Yes, Chef.
HC: Can you not handle this? Is it too much for you? Answer me.
Carmen: I can handle it.
HC: I can handle it, Chef.
Carmen: I can handle it, Chef.
HC: 12! 10! 36! Don’t fuck with my count!
Carmen: Fire 8, 13, 36!
HC: 3! 52! 14!
Carmen: Sorry, Chefs! 8, 13, 29!
HC: Why are you serving broken sauces? Why? I get it. You have a short man’s complex. You can barely reach over this fucking table, right? Is this why you have the tattoos and your cool little scars, and you go out, you take your smoke breaks? It’s fun, isn’t it? But, here’s the thing. You’re terrible at this. You’re no good at it. Go faster, motherfucker. Keep going faster. Why are you so slow? Why are you so fucking slow? Why? You think you’re so tough. Yeah. Why don’t you say this? Say, “yes, Chef, I’m so tough.”
Carmen: Yes, Chef. I’m so tough.
HC: Say, “fucking yes, Chef. I’m so tough.”
Carmen: Yes, Chef. I’m so tough.
HC: You are not tough.
You are bullshit. You are talentless. Say fucking hands.
Carmen: Hands!
HC: You should be dead.

The Bear, Licensed Image Alamy

When I say this scene cut deep, it cut deep (kitchen/chef pun most certainly not intended).

What is this phenomenon of ‘imposter syndrome’? Labelling it as a “syndrome” makes it sound like some sort of disease, but this isn’t really the case. Psychologist Pauline Rose Clance and her colleague Suzanne Imes were the first to study the topic in 1978 and focussed their study on successful women and marginalised groups. Since that first study, it has become apparent that this feeling is practically universal as “the same thing has been established across gender, race, age, and a huge range of occupations… To call it a syndrome is to downplay how universal it is. It’s not a disease or an abnormality, and it isn’t necessarily tied to depression, anxiety, or self-esteem.” I guess there is the first point of solace to be found, we are truly not alone with regard to this feeling. As such, we shouldn’t be so averse to talking about it with others because your peers, colleagues and/or loved ones may be experiencing the same thing more often than not. 

After a particularly bad day, I recently opened up to my partner. I rewatched Barbie alone at 9 am and cried to Billie Eilish and Boygenius singing when the party’s over together. It was a dark day, and I needed some cathartic relief. Essentially, my very open, very honest and very vulnerable conversation with my partner boiled down to me feeling lost, out of touch with my writing, with the culture, with the audience and just generally feeling like an undeserving fraud. Fortunately, she is far more level-headed than I am and pointed out that in this case, as is the case quite often, I was being my own worst enemy. Nobody called me out, chastised me, or even mentioned that they didn’t like my work. It was all me just convincing myself that this made-up reality in my head was, in fact, the undeniable truth. My need to produce perfection had, in turn, produced a very avoidable path to a panic attack.

On the point of perfectionism, there are five subgroups which pertain to Imposter Syndrome, as coined by Dr. Valerie Young: the Perfectionist, the Superhuman, the Natural Genius, the Soloist, and the Expert. These closely follow the original six criteria expressed by Clance, but these are more digestible and convenient, Young has also provided tools to deal with each.

The Perfectionist: Imposter syndrome and perfectionism go hand in hand. It’s hard to feel satisfaction in your success when you constantly believe that you could have done it all better.

Tool: Although it may be easier said than done, we must accept that mistakes and failures are also part of the process. It’s a part of the process that allows us to learn and grow. For the perfectionist, there is often a debilitating amount of planning and overthinking involved, which in turn means we often overthink our way out of pursuing a project or taking a chance. Young suggests just forcing yourself to start something you’ve been planning for months, as realistically, there’ll never be a perfect time.

The Superhuman: Have you ever thought, ‘I just need to work harder and harder to measure up’? Well, this is a common tactic to cover up insecurities relating to our jobs. We want to be invaluable all in pursuit of validation, external validation that I’m sorry to say doesn’t pay the bills but rather just gives us an often false and skewed sense of security. 

Tool: Here, Young recommends focusing your efforts on cultivating positive inner validation rather than focusing on external validation as fuel. This way, we also get to understand that constructive criticism isn’t meant to be personal but rather a set of suggestions to be looked at, reviewed and evaluated. Once we realise that the opinions of others don’t matter nearly as much as we think, we can slowly start to find balance in the workload we take on, morphing our schedules to be far more reasonable. 

The Natural Genius: Young mentions here that often, we set our own internal bars so impossibly high that we are prone to failure and disappointment. We don’t measure our success or aptitude at acquiring a new skill by the effort we put in, able to see that, slowly but surely, we are improving. Unfortunately, we set the bar so high that we believe if we are some prodigy, acquiring a skill with ease at an inhuman rate that, we are inherently a failure.

Tool: We are all simply a work in progress. I have also been of the opinion that I am terrible at learning new languages, but I’ve always been quite proficient in picking up new sports or a hobby if I’m immensely interested in it. I am very slow in new language acquisition, but the polyglot I’m comparing myself to probably couldn’t hold a candle against me in many of my other hobbies. Focus on one small aspect at a time to improve this rather than trying to master something difficult all in one fell swoop. 

The Soloist: This is that ‘I can do it all by myself’ trait. Young identifies this subgroup as those who believe that asking for help inadvertently exposes you as the fraud you picture yourself as, and thus, you turn away help even if it would be beneficial. (I am just saying on a side note that this screams to the plight of modern masculinity and my gender’s endless obsession with dangerous alpha male doctrines.) 

Tool: Realise that there is no shame in asking for help. I, for example, am in the infancy of even learning Korean, so if I don’t know how to read something or say something, I’ll just ask my partner. However, this translates into a wider experience, so for all the macho bravado manne out there, remember real men cry to Barbie and Billie Eilish.

The Expert: Young explains that this subgroup measures their value on how much they know, constantly living in fear that they don’t know enough and will be caught out eventually.

Tool: Listen, there is always more to learn, but we simply do not have to know everything. Just imagine how overwhelming that would be. Young suggests we adopt a method called ‘just-in-time learning’; that is to say that we acquire skills when we need them.

Courtesy of DTS

So why is this a super extensive article about Imposter Syndrome? Well, it isn’t some self-soothing exercise, although the writing of this article has been far more impactful as a vehicle for cathartic relief than I ever could have imagined. Simply put, I am trying to be this comprehensive because the statistics show that 70% of us will experience imposter syndrome at some point in our careers. Now, to my fellow creatives out there, the message is even more bleak. The creative and design industry has the highest reported percentage of people with imposter syndrome, with one survey reporting figures as high as 87% of respondents. There’s this beautiful article on It’s Nice That, which I don’t want to butcher by picking bits and pieces as I think it should be read as a whole, that deals with that immense sense of imposter syndrome experienced by those in the creative field. 

To some extent, we are prisoners of our situation. Our work and its value are kind of decided on by those who engage with it, and that is a fucking terrifying thought. In a modern age, we have become prisoners to trends, TikTok, algorithms and stats. How many click throughs did I get, how many eyes can I attract and keep, and how can I leverage those eyes for financial gain? This is all before we even consider the work we produce or plan to create. So how do we manage? Well, we accept the absurdity of it all. We are all just wandering around, not quite sure what we are doing or if we are doing it in the right way.  Listen, if even one of the greatest minds in the history of our flawed species, Albert Einstein himself, thought he was nothing more than an “involuntary swindler”, we could all be far more kind to ourselves.

Written by: Casey Delport

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

‘In The Mix of Global Black Excellence’ with blaqkongo

Feb 20, 2024 | Interviews, Music

From a rich lineage of 4/4 synthesised kick drums and a typical BPM (beats per minute) ranging from 120 to 140, characterised by repetitive beats, loops using percussion instruments, and heavy synthesisers, emerges artists like DJ and Producer, blaqkongo. He has established himself as a connoisseur through an onslaught of projects such as  “Gemini Moon Phase” “Soul Gazing” “The Healers Song” “B_ U: Session 1 (With Koek Sista)” and “38 Days 38 Ways” with sprawling lead singles like “Be Free”, the latter of which he  reflects as “a personal affirmation from my eight-year-old self“. Blaqkongo is redefining his vision for the modern dance floor – focused most importantly, on his audience captivated with original compositions and enthralling DJ sets.

Born to a Ghanaian mother and a Liberian father, this astute student of the craft perfected his skillset during an 8-year stint in Switzerland. Known affectionately as blaqkongo, Brendan was raised on influences like DJ Fresh, Vinny Da Vinci, Bossa Nova; basically, everything from the golden age of music that he could raid from his father’s collection. The passion he discovered from the music he grew up on seeped into his own vision to play and make music; compelling him to experiment with friends and create his first moniker, DJ Spoonz, a nod to his surname, Witherspoon. Of course, one’s musical journey is not devoid of spiritual growth and purpose-seeking. Under both nuances, seeking to step further into his purpose led him back to the essence, blaqkongo was born. The rest, as they say, is history.

In this interview, we delve into blaqkongo’s origins – from his approach to DJ sets, to reading a crowd, production techniques, his latest  EP ‘38 Days, 38 Ways,’ ) and more.

Folks 26-08-2023 photograpphed by @kyle.kingsley

Q: To get started, I’d like to ask about your background & how you came to be a performer under your moniker, blaqkongo?
My Father is Liberian, and my Mother, Ghanaian. I grew up in Pretoria though, where I discovered my love for music. My dad is a massive music collector who put me onto house music. I remember going through his collection and finding the likes of Vinny Da Vinci, DJ fresh compilations, Bossa Nova and an array of jazz. When I was 18, I moved from Pretoria to Switzerland for 10 years, and around that time, I started DJing and playing around with music. I used to make music under the alias DJ Spoonz – a nod to my surname, Witherspoon. 

After finishing my degree in Switzerland, I wanted to shift course and be more intentional with the direction that I was going. I moved to Cape Town about eight or nine years ago, where I really started taking music production, DJing and performing seriously. For me, it’s always been a notion of trying to express how I feel about music; very authentically, not in the sense of playing what I want, but playing with the energy that I feel through the music and that’s always been something quite true for me.

Q: How do you curate your setlists for different venues and crowds? What factors do you consider when selecting tracks to play?
I always tell people that I view playing a set as a handshake. There are things I like, there are things you want, so where do we meet in the middle? With my background and exposure to a lot of different and nuanced music, I have developed an appreciation for many genres and from that perspective; I always try to see how to inch my way towards the crowd I’m playing for. For example, I could be playing for a crowd that is slightly older and an avid fan of indie dance music; I’m not an indie dance collector, but there are nuances that I can appreciate about it. That’s where I dissect the sound, listen to the textures and ask myself which music in my collection could speak to these textures, how could I bring this to an indie dance listener? A lot of the time, that’s how you make it remain true to you.

Q: What is a giveaway of the genre that your crowd or audience is into?
I always wonder what people are missing or want more of. I try to arrive early to suss out the energy of the party before I start playing to evaluate how people are responding to what’s playing. What would I expect this crowd to enjoy when I play? If I look at the audience and it’s Deep House playing, but it’s a younger crowd, they look like they’re ready to party hard, I might say, “they’re bouncing around to this, but they’re not really tapping into that frenzied state of excitement. What might get them in that mood?” and then I start experimenting. The first 25-30 minutes of my sets are usually experimentation. Let me give them one disco track, how will they react? If I sneak in a Tech House song, how do they react? It’s a conversation so I play around and enjoy building off of that.

Q: With being so adaptable to genres, is there any particular genre of music that you are more drawn to than another?
If I had to pick, I’d say my roots lie in the classic ‘House’ genre – that’s what I grew up listening to, and it’s deeply ingrained in me. However, as I’ve matured, I am increasingly drawn to Minimal, Tech House and Techno. While I still have a soft spot for the deep and soulful vibes of my youth, there’s something about the energy of Minimal & Tech that I’m really connecting with at the moment. It’s refreshing and exciting, and I’m thoroughly enjoying exploring this wave of sound. 

 

Q: How do you approach the use of effects and processing to add depth and dimension to your tracks without overpowering the mix?
That’s an excellent question. I’m still navigating this territory, really. When it comes to production, I’m still in the learning phase. There are countless ideas I want to express, but mastering the technical aspects is an ongoing process for me. Over time, I’ve noticed a shift in my approach. Initially, I preferred my songs to have a clean, minimalist sound. But I’ve realised that music doesn’t need to always exist  in such a stripped-down form. 

So, I’ve been exploring a lot of analogue gear with built-in effects such as reverbs and nuanced delays. My aim now is to strike a balance. I don’t want to overwhelm myself or the listener with effects, but I do want to add depth and texture to the music. I’ve been experimenting with incorporating subtleties to fill out the sonic space without overshadowing the main elements. I’m still figuring it all out. It’s a journey of discovery and growth, and I’m excited to see where it takes me.

Folks 26-08-2023 photographed by @kyle.kingsley

Q: Do you have a minimum or maximum BPM that you prefer to produce at?
Before returning to Cape Town, I was deeply immersed in producing ‘footwork,’ a Chicago-born genre known for its lively 160 BPM tempo. I was really into it! When I returned to South Africa, I encountered a stark contrast—the local house scene was cruising along at a much slower 116 BPM. It was a bit of a shock. 

Initially, I struggled to find my groove, attempting to adjust my production style to match the slower tempo, hovering around 116 to 120 BPM for a while. But eventually, I found myself gravitating back towards higher tempos. It hit me that I’d been trying to confine myself to fit the market’s expectations, wondering how to make sense of this scene. Over time, I started to ask, why should I limit myself to fit into a specific mould?

I decided to cast aside the constraints of tempo, BPM, and the deep house scene. I chose to stay true to myself and produce with integrity. That, to me, is the essence of being a musician, an artist, a creative—granting ourselves the freedom to explore our creativity in its rawest and most authentic form. Embracing this mindset marked the beginning of a transformative journey for me over the past couple of years.

Q: With dynamic projects such as ‘38 Days 38 Ways’, can you discuss your approach to building and layering different elements in your tracks to create a cohesive and dynamic sonic landscape?
That project means a lot to me. It taught me a big lesson: the best ideas don’t always need ages to develop; they just need genuine intention. During lockdown, Mr. Blasé  and I created this challenge for ourselves – every week, we’d make a beat, release it, and then get back to creating the next song. We called it “Beat A Week”and it went on for five and a half weeks straight. In that time, I birthed three of the tracks on “38 Days 38 Ways.” I gave it that title to honour the five and a half weeks it took to make, and the 38 different ways I showed up for what I love during that time.

The process was straightforward but powerful. Day one was all about letting loose and capturing whatever came to mind first – drums, keys, basslines, vocals, you name it. Day two was about arranging those pieces, like solving a puzzle, into something coherent. Day three was fine-tuning, giving each element its own space and depth. The rest of the time was used to mix and master each track.

What made it so beautiful was the lack of overthinking. With no specific audience or venue in mind – especially amid the COVID pandemic – I could just go with my gut. I’d ask myself, “What do I feel? What do I want to convey?” I’ve never had an experience quite like it since.

The closing track, “Be Free,” summarises the whole journey. It’s like a personal affirmation from my eight-year-old self, reminding me to follow through on what I believe is true to me, true to my essence, true to my visions.

Q: About your latest single, ‘The Line’ can you share any experiences where a happy accident or unexpected mistake during production with Mr. Blasé  led to an interesting creative breakthrough?
The essence of the track is quite minimalist. Just a kick, a bassline, some high hats, a drum sample and my vocals. We were hunting for a cool, vibey bassline using this small but powerful piece of equipment called a Typhon Dreadbox, which I was still getting the hang of. While experimenting, I stumbled upon what I thought was a great patch, but a tweak ended up throwing everything off. Surprisingly, when we started playing, it meshed perfectly. That unexpected bassline, along with the kick and sampled drums, became the track’s signature. It’s probably one of the simplest songs I’ve ever made, but it’s unique because of it.

Collaborating with Mr. Blasé was a refreshing experience. We’d wanted to work together for years, but our tendency to overthink always got in the way. We agreed to keep it simple this time, going for an old-school Minimal and Tech house vibe. We ditched the urge to overcomplicate things, focusing on what mattered: solid drums, a straightforward structure, and vocals. Surprisingly, it worked. We’ve even tested it out in the club a few times, and it does exactly what we intended. The simplicity of it all, coupled with a fortunate accident, really paid off.

Q: Which African artists or producers would you say you want to collaborate with in the near future?
I’ve been reflecting on this, especially after doing a remix for Jas Artchild’s project about a year ago. He’s affiliated with Selville Records, run by Zito Mowa, who is known for some incredible releases on Stay True Sounds. Jas Artchild’s music, with its jazzy, soulful chords but futuristic energy, really resonates with me personally. There’s something about how he crafts melodies that speaks directly to all of me.

One track of his, ‘Astronomer’s Handbook,’ particularly stood out to me, and I remixed it. Reflecting on who I’d like to collaborate with, Jas is the first person who comes to mind. His music represents a niche that I deeply appreciate, but it also profoundly resonates with South Africans.

That said, I’ve also realised that my interests are leading me away from the local Deep House scene. I’ve understood that being skilled or able to do something doesn’t necessarily mean it’s what you’re meant to do. Finding a balance between what you’re good at and what truly fulfils you is essential to me. I’m also keen to work with Deep Aztec. He’s one of the country’s finest, unapologetically embracing diverse genres and tempos while staying true to himself.

Recently, I’ve been exploring collaborations with vocalists and spoken word artists. I have this idea of revisiting the essence of a lot of old-school house tracks where people would share club experiences and their love for music through spoken word segments. Growing up in that era of House, it’s a concept that I’ve got a lot of love for, and I’m eager to bring it to life using my own voice, or with the right collaborator. Lazarusman is another artist I’ve had my eye on for this idea.

Interestingly enough, I’ve been fortunate to collaborate with Thor Rixon, a true legend, on a track titled ‘Walk With Me,’ which was released in mid-February. We started working on this track 4 years ago and although it took us this long, it honours all the elements of electronic music that we both resonate with. We’ve even gone as far as creating a music video for it and I’m excited to finally share it with the world.

Q: Where do you see yourself taking your career in the next few years, and what are some of your goals or aspirations for the future?
I was discussing this recently, and my perspective on this has evolved over time. When I was younger, my musical aspirations revolved around creating my own space. That dream still holds true for me. My primary ambition was to establish a lounge where aspiring musicians, DJs, creatives from all walks of life could showcase their talent to an appreciative audience. There’s something profoundly meaningful about that vision that resonates with me deeply.

What truly captivates me about music is its ability to create bonds between people. While I find immense joy in the music, the real magic lies in discovering that others share that passion. It all comes back to the fundamental human desire for community. For me, the essence of being involved in music lies in fostering that sense of belonging.

Looking ahead, I am still determining where I’ll be in the music scene in five or even two years. Yet, my intention remains steadfast: to stay authentic, embrace freedom, and align myself with communities that resonate with my values. It’s about riding the wave of authenticity and connection wherever it may lead.

For now, I’ll launch an event in March called EXIST, and the premise is to host a series of nights and DJs where the format is no format. It’s not a Deep House, Techno, or an Afro Tech party – it’s whatever we want it to be. One night can focus on a Tech House lineup , but another might have a solid Disco lineup.

Folks 26-08-2023 photographed by @kyle.kingsley

Curating a sonic landscape that blurs the lines between past, present, and future, while weaving together a seamless fusion of classic influences and cutting-edge innovation, requires a rather underappreciated craftsmanship. Beyond the beats and melodies, the essence blaqkongo contributes to the culture is encapsulated by his profound connection to his audience—a shared experience that transcends language and culture, uniting strangers in a collective celebration of life, love, and liberation. Blaqkongo isn’t just a purveyor of music; he’s a catalyst for resonance, using his craft to break down barriers and build bridges between individuals from all walks of life.

Listen to ‘The Line’ ft. Mr Blasé HERE 
Listen to ‘Walk With Me’ ft. Thor Rixon HERE 
Listen to Blaqkongo’s discography HERE

Written by: King Cedric

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

Tomasz Guiddo and Jimi Tenor release their track, ‘Where The Wild Roam’

Feb 16, 2024 | New Release, Music

A wonderful song with a heartwarming hook, ‘Where The Wild Roam’ shows Jimi Tenor and Tomasz Guiddo at their best.

Tomasz Guiddo, a regular on Compost Records, is celebrated for his diverse musical expressions across labels such as Beats In Space, Luv Shack, Get Physical, KID, and even Ostgut Ton (Manhooker), covering genres from jazz to deep house and disco, and Jimi Tenor, the revered Finnish maestro, a genius composer described as a mixture of Gil Evans, Jimi Hendrix, and Fela Kuti, seamlessly melds their talents, crafting a sonic experience that transcends traditional genres.

Tomasz Guiddo by KEYI Studio

Jimi Tenor

The full EP will be out Feb 23rd on 12″ vinyl, presented with three delightful feel-good remixes by Erobique, Freestyle Man (aka Sasse) and Ale Castro, plus second original track ‘Smile’ featuring Austrian crooner Louie Austen. 

Listen to ‘Where The Wild Roam’ HERE

Press release courtesy of Only Good Stuff

Fred Everything releases latest single titled ‘Never’ feat. Robert Owens

Feb 16, 2024 | New Release, Music

‘Never’ is the first single from Fred Everything’s forthcoming album, ‘Love, Care, Kindness & Hope’. For the occasion, Fred reached out to a true pioneer and arguably one of the most recognisable voices in house music, Robert Owens.

FRED EVERYTHING

ROBERT OWENS

Robert is responsible for classics such as ‘Bring Down The Walls’ with Larry Heard and ‘Tears’ by Satoshi Tomiie & Frankie Knuckles. A follow up to their 2021 collaboration titled ‘I’ll Take You In’, Never was written during Robert’s last trip to Montreal. Built around a warm major to minor chord progression, a bouncy analog bass line and an unusual jerky drum programming, this song contains all the themes from the album title. Since his seminal classic ‘I’ll Be Your Friend’, Robert’s reassuring message is part of his legacy and is still felt here. The track also features a beautiful horn section, arranged & played by Amsterdam-based Finn Peters, which reinforces the element of Hope. 

Listen to ‘Never’ HERE

Press release courtesy of Only Good Stuff

Küf Knotz and Christine Elise release their homage to disco and soul with their first single, ‘High Vibrationz’

Feb 16, 2024 | New Release, Music

The first single to be taken from forthcoming album ‘Hypnagogia’, ‘High Vibrationz’ by Küf Knotz and Christine Elise is a captivating single that pays homage to Philadelphia’s soul and disco heritage.

Named Philadelphia Magazine’s Best Rapper of 2022, Küf Knotz (Producer/MC) and Christine Elise (Harpist/Vocalist) have brought their unique blend of hip-hop, soul and classical traditions to various communities. The unlikely pair connected and built a similar bond to creating positive, forward thinking music fusing hip-hop with the boom bap era and lo-fi inspired beats supported by the harp. Their performance takes you on an era fusing, genre bending journey. And, you can dance to it. The duo has opened for Wyclef Jean, Yellowman, Rising Appalachia, Slick Rick, Say She She, Afroman, Wax Tailor (US Tour Support), Liniker, G-Love, Talib Kweli, Ozomatli, Raging Fya, Eubanks & Evans Experience, Digable Planets and have been featured on NPR Music and WHYY.

In ‘High Vibrationz’ Küf Knotz and Christine Elise deliver empowering lyrics that inspire listeners to follow their dreams and embrace activities that ignite their soul. Mother Lion intertwines groovy melodies that glide seamlessly, reminiscent of the smooth movements on a roller rink. With its blend of throwback rhythms and soaring vocals, this track brings a wave of positive energy that encourages the passionate pursuit of doing what you love.

Listen to ‘High Vibrationz’ HERE

Press release courtesy of Only Good Stuff

BURNA BOY IS THE NEW FACE OF G STAR

Feb 15, 2024 | News, Fashion

G-STAR introduces its newest brand campaign starring the King of Afro-Fusion and Grammy award-winning artist; Burna Boy, a titanic figure currently making waves across the globe. Burna Boy is renowned for his groundbreaking music and impeccable fashion sense; a great match for G-STAR, with both the artist and the brand continually reinventing themselves as they forge their own paths.

The video for the collaboration features Burna Boy’s new song ‘On Form’. Shot in London and directed by the multi-award-winning director Dave Meyers, known for his famous music videos such as Kendrick Lamar, Travis Scott, Billie Eilish. The black-and-white aesthetic pays homage to G-STAR’s creative heritage, yet with a contemporary twist, and shows Burna Boy’s dance crew performing his singular ‘stomp’, spreading his infectious rhythm through the city. Burna Boy comments on the synergy of this collaboration, “Denim isn’t just fabric; it’s an extension of who I am. Like my music, it’s personal, a dialogue between me and myself. Every stitch, every fade tells a story. G-STAR gets that. They’re not about following trends; they’re about challenging norms, just like me. Our connection goes beyond fashion; it’s about pushing boundaries and embracing authenticity. So, why not ride the wave with G-STAR? It’s a match made in denim heaven.”

For Burna Boy’s Double Denim Edit, G-STAR designed two limited edition, premium Japanese denim looks for the Nigerian talent: an ultra-long denim military coat combined with a relaxed take on the iconic Elwood. And a hooded sleeveless statement jacket with matching loose jeans. The utilitarian looks are completed with the new leather Benson Lea Boots. Gwenda van Vliet, G-STAR’s CMO, notes that “we are proud to continue our legacy in working with the world’s biggest inspirational icons. Burna Boy is one of the most innovative artists of our time and the embodiment of today’s youth culture, challenging the norm in both style and music, a vision that is very close to our heart.”

For the film, Burna Boy’s dance crew is wearing the Spring 2024 collection, packed with new styles and durable essentials. With utilitarian origins running throughout, technical details meet strong silhouettes. It features two new jeans fits; The Bowey is a 3D women’s style, engineered to be the ultimate boyfriend fit. With a back panel twisted towards the front alongside an artfully bowed leg and loose feel. Lenney underlines that the 70’s are back. Low-rise and boot-cut, with a slight opening from the knee. In celebration of the campaign, G-STAR launches a range of monochrome graphic tees with a unisex fit, made from 100% organic cotton.

The campaign launches on the 19th of February 2024. Watch this space.

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

‘ETHERIC QUALITIES’ – WOOLWORTHS PRESENTS #STYLEBYSA WITH LOUW KOTZE

Feb 15, 2024 | Interviews, Fashion

What happens when icons collide in perfect symbiosis? With South Africa’s celebrated retail hub, Woolworths, as the container or vessel; so another era of their pioneering  ‘STYLEBYSA’ is taking shape. Initiated in 2014 and fast forward a decade, this series has re-emerged as #STYLEBYSA, with Woolworths redefining the series through their ‘New In’ AW24 collections. Woolworths have invited distinguished forces to demonstrate their distinct edits, showcasing the range of South Africa’s fashion landscape. In this latest edition of #STYLEBYSA, we witness fashion innovator and icon, Louw Kotze, seek the dunal and oceanic landscapes – in pursuit of his self-initiated campaign for #STYLEBYSA and featuring artist, creator and muse, Rharha Nembhard. 

Louw Kotze is an incredibly accomplished stylist and creative director, known for his bold approach to building sartorial stories through a visual lens. Whether it’s his collaborations with brands such as Maison Margiela, Gucci, Louis Vuitton and Adidas or published features across Italian Vogue, Indian or American Vogue; Louw’s capacity to express both local and global visions with thoughtful and succinct impact has long established his significance within the pantheon of South African fashion. As Louw explains, his career has been rooted in connection, “I’m a fashion enthusiast and I draw a lot of inspiration from people, so I think what makes my career so magical is all the people that I meet.”

This capsule collection was an opportunity for Louw and Rharha to connect through their shared visions for sartorial and ecological consciousness, with Louw noting that “this was an opportunity to connect with an old friend – interestingly, we met on a shoot, so clothing has always formed part of our connection. Rharha has such a muse quality to me. It was such an honour to bring her into this project with Woolworths, particularly with this collection having an ‘ethereal’ theme. We decided to take it out into nature, and treat the dunes and the sea like a blank canvas or studio.” Louw styled Rharha as the serene and wild vision that she is – as Rharha is seen moving and shaping herself, enveloped by the elements of their chosen landscape. Regarding Louw’s inspiration for his career, he notes that the ability to return and reinvent is essential; similarly to the sentiment in which INHAUS AGENCY sought to bring back STYLEBYSA. Louw says, “I draw a lot of inspiration from not getting things immediately. There is a satisfaction of accomplishment when you go back to a problem and you resolve it – that is what keeps me going in my career, the notion that there is a lesson to be learned from everything. I am completely in touch with how the Ying Yang is part of what makes us in a constant state of co-creation.”

With this edit falling in the early part of 2024 – a huge year for South Africa with our upcoming elections – Louw imparts wisdom that should be heard the world over, “for South Africans and for all sentient beings on this whole planet, I think it is very important for us to realise our oneness and that we are all a part of one another.” With an awakened touch to all he does, Louw Kotze’s current playlist is a deep, inner knowing – “aside from being obsessed with shamanic chants at the moment – I am listening to my inner self and higher being.” Somewhere between a fashion master and enlightened guide; Louw Kotze’s reverence for beauty continually breathes life into South Africa’s fashion future. 

 

SHOP LOUW’S #STYLEBYSA EDIT HERE
SHOP RHARHA’S LOOKS HERE

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

‘The Lost Art of the Meet Cute’ – How Dating Went Digital

Feb 13, 2024 | Lifestyle, Community

It’s not an unpopular opinion that “general” intimacy has changed since the pre-COVID era; with constant tech advancements and apps available to satisfy almost every interest you could have. It’s also no surprise that many of us feel that our lives, post-lockdown, have turned intimacy completely digital.

When the inevitable topic of ‘love’ comes up amongst friends, I find the conversation more often than not, an iteration of the same story with the same outcome as it was the last time we caught up. Maybe it’s because I’m Gen Z, and our teenage years are founded in chatting it up on Mxit and BBM –  we should be used to quick comms with zero return – but I was never that girl who would be chatting to a minimum of five friends at once, let alone a boy… I mean what would I even say to them that could be THAT interesting?! 

This is why when I first pitched this story, my thinking was centred more around the fact that you barely ever hear of a couple’s inception story starting with any sort of physical in-the-flesh interaction like, “We bumped into each other at the grocery store”, or “I saw them walking on the street and I had to introduce myself.” The response is very often around something to do with an app. Specifically a swipe, a DM, or a stalk between a mutual friend’s followers because of a tag on Instagram.

DTS ‘Weirdly Ever After’ by Agustin Farias

In an article from the National Library of Medicine ‘Exploring the impact of COVID-19 on mobile dating’, Gibson notes that “while offering a mechanism for people to seek out sexual or emotional experiences and connections with others (both online and offline), such apps also produce various ‘institutionalised routines, habits and knowledge practices.” Meaning that how we behave in the world has “become further routinised through app use, including people’s self‐presentation and hyper‐aware impression management,” and in the context of dating, this often presents itself as a sudden ending in zero communication AKA ghosting or emoting through emojis. [insert Sparkles (✨) = magic, beauty, and awe.]

I’m not ignorant of the zeitgeist that we find ourselves existing in, it’s inevitable; technology is taking over to the point where some cannot function without a microchip on their person. Yet, the hopeless romantic in me can’t help but wonder what went so awry so quickly? What happened to musical sequences on bleacher steps as an apology, leaving notes in obscure places for your loved one to find during their day, or chasing a taxi through peak traffic because you can’t stand to live another minute without the person you love? It makes me wonder how much more comfortable with intimacy we might be if the digital space wasn’t such a dominant factor in our daily and dating lives.

That’s why this idea of a “meet-cute” fascinates me so much. Popularised to be embedded in the film genre of romance where the love interests’ paths suddenly cross and their worlds are changed, forever to be connected… The meet-cute is the story you hope to share with friends, family, strangers, and ultimately your grandchildren one day. Now, if you research how to write the perfect meet-cute, you’ll always find the following pointers:

  1. Conflict: There has to be high emotions – I mean, of course, this is high-stakes stuff, okes.
  2. Surprise: Adding a little unordinary detail into the ordinary of real life (see sparkles above).
  3. And, Resistance: Because who doesn’t love a little dramatic flair topped off with internal conflict!? “I could never be with him!” or “It would never work between us, they live 3000 miles away!”

This is all good and well when the story is spread across 300 pages or a 2-hour-long film with a cinematic backing track building and developing, along with a bird’s eye view of on-screen hints and POVs. But in reality, I’m an overthinker and I have standards so if you’re hitting me or anyone up with an opening liner that Google guaranteed you’d get a response with (to paraphrase the words of Mother Bella “Homeboy is like… not gonna get it”) then, there is absolutely zero surprise in that delivery and all of the resistant conflicting feelings from me. Vanessa Torre – a self-proclaimed relentless “hyper” of women in midlife, wrote that “the awful part of being a society totally trained to find romance by endlessly staring at our phones is that we’ve become convinced of one of two things: 1) Romance only lives in our phones and the only way to find it is to keep swiping on it until the genie in our phones lets it out or 2) Romance does not exist at all. I wholeheartedly resist both ideas.”

DTS ‘First date Pt2’ by Agustin Farias

DTS ‘First date’ by Agustin Farias

I think it’s about time in our trend cycle that we uno-reverse it. So this is my plea to you, my dear reader. I’m also just a girl, standing (sitting) in front of a boy (her computer), asking him to love her (asking you to please please, capitalise while the summer vibes are still here, to ‘fun times tan lines’ it up and put your cellular device down to respectfully go up to them.) If you’re stumped on what your opening line could be, tell them their fit is fire (and I don’t mean inflect it with the flames emoji), they have a great smile/ laugh, or maybe even pretend you have a question you need to ask them, then after the intros, confess there was no real question you just thought they were beautiful and wanted to talk to them. I can confirm that this will work, not just because the receiver will be flattered but because there is an element of surprise at the lack of the game that seems to linger around texting; and of course, internal resistance that a genuine human conversation with interest intent can be that simple.

So please don’t be that person, and you know who you are (insert face with raised eyebrow emoji), who goes out and proclaims to spot the love of their life and is too skaam to approach them. You miss 100% of the shots you don’t take, and if you get turned down, thank them for their time, wish them a good night, and move along. It’s that simple. My number one piece of advice is to just go for it. It’s not that deep, and the worst that can happen is they’re flattered but say ‘no’. Showing interest does not a marriage proposal equate, people. 

I don’t expect anyone who reads this to suddenly stop swiping, reacting, or sliding into those DMs. It is all too easy and convenient with the odds being overtly in our favour choice-wise. Hopefully, this makes you think twice though and maybe, just maybe, it gives some of us the chutzpah to make 2024 the year of Hollywood-worthy meet-cutes, blind dates, and genuine human interaction.

So go forth and meet-cuties!

Written by: Briony Blevin

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

Lea Colombo Announces her latest exhibition in South Africa, titled ‘Seeing Beyond’

Feb 12, 2024 | News, Art

Casa Colombo is pleased to announce Seeing Beyond, Lea Colombo’s latest solo exhibition and first exhibition in South Africa for 2024. The exhibition follows Colombo’s ever-evolving journey as she finds new ways of expressing her unique visual language through an exploration of colour, light, form, and energy. ‘Seeing Beyond’ delves into the metaphysics of being, inviting viewers to contemplate an inner knowing and the power of the mind, the soul, and the current state of our existence. Colombo dives into the exploration of sacred bio geometry, allowing us to see form and matter through shapes as she explores the permanent fixture of energy, encouraging us to let ideas and knowledge flow through our souls, minds, and bodies. The works invite us to consider the interrelation between the structures of our bodies, the internal composition of matter, and the forms and matter present in the external world. The spaces that Colombo creates are reflective and interactive as she approaches colour and form in bold and exciting ways.

‘Seeing Beyond’ urges us to feel a sense of freedom, to tap into an openness that allows us to look inwards and find internal liberation that might lead us to see anew and unveil the mysteries that are all around us. Colombo’s most recent works continue to delve into the interconnectedness of the body, geometry and light resulting in a dynamic visual language that evokes new ways of seeing the world and ourselves. Her interest in sacred geometry and form allows her to look beyond visual attributes towards the symbolic, philosophical, and even spiritual meaning of the matter with which she works, as seen in her big stone sculpture that sways within a pyramid structure. This sculpture points to an elevated sense of awareness and directs our thoughts to the essence of shapes as the dispersion of light and energy continuously changes. Colombo’s work transcends conventional boundaries, unravelling the unseen to its simplest form as she harnesses the metaphysical aspects of shapes in her work, breaking them down and turning them into something new to convey deeper truths.

SEEING BEYOND LEA COLOMBO, Courtesy of the artist

In this exhibition, Colombo prompts us to question our perception of form and to trust our instincts. The artworks challenge viewers to immerse themselves in the constant flow of connection that always runs through and around us. Colombo’s work continues to evolve while maintaining an interest in the animation and dance between light and dark, seen throughout her hands-on photographic practice as well as her more recent sculptural works.

Colombo’s work provides a glimpse into her artistic philosophy. It poses thought-provoking questions about the essence of light, its influence on our presence, and the inherent instinct that we often neglect. The exhibition challenges us to imagine a world saturated with colour, movement, and vibration—a world where we are attuned to the life force that surrounds and defines us.

LEA COLOMBO, PORTRAIT

SEEING BEYOND LEA COLOMBO, Courtesy of the artist

Artist Biography

Lea Colombo is a self-taught artist born in 1993 in Cape Town, South Africa. She is a creative nomad. Lea’s commercial work as a photographer and director has cemented her place among the most influential global fashion names, whilst her profile as a fine artist rapidly gains clout. Recognized for her bold and saturated style, Lea examines the values and connections between colour, light, energy and form by guiding you to learn to see beyond.

Lea Colombo has exhibited throughout North America, South Africa and Europe including; Unseen Art Fair (Amsterdam, 2023) 3537.org (Paris, 2022),Terminal 27 (Los Angeles, 2022), Investec Cape Town International Art Fair (Cape Town, 2022), Spring Awakening at Southern Guild (Cape Town, 2022) and Open City Johannesburg for SMAC gallery (Johannesburg, 2021), Colours of My Body, solo exhibition (Cape Town, 2021).

Vernissage / Opening on 14th February, 5pm – 8pm

View ‘Seeing Beyond’ at Casa Colombo, 17 Buiten Street, Cape Town, from 15th February – 25th February 10am – 6pm and from 25th February onwards, by appointment only  

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