Amapiano sensation Ntokzin releases his highly anticipated album ‘Makubenjalo’

Renowned Amapiano sensation Ntokzin has released his highly anticipated album, “Makubenjalo,” This 7-track masterpiece represents a celebration of Ntokzin’s growth and experiences, seamlessly blending the soulful elements of Amapiano and House. “Makubenjalo” highlights Ntokzin’s artistic evolution, culminating in a musical journey that reflects his unique style and passion for the genre. Infused with soulful melodies, infectious beats, and mesmerizing vocals, each track is a testament to Ntokzin’s dedication and musical prowess. The album features an impressive lineup of collaborations with talented artists, including Malumnator, Russel Zuma, Mcfowlene, Mashudu, Basetsana, Bontle RSA, 2woshort, Mkeyz, SoulfulG, Ice 50, and Sia Mzizi. Their collective contributions elevate the album’s depth and diversity, delivering a captivating listening experience for fans worldwide.

As a prelude to the album, Ntokzin has released “Manyonyoba,”, a track highlighting Ntokzin’s ability to create infectious rhythms and evoke a sense of joy and celebration through his music.

With “Makubenjalo,” Ntokzin invites listeners to immerse themselves in a soulful blend of Amapiano and House, celebrating his journey and growth as an artist. The album promises to captivate fans and solidify Ntokzin’s position as a trailblazer in the Amapiano genre.

Stream ‘Makubenjalo’ HERE

‘Rooibos Tea’ announced as one of the Pantone® Top 10 Colours Chosen For Spring 2024 at New York Fashion Week

As South Africans, we know that there is nothing quite like rooibos. Both its colour or its use as a medicinal tea, rooibos is synonymous with our region – and it seems the rich, earth-red hue of the leaves are inspiring the global fashion and design industry. At New York Fashion Week earlier in September, ‘Rooibos Tea Pantone® 18-1355’ was announced as one of ten top colours for the trends forecasted ahead – beating out some other 2390 colours. This announcement was part of the ‘Fashion Colour Trend Report’, the colour palette bible released by Pantone four times a year in Autumn/Winter and Spring/Summer for both London and New York fashion weeks. 

Pantone is a globally recognized authority on colour, renowned for its standardised colour matching system. The Pantone Matching System (PMS) assigns unique codes to thousands of colours, facilitating consistent and precise colour communication across various industries. Pantone’s influence extends to interior design, branding, and product development, making it an indispensable brand for maintaining colour consistency and creativity in a wide range of applications.

Rooibos Tea Pantone® 18-1355 courtesy of Pantone® Colour Institute

On the colour itself, colour specialist and executive director of the Pantone Colour Institute, Leatrice Eiseman said that “The Rooibos Tea Pantone® 18-1355 is full-bodied, red imbued with rich, woody notes. The toned-down shade has the same effect as the shade of a dress that had been stowed away in a cedar chest for a while. Fashion brands like Gucci, Zegna, Josie Natori, Bally, Emilio Pucci and Markarian’s Alexandra O’Neill are among the early adopters of the colour.” 

Colour is exceptionally important to the human experience. Strategic use of colour can enhance mental and emotional states, contributing to overall psychological well-being and as Leatrice Eiseman explained, “just as people sometimes use food to revitalise themselves, the spring colour palette can be equally refreshing. The health benefits of herbal tisanes, for example, extend beyond personal wellness. They are restorative in every sense. They are refreshing to taste, but also refreshing to look at.”

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

Southern Guild announce solo presentations by Nano Le Face and Terence Maluleke

Southern Guild is pleased to announce two concurrent solo presentations from 26 October to 16 November 2023: Honey, I’m Not Doing So Well by Nano Le Face and Grace in Grand Bassam by Terence Maluleke. Both emerging artists, Nano hails from Tshwane and Maluleke from Johannesburg. The artists work in figurative modes to document the world around them, drawing on non-traditional stylistic influences including social media, animation, popular culture and editorial photography.   

Honey, I’m Not Doing So Well stitches together Nano Le Face’s expanding world through an immensity of snapshot-like vignettes that capture the lustre, aspirational hedonism, social media obsession, melodrama and melancholy of contemporary youth culture. The immediacy of Nano’s chosen medium – coloured pencil and wax crayon on paper – is an apt vehicle for an insatiable maker. Drawing on discarded packaging, pulled pages from old books and the back of used envelopes, his work acts as a conceptual conduit for his lived and virtual experience. The artist’s social exchanges, his overheard conversations and consumed digital content are urgently filtered through a prolific process of making.

Born in Tshwane in 1999, Nano came to art-making during the COVID pandemic after a stint studying film. Self-taught, he spent a two-month period as an artist-in-residence at the GUILD Residency in Cape Town earlier this year. The residency prompted a notable upscaling in his works, largely informing the presented series of drawings.

Nano Le Face, Everything In Venus.II. 2023. Cr. Hayden Phipps. Southern Guild.

Nano Le Face, Nothing I Can Do is Wrong. 2023. Cr. Hayden Phipps. Southern Guild.

Nano Le Face, She.reads.the.Tarot.and.the.NY.Times. 2023. Cr. Hayden Phipps. Southern Guild.

Within each flattened frame – reduced to cross-hatched colour and line – Nano uses a lexicon of popular iconography and text as a means of sardonic storytelling and visual processing. His scrawled witticisms and borrowed aphorisms from film, music and literature contemplate the assimilated aspirations and existential hunger of his generation. The viewer becomes a privy voyeur, gaining access to moments of intimacy and confidential longing. These subjects’ temporal desires chronicle a broader observation of the Americanised models of success, visibility and beauty that characterise today’s virtual realm.  

The artist’s sorority of female figures emotionally span both self-obsession and self-deprecation, come-hither bravado and raw vulnerability. Some of these idolised figures have been drawn from women in the artist’s life; their likenesses reflect the dichotomous reality of coming of age in a world whose social structures are in a state of dissolution and perpetual reinvention. Nano’s creative output is indicative of an artist born of this ‘Instagram generation’, the sheer repetition of his female figures echoes the mass production of consumerist culture and the ubiquity of content-producing influencers.

Nano Le Face, Process. 2023. Cr. Hayden Phipps. Southern Guild.

Nano Le Face, Portrait. 2023. Cr.Hayden Phipps. Southern Guild.

Grace in Grand Bassam is Terence Maluleke’s response to a month-long residency at La Fourchette de Rōze in the coastal town on the outskirts of Abidjan, Côte d’Ivoire. Visiting the country for the first time, unable to speak the language and with little access to the Internet, he felt a strange sense of familiarity when encountering the local community. His series of acrylic paintings foreground the human body – angular contortions of dancing figures, a squad of soccer players moving in tandem or sprawled out at rest, the zigzagging invocation of a man with arms stretched out in prayer.

In many of these scenes, the humble plastic jelly sandal – known locally as “lêkê” – is ubiquitous, no matter the age, gender or station of its wearer. Maluleke describes its “democratising” effect – worn and shared freely, the property of one and all. He exploits the sandal’s graphic shapes as a repetitive motif; employed en masse, it is a synecdoche for communal life. Maluleke often disrupts his narrative scenarios by calling attention to the artwork’s surface: fragments of calla lilies float over a soccer player’s sandaled feet, stars dance across a pandemonium of figures in motion. There is joy and pride here, celebration and ritual, with women bedecked in elaborate gold jewellery and hair ornaments depicting lizards, crocodiles, flowers and fish.

Terence Maluleke, Ababi Lêkê Star. 2023. Cr. Hayden Phipps. Southern Guild.
Terence Maluleke, Lêkê Lêkê. 2023. Cr. Hayden Phipps. Southern Guild.

Terence Maluleke, Ivorian Cosmos. 2023. Cr. Hayden Phipps. Southern Guild.

Maluleke came to painting having established himself as an accomplished visual developer for Walt Disney Animation Studios, Sony Pictures Animation, Netflix and Triggerfish. Born in 1995 in Soweto, he draws inspiration from the township community he grew up in, creating stylised portraits and still-lifes that explore contemporary Black experience. Foregoing the specificity of individualistic portraiture, he embraces the multiplicity of pan-African Black identities in his art. The artist co-founded Kasi Sketchbook, a non-profit project that offers drawing clubs to children and young adults in Johannesburg’s townships. He works from his studio in August House in the inner city, and has exhibited at Latitudes Art Fair and in group shows at Kalashnikovv Gallery and Bkhz.

Terence Maluleke, Coast of Gold. 2023. Cr. Hayden Phipps. Southern Guild.

Terence Maluleke, Black Star. 2023. Cr. Hayden Phipps. Southern Guild.

Terence Maluleke, Akan Gold. 2023. Cr. Hayden Phipps. Southern Guild.

ABOUT SOUTHERN GUILD

Established in 2008 by Trevyn and Julian McGowan, Southern Guild represents contemporary artists from Africa and its diaspora. With a focus on Africa’s rich tradition of utilitarian and ritualistic art, the gallery’s programme furthers the continent’s contribution to global art movements. Southern Guild’s artists explore the preservation of culture, spirituality, identity, ancestral knowledge, and ecology within our current landscape. Their work has been acquired by the Metropolitan Museum of Art, LACMA, Philadelphia Museum of Art, Pérez Art Museum, Mint Museum, Harn Museum, Denver Art Museum, Vitra Museum, Design Museum Gent and National Gallery of Victoria. Since 2018, the gallery has collaborated with BMW South Africa on a year-round programme of meaningful activations that promote artist development and propel their careers. Located in Cape Town, Southern Guild will expand internationally with a 5,000 sqft space opening in Melrose Hill, Los Angeles in February 2024.

View ‘Honey, I’m Not Doing So Well’ by Nano Le Face and ‘Grace in Grand Bassam’ by Terence Maluleke at Southern Guild from 26 October to 16 November 2023

Press release courtesy of Southern Guild

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

Prada to design NASA’s space suits for the Artemis III mission

A groundbreaking collaboration has been announced between Milan-based luxury brand Prada and Axiom Space, a Texan commercial space company, marking a milestone in space and sartorial exploration. 

Prada will be involved in designing the Axiom ‘extravehicular mobility unit (AxEMU) spacesuit’, utilising the fashion brand’s technical proficiency in working with raw materials, manufacturing techniques and innovative design concepts with a view to revolutionise spacesuit technology, ensuring not only astronauts’ comfort on the lunar surface but also addressing vital human factors that were lacking in traditional spacesuit designs. Lorenzo Bertelli, Prada Group’s marketing director, described the partnership “as a testament to the boundless potential of human creativity and innovation in advancing civilization.”

Artemis III, part of NASA’s broader Artemis program, is a pivotal lunar mission designed to return humans to the Moon with the aim of establishing sustainable lunar exploration and paving the way for future Mars missions. Human beings have not landed on the moon since 1972, so this is an exciting chapter in our continued exploration of our solar system. The primary objective of Artemis III is to safely land astronauts near the lunar South Pole, leveraging the knowledge and achievements from preceding Artemis missions. Notably, this mission will feature a diverse crew, marking the first woman and first person of colour to land on the moon.

Images from Pixabay courtesy of Pexels.

During Artemis III, astronauts will conduct scientific experiments, explore the lunar terrain, gather geological samples and evaluate technologies necessary for future lunar and Mars missions. The mission is anticipated to span approximately one month, including travel to and from the Moon and lunar surface operations. The invaluable insights and data from this mission will be instrumental in advancing deep space exploration technologies and objectives. 

With Prada now poised to apply its expertise to crafting spacesuits for the Artemis era, this is a stunning collaboration in the realm of technology, science and design, with the fashion brand exalting itself towards a future of innovation beyond its commercially-oriented retail offerings. These spacesuits represent an evolution of NASA’s extravehicular mobility unit (xEMU) design, offering enhanced flexibility, robust protection against the harsh space environment and specialised tools to enable scientific exploration opportunities. 

While we doubt the suits will be anything relatable from the runway – it certainly is ‘one giant leap for fashionkind’!

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

Ama Qamata, Pamela Mntanga and Que DJ feature in the new adidas Originals Campaign ‘We Gave the World an Original. You Gave Us a Thousand Back.’

In 2023, as we mark the arrival of a new era for the brand, adidas Originals pays homage to those who have continued to transport its iconic signifier, the Trefoil, to the forefront of culture. This comes following the successful global launch of “We Gave the World an Original,” which celebrates three adidas original silhouettes and the iconic Trefoil logo – a symbol that has thrived for over 50 years, gracing the feet of athletes and cultural pioneers alike.

Locally, the campaign features actress Ama Qamata, media personality & fashion influencer Pamela Mtanga and the talented Gqom producer, DJ & fashion powerhouse  Que DJ “We Gave the World an Original. You Gave Us a Thousand Back” celebrate the new chapter of the iconic Trefoil. 

Headlined by three films, and a selection of stills arranged in triptychs, each focusing on three timeless silhouettes from the storied Three Stripes archive – the Superstar, the Gazelle, and the Samba. The narratives of the Trefoil’s history are interwoven with the ways in which these iconic styles, born in sport, have been embraced, reinterpreted, and absorbed into culture – time and time again.

The first iconic Trefoil is the adidas Original Superstar, built for basketball, but adopted by Hip Hop, the classic leather Superstar changed the game the moment it stepped off the court and now its premium construction and timeless silhouette make it a ubiquitous icon. Speaking on the campaign, Blood & Water star, Ama Qamata explained what it means to be Original

“Being Original means having confidence and the boldness to be yourself, knowing who you are and where you come from. I have always been intentional with my life and know what I wanted to do, that has set a path for me of where I wanted to go. I see Africa growing in our industry and I want to be part of that contribution of making it better.” Said Ama.

YayAbe, Andile & Tanya.

Tinuke, Suleiman & Fran.

Bee, Nabilah & Kabelo.

Racing from podiums to skate parks around the world, though the Gazelle started as a trainer, its lightweight classic suede upper and gum sole have become symbolic of those who are willing to veer off-track in the pursuit of innovation. The talented Gqom producer and DJ performer Que DJ explains what Original means in his musical world.

“To me Original means bold, forward, stylish and iGhost (the best). What makes me Original is my unique artistic approach and creative way of making music, nostalgia plays a huge part in the music that I play. Growing up in KwaMashu, from end-of-school term parties to having cyphers. I dive into a lot of my experiences, emotions. I get to get on those stages and tell my story and form that is a complete sense of freedom, freedom of chance, freedom of movements, freedom of body and soul makes everything worthwhile and the art alive.” Said Que DJ.

Rounding out the trio is the Samba. First making headlines in soccer, the shoe’s low-profile silhouette and gum sole have since become synonymous with subverting trends across the Fashionista and award-winning multimedia entrepreneur, Pamela elaborates what it means being enough for yourself and Original.

“People who are not comfortable enough with themselves often say things like you are inadequate, you are imperfect and stylish. You have to cut all the noise and find your voice in the mist of all the craziness. Being Original means showing up as yourself every single day and saying I have something special in me, the world has to see and experience it. Take a moment and celebrate yourself.” Said Pamela.

Three Stripes. Three signature icons. Three films. A thousand Originals.

Nkuley, Liam & Lenzo.

Langa & Falko.

Dee & DF.

Watch the Superstar film
Watch the Gazelle film 
Watch the Samba film

The triptych stills campaign features local South African partners, talent, collaborators, and friends of the brand that have helped to tell the story of the Trefoil.

Pamela Mtanga | Media personality & fashion influencer
Ama Qamata | Actor 
Que DJ | Producer, DJ & fashion powerhouse
Liam Swartz | Sneaker culture ambassador & content creator
Nabilah Kariem | Fashion & lifestyle content creator
Dee Koala | Award-winning rapper & local icon
Andile Dlamini | Co-founder & Creative Director of the BROKE brand 
Falko | Graffiti OG & digital artist
Suleiman Hartzenberg | Stormers rugby player & fashion enthusiast
Russell Abrahams | Illustration & mural artist
Tanya Slater | Fashion Designer, 1/2 of Art Club & Friends
Lenzo Mangonyane | Stylist & Art Director
Tinuke Eboka | Stylist, Content Creator & Writer 
Nkuley Masemola | Model, stylist & DJ
Fransesco Mbele | Art Director, model & DJ, Founder of Ebumnandini events
Yoza Mnyanda Siboto | Director, 1/2 of Darkie Fiction
Katt Daddy Siboto | Voice-Over artist, 1/2 of Darkie Fiction
Bee Diamondhead | Creative Director, stylist & fashion editor
Kabelo Nkungwane | Founder of the Kasi Flavour brand & archival-style connoisseur
Langa Mavuso | Musician & media personality
Okay Wasabi  | YFM radio host, content creator & media personality.
Focalistic | Award-winning & globally recognised rapper/artist 

The latest adidas Originals brand campaign is a collection of timeless stories; retold for tomorrow. Shop the collection online and in stores.

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

‘From Farm to Fork’ – Can Technology Cultivate A Sustainable Food System in South Africa?

Did you know that most of the world’s diet consists of just 18 products, between crops and animals? This is what Chris Langwaller of WhatIF Foods said in conversation with WGSN’s Food and Beverage director, Jen Creevy, on WGSN’s ‘Create Tomorrow’ podcast, saying that “the planet loses arable lands the size of 20 to 25 soccer fields every minute. Today, 12 crops and five livestocks (beef, chicken, pork etc)  are used to make more than 75% of all food that is being consumed, which is an insane consolidation.” I had heard similar things in the past, but to hear the nuts and bolts of our globalised food system distilled down to two features – the lack of diversity in what our food system actually produces and that soil is degrading across the planet – was poignant in both its simplicity and horror. 

The glaring persistence of food insecurity in many regions underscores the need for a rapid and effective systemic overhaul. Food insecurity occurs when people lack consistent access to enough nutritious food to maintain an active and healthy life, manifesting as uncertainty about the availability of food, limited food choices, or inadequate food intake due to financial constraints. The global food supply chain faces multifaceted challenges and our food system requires transformation into a more equitable, sustainable, and conscientious entity with the aim of nourishing both people and the planet. How do we do this? Well, we begin at home. Seeking out perspectives within South Africa’s local context (particularly my vantage point in Cape Town), I wanted this piece to serve as simultaneously hopeful as it is informative. 

The global food system, despite having the capacity to nourish the entire world population, confronts a stark paradox in the form of widespread food insecurity and hunger. The global food system’s focus on profit-driven agricultural practices and unequal distribution often leads to overproduction of certain products, while neglecting the nutritional needs of communities – and this system also faces rapidly increasing issues like climate change, soil degradation and waning resources like water.

Image by Eva Bonzini courtesy of Pexels.

Image by Mark Stebnicki courtesy of Pexels.

Image by Greta Hoffman courtesy of Pexels.

Going back to Chris Langwaller’s statement, the idea that we consistently abide by a mere 18 foods to make up ¾ of our food system is exceedingly worrying as it simply does not reflect the local, indigenous means of nourishment that have existed in every region of the world, for as long as humans have been eating. This staggering fact also indicates an erasure of our global food cultural diversity, as 18 overarching products cannot account for the rich tapestry of food choices and traditional agricultural practices. The relentless rise of fast food and processing on an industrial scale marginalises and often obliterates culturally significant cuisines, posing a threat to the rich tapestry of culinary heritage and identity. This is perhaps why cultural heritage within cooking has become a matter of principle and mantle which many chefs have taken up; I think of Jes Doveton and Jemma Styer’s Acid Food and Wine Bar in Joburg with its South East Asian influences drawn from Jes’ Thai heritage, or Chef Mmbatho Molefe’s Zulu-inspired fine-dining at Emazulwini Restaurant in Cape Town. Using the format of a restaurant to educate and enrich people’s perceptions about the possibilities of diversified, incredible cuisine is critical. 

In tandem with these social concerns, the environmental toll of the unsustainable global food system looms ominously. Practices such as monocropping (think of  massive farmlands dedicated to the production of a single crop) require rampant pesticide use and this leads to deforestation and soil degradation that exact a steep price on the environment. The consequences are evident in soil erosion, dwindling biodiversity, water pollution and the exacerbation of global greenhouse gas emissions. These environmental issues also carry profound economic implications, including the prospect of long-term ecological damage (which we are already experiencing, given that in July 2023, we recorded the hottest day in over 100 years) and the mounting costs of mitigation and adaptation if we are unable to enact rapid and profound change.

Culinary-minded design studio, Studio H, are at the forefront of these issues within their practice. Weaving together forecasting, design, experiences, experimentation and collaboration, the team responded to The United Nations declaring 2023 the ‘International Year of Millets’ with their incredible Millet Report. This nutrient-dense, wholegrain, indigenous to South Africa, is worth considering in our all-too-westernised, wheat hysteria mindset. As the Studio H team said, “we embrace the role of food futurists and we consistently observe a global culinary landscape that evolves in response to social, cultural and environmental developments. For the Millets Report, we took the opportunity to delve deeper into this ancient grain that is indigenous to South Africa, and that has the potential to play a major role in addressing climate change and food security. The report dives deep into the fascinating world of millets and is a compilation of contributions by some of South Africa’s leading culinary minds, including chef and food activist, Mokgadi Itsweng, dietician Mpho Tsukudu, food editor and recipe developer Khanya Mzongwana and food anthropologist Dr Anna Trapido, amongst others.”

Table Scapes in Millet Flour by Hendrik Coetzee, Photographed by Daniela Zondagh for Studio H Millet Report.

I was lucky enough to experience the profundity of this grain through the hands of Chef Mbatho of Emazulwini Restaurant and Studio H, at a lunch celebrating all things millet. Chef Mbatho created a dauphinoise out of millet among so much more; this kind of innovation, through Chef Mbatho’s isiZulu context makes manifest the future we could be aiming for. I asked the team at Studio H what putting together the report has shown them about the potential futures of food, to which they said, we understand that we can only affect change through collaboration with fellow experts who share our passion,and by sharing personal stories that resonate with people’s memories that also captivate those who may never have used this ingredient before. South Africans are incredibly passionate about our shared culinary heritage and are excited about the remarkable potential of millets. In this pivotal Year of Millets, we are excited to contribute to the growing appreciation of indigenous foods and look forward to a future where these culinary treasures are widely celebrated and accessible to all.”

Within the domain of agriculture, another critical issue arises – economic and social inequality. Dominated by powerful agribusinesses and multinational corporations, the global food system perpetuates a stark power imbalance. Local, small-scale farmers and food producers often grapple with an uneven playing field, fostering economic disparities within the agricultural sector. On this matter, I sought out Zayaan Khan – seed, soil and land activist, multi-disciplinary practitioner and daughter of the Western Cape. Attending one of Zayaan’s workshops is one of the most precious gifts you can give to yourself and your loved ones, with Zayaan’s incisive and deep advocacy for the future of food and the earth standing as a titanic contribution to South Africa’s past, presence and futures. On whether she feels any issues are salient to note in South Africa’s food system, Zayaan says, “forefronting social equity is still something that most enterprises and collectives struggle with, and we continue to build business and model success on antiquated colonial paradigms which do not foster generative care or ensure affordable, culturally appropriate food for all.”

We are poised for a sustainable revolution. Technology features heavily in every aspect of our lives and innovations currently driving a sustainable food system include precision agriculture, a system which deploys technology like sensors and drones to enhance resource management and reduce waste. Beautiful innovations like vertical farming alongside buildings utilises controlled environments to save space, water, and pesticides while enabling year-round urban crop cultivation. Last year, Kenilworth Centre launched their hydroponic rooftop garden. In partnership with Mr Price Foundation, Redefine Properties, and Fresh Life Produce, the garden grows spinach, coriander, tomatoes, spring onions and more, which are sold at farmer’s market hosted on the roof during harvesting. The shweshwe fabric-adorned hydroponic space remedies an exciting future for shopping centres and urban spaces in South Africa.

Kenilworth Centre hydroponic rooftop farm.

Then, global companies like TraceX are using blockchain technology to ensure supply chain transparency, fostering trust and ethical food production – in which there are real time and place stamps for the lifecycle of foods in the supply chain. Other innovations like biotechnology are advancing alternative proteins like plant-based and cultured ‘lab-grown’ meats, addressing resource inefficiencies and animal welfare. Smart food packaging with sensors enhances food safety and minimises waste by alerting consumers to consume items before spoilage. As the Studio H team says “technology stands as a pivotal ally in our pursuit of sustainability, with precision agriculture and traceability systems minimising resource usage and enhancing food production efficiency. Knowledge sharing and education on indigenous crops and practices are now paramount, catering not only to adults but also to our future generations of farmers, chefs, and food advocates. And in this critical moment, heightened awareness of the imperative to curtail food waste across the entire supply chain is transforming innovative ingredient repurposing from a culinary art into an everyday way of life.”

One of the best examples I have seen of food sustainability intersecting with technology is the work of ABALOBI. Their mobile app and program is designed to support small-scale, artisanal fishing communities in the country. The program aims to empower these fishing communities by providing them with a suite of tools and resources to improve their livelihoods by connecting fisherman, their daily catch directly with customers such as restaurants. Encouraging subsistence-scale fishing, intrinsic to communities on South Africa’s coastline, ABABLOBI describe their vision “to develop thriving, equitable, climate change resilient and sustainable small-scale fishing communities globally,  through inclusion, social entrepreneurship and a data-driven approach to fisheries rebuilding. We are a fisher-led enabler, intermediary and accelerator. Our technologies and programmes poise small-scale fishers for social, economic and ecological sustainability. We believe in participatory fisheries rebuilding and future-proofing strategies that consider ocean life and livelihoods.”

Non-regenerative practices in farming are composed heavily of waste and overconsumption. This is not even to mention the significant quantities of food are lost at various stages of the supply chain, from production and distribution to consumption. I ask Zayaan whether within her practice, that centres around land and food sovereignty, can she see technology informing the preservation or amplification of both, if at all? Zayaan replies, “In some cases technology can be very supportive and create accessible systems yet we have yet to see this enough. The majority of technology based solutions often create more expenses and more exclusivity while purporting to be fostering care for people or the environment and it does not in fact do this. A lot of this technology is basing itself as a solution to ecological crises while being outside of ecological systems almost entirely, and not engaging in the very real, constantly changing environments.”

On the question of how food trends are emerging with sustainability in mind, the Studio H team observed thatwe are witnessing a profound shift towards Anthropocene cooking, where visionary projects are emerging to navigate our constant climate crisis. Researchers and designers are challenging traditional eating habits and Western food taboos, drawing inspiration from centuries-old African diets, rituals, and habits, encompassing everything from insect consumption to plant-forward cuisines. Africa is poised to lead us into an edible future, offering a blueprint for sustainable sustenance.” The Anthropocene refers to our current geological epoch, in which ‘Anthros’ (human beings) yield unprecedented and unparalleled effects on the environment.

Image by Zen Chung courtesy of Pexels.

Anthropocenic cooking was explored profoundly by Zane Cerpina and Stahl Stenslie in their book ‘Anthropocene Cookbook’, in which they investigate how art, design and science can be transformed as culinary-responses to future catastrophes, citing that “these more than sixty projects propose new ways to think and make food, offering tools for creative action rather than traditional recipes. They imagine modifying the human body to digest cellulose, turning plastic into food, tasting smog, extracting spices and medicines from sewage, and growing meat in the lab. They investigate provocative possibilities: What if we made cheese using human bacteria, enabled human photosynthesis through symbiosis with algae, and brought back extinct species in order to eat them? The projects are diverse in their creative approaches and their agendas—multilayered, multifaceted, hybrid, and cross-pollinated. The Anthropocene Cookbook offers a survival guide for a future gone rogue, a road map to our edible futures.

Many years ago, I did some volunteering for Abalimi Bezekhaya meaning ‘Farmers of the Home’ in isiXhosa, a non-profit organisation based in Cape Town, South Africa. Their primary mission is to promote urban agriculture and food security in under-served communities. By establishing and supporting community gardens the organisation assists in enabling residents to grow fresh produce for improved food security. Abalimi offers training in sustainable farming, facilitates market access for gardeners and emphasises sustainable practices – which are already typically inherent to subsistence farming. I shadowed Ma Bokolo, who has since moved back to the Eastern Cape after 16 years as an urban farmer in Philippi. I will never forget Ma’s ritual after about 3 hours of working in her garden; we would eat our lunch and then have a thirty-minute nap in the old bakkie parked adjacent to her plot. This, beyond all technological pursuits, is the essence of being alive and tending to our nourishment. With so much going on in the world and the continued hybridization of our lives with technology, I think of pulling out carrots from the soil, filling a basket with beautiful food and the importance of rest. I hope we find the regeneration that our planet so desperately needs. 

Further Research:
Abalimi Bezekhaya’s Resources for Starting a Garden
ABABLOBI’s App + Shop 
Zayaan Khan’s Writings and Work  
Studio H’s Millet Report
Living Roots Social Enterprise Nursery and Services
Meuse Farm in Hout Bay
Harvest Club: Purchasing With Your Neighbourhood Directly From Suppliers

Written by: Holly Beaton

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

Louis Vuitton Studio Prêt-à-Porter Homme present their Fall Collection 2024

Seasons of change call for new approaches to dressing. For the Louis Vuitton Studio Prêt-à-Porter Homme, times of transition inspire a dual wardrobe philosophy. The intermediary Fall 2024 Collection proposes a contemporary work-to-play uniform founded in the elevation of everyday adaptability from a generational view of dress codes. Honing the code-switches inherent to the Maison’s menswear practice, the proposition hybridised the traditional tropes of professional and casual dressing in a considered transitional wardrobe. The collection was designed by the Louis Vuitton Studio Prêt-à-Porter Homme as a standalone proposal prior to the debut show of Men’s Creative Director Pharrell Williams in June 2023.

The collection interprets the idea of transition through practical and figurative takes on hybridisation. The mixing of dress codes is evident in the styling of every look, while garments and accessories are themselves spliced from conventionally diverging archetypes. Finally, the visual and artisanal genetics of Louis Vuitton morph and take on new form. It’s a transition illustrated in the main motif of the collection: a pattern transmuted from the textures of corduroy and the Maison’s emblematic Epi leather, interwoven in diagonal lines brought to life through various materials and techniques, which all hint at an optical illusion of movement within the garments and accessories.

The effect appears in the wool jacquard of a green aviator jacket with leather panels, in the fil-coupé of a dark olive generational suit composed of an overshirt and trousers, or the fil-coupé of a sea blue traditional suit with trousers expanded in volume for casual impact. Adapted in the padded wool jacquard of a red bomber jacket with matching shorts, the effect evokes the textures of bags, observing the Louis Vuitton practice of morphing the languages of its accessories and clothes. The impression is echoed in the wool of a red cardigan, and in the embossed suede of a black overshirt. It further materialises in magnified form as prints on shirts, shorts and jackets, which feature alongside a botanic monogram denim work suit.

Drawing on the philosophy of hybridisation, the LV Discovery derby set on a sneaker sole blends the codes of formal- and sportswear. The LV Pacific slip-on proposes a similar sentiment in an elegant and comfortable union between a sneaker sole and suede upper, a meeting mirrored in a chukka version with Damier lining. Adapted in jewellery, the corduroy and Epi fusion is evoked in embossed metals with an aged gold finish. It materialises on plaque bracelets and necklaces as well as band rings.

Employed in the bags from where it stems, the re-interpretation of Epi leather emerges as the red Maxi Epi texture and pattern. It is exercised in an Alma bowling bag, in a Christopher backpack, a soft Polochon tube bag, a distorted Monceau shoulder bag, and a nano Steamer bag. The classic Louis Vuitton monogram emerges in two new colourways: an olive-green canvas with orange lining articulated in a Discovery backpack, a Pochette, a Keepall, and a new half-moon cross-body bag; and a blue canvas with brown lining conveyed in an Avenue Sling cross-body bag and a camera bag.

The Aerogram backpack appears in taupe or light blue grained leather, alongside City Keepalls in light blue grained leather or blue monogram canvas, and small leather goods interpreted in the materials of the collection.

The collection is now available in stores worldwide.

Head HERE for Louis Vuitton’s South African stores. 

Press release courtesy of avenue

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

AI DJs – What Does It Mean For The Future of DJing?

My memory may be a little foggy, but there was a time in the late 90s and early 2000s when our hearts were dead set on the future. From ministers promising the end of global warming, to the cinematic universe creating alternate universes that have flying cars and automated technology, we flirted with the idea of what 2020 – 2030 would look like. We can’t downplay the fear-mongering that was portrayed with movies such as The Terminator or The Matrix to today’s flirtation with 2050 as violently depicted in Monte Booker’s Black Mirror.

The existing relationship between The Matrix and The Terminator, in contrast with other future fear mongers like i-Robot, wasn’t so far off in terms of some aspects of the future, such as the threat Artificial Intelligence poses on humanity beyond the scope of how technology can enhance human wellbeing. Our lives currently belong to Skynet, do they not? You know, the fictional artificial general superintelligence system in Terminator? Every part of our social interaction depends on the internet in and of itself and while the world wide web might not be a conscious entity just yet, the power it has over us can often feel like there is something orchestrating our complete devotion to it. Agent Smith is working overtime.

As Neo in my own right, I have decided to take advantage of the digital economy, to crack the Matrix that comes with every piece of technological advancement and investigate how I can escape the relative poverty cycle I find myself and my neighbourhood of Imbali, Pietermaritzburg, Kwa-Zulu Natal trapped in. How do I take advantage of chatGPT, Canva, AI logo makers, and in the music space, how do I investigate with my fellow DJs what the latest Silicon Valley development – The Spotify AI DJ means for the art of DJing and its future?

So What Is This AI DJ Thingy? 

Spotify’s AI DJ debuted around February 22 2023, then rolled out on May 16, 2023, in the UK and Ireland, followed by 46 more countries worldwide as of August 8 2023; according to the website, this exciting feature is part of the company ethos that prioritises personalisation, and it is part and parcel of why Spotify arguably has one of the most seamless autosuggestive algorithms of all time. I have made more than 10 playlists based purely on the music Spotify suggested after my Cleo Sol, Erykah Badu, lordkez, Shekinah, Jill Scott & Lo-Fi Mix sessions, so I couldn’t dispute the Spotify algorithm and its effectiveness if I tried. With the AI DJ, Spotify presents a new listening experience on their app to deepen the connection one shares with their favourite artists as understood by the algorithm that knows our each and every sonic need. On the website, Spotify states:

“The DJ is a personalised AI guide that knows you and your music taste so well that it can choose what to play for you. First rolling out in beta, this feature will deliver a curated lineup of music alongside commentary around the tracks and artists we think you’ll like in a stunningly realistic voice.

It will sort through the latest music and look back at some of your old favourites—maybe even resurfacing that song you haven’t listened to for years. It will then review what you might enjoy and deliver a stream of songs picked just for you. And what’s more, it constantly refreshes the lineup based on your feedback. 

If you’re not feeling the vibe, just tap the DJ button, and it will switch it up. The more you listen and tell the DJ what you like (and don’t like!), the better its recommendations get. Think of it as the very best of Spotify’s personalisation—but as an AI DJ in your pocket.”

Of course, we have concerns about being replaced by technology. We are currently amid an international WAG & SAG-AFTRA writer’s strike where scriptwriters, actors, stuntmen, and other humans involved in the creation of these movies are now competing with machines that can produce scripts, CGI special effects and more for streaming superpowers such as Netflix. We even have a case of the contractual advent of Wanda Vision extras being unaware that they gave their digital likeness away to Disney Studios. We have to wonder, in the music space, where are the opportunities to collaborate with AI and make sure we don’t get clubs that are fully automated by Artificial Intelligence?

Spotify by Photomix Company courtesy of Pexels.

AI and Humanity Merging by This Is Engineering courtesy of Pexels.

A Word From The DJ Community

Analytics can be a great tool to assist a DJ in preparing for their set. By having access to charting sounds and personal preferences through algorithmic information, this can be exchanged with Beatport and DJ support platforms, with DJs and event organisers in collaboration coming up with ways to understand their market before they show up to give them a show. These shows, thoughtfully curated and engineered through precise information and collaboration, could be the most memorable experiences where classics are appreciated, new music takes the crowd by surprise and they submit DJ requests that can make the audience feel part of the mix and if you take that mix and make it live on SoundCloud? That’s gorgeous revenue in my eyes.

The grand question as it relates to every facet of AI remains: what does the AI DJ functionality actually mean for the DJ industry? Is it a Friend or Foe? We got in touch with artists and DJs we interviewed to get their thoughts on this technological advancement and what it means for their respective careers. We have kept their anonymity and here is what they have to say. 

 

Let’s start with our first DJ:

Q: Have you experimented with the Spotify AI DJ feature? How did you find the experience?
I have made use of it quite a bit over the last two/three weeks. I enjoy it, but I also like testing out AI in general. For me, calling it DJ is a bit misleading. AI radio is more accurate. (I think they were referring to a radio DJ’s role, the original disc-jockey). I enjoyed it when I used it and even recommended it to my mom, who always asks me to send her new music. 

Q: If the Spotify Algorithm is already near-perfect at what it does, why was there a need for Spotify to introduce an AI DJ in your opinion?
For the average user, it is a great feature. In my case, I get tired of my playlists quite fast, and I always want to discover new music / rediscover some of the music I have come across and last listened to a while ago. So I use It if I want to listen to music while I am working or if I want music on and I’m not set on a particular genre, I will pop it on. I like the fact that they mix up the genres after several songs, so it keeps it exciting. 

Q: Can AI assist in how you curate a set/playlist as far as algorithm-influenced research is concerned?
I don’t think Spotify AI DJ will help me with that but AI in general could definitely be very useful. An accurate algorithm assists in a big way. I often find Spotify providing me with an abundance of lovely new music based on similar songs, along with Discover Weekly and radio based on songs and artists. 

When you can prompt AI with genres, BPMs, Key, energy, and even certain artists and labels and ask it to curate music based on the prompts, it will be great.

Q: Are you concerned that the AI DJ might replace your playlist curator/DJ job?
I think it will only be a concern when it can mix songs well. Then, it could replace bar and restaurant DJS. Regarding events, it’s not easy to replace stage presence, interaction with the crowd and the personal connection you get when watching a human DJ. Music and dancing are all about connection, an integral experience component. 

Q: Lastly, do you believe AI is our friend or Foe? Why do you believe so?
It will bring about astronomical change in how we live our lives, and it will affect our society in a big way if not handled and regulated correctly. In saying that, we can’t fight and instead position ourselves to use and benefit from it. 

Live Set photographed by Keegan Checks courtesy of Pexels.

Our Second DJ:

Q: Have you experimented with the Spotify AI DJ feature, how did you find the experience?
Okay, so I went onto my Spotify app and need the DJ option, so I can’t give a proper opinion. My partner showed me the video, which sounds like an AI gimmick. Spotify already has that fade-in option, and why would you want some DJ dude interrupting your music-listening experience every few minutes? Bizarre. 

Q: If the Spotify Algorithm is already near-perfect at what it does, why did Spotify need to introduce an AI DJ?
People’s experience of music is becoming less and less human. An entire catalogue of the world’s music should be enough to sell R60 subscriptions to people. 

Can AI assist in how you curate a set/playlist as far as algorithm-influenced research is concerned? Their algorithm is pretty good as is. As a person who tried to avoid Spotify for years, I’m now using it quite a bit for certain things, and it pains me to admit it, but the algorithm definitely works. 

Q: Are you concerned that the AI DJ might replace your playlist curator/DJ job?
DJs are pretty silly in general. I wouldn’t worry too much right now. DJing is more about the performance than anything else. Until they build real AI robots, the DJs are okay.

Q: Lastly, do you believe AI is our friend or Foe? Why do you believe so?
I use AI every day in my job. Work smarter, not harder. I haven’t thought too deeply about it, not yet at least. ChatGPT helps me write great newsletters! I am currently dealing with a significant love/hate relationship with Spotify. So much good music but such a terrible system!

In a world where teenagers can crash into police cars and shoot gangster music videos from their prison holding cells using AI CGI, we are in a unique position to make the looming AI influence work for us. As the free children of Zion, we can ensure the Matrix doesn’t imprison us into the shackles of the wealth gap. A reminder, friends, at all times, we must strive to be Neo, Trinity and a modicum of Morpheus because it is possible to hack the Matrix for a living and make millions off it; as a first-generation remote worker, I’m living proof of that.

Written by: King Cedric

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

The Emerging Artist Programme to open new group show titled ‘Mother City’

A new group exhibition by the Emerging Artist Programme of the City of Cape Town opens on 5th October 2023 at 6 Spin Street, Cape Town. The exhibition features works of 18 artists in different mediums including two installations.

Titled ‘Mother City’, this exhibition delves into the burgeoning art scene of Cape Town, highlighting the challenges faced by artists in gaining formal training, accessing gallery space, and sustaining themselves economically. It aims to uncover the intricate connection between the city’s environment and the creative process, encouraging reflection on how artists both influence and are influenced by the City’s evolving identity.

The artworks showcased within this collection, curated by Zimasile Mjokozeli, offer a contemplative space, inviting viewers to explore the dynamic relationship between artists and the city that fuels their creativity.

The programme will also include an artist talk featuring Hugo Kabeya (Emerging Artists Alumni) and Lebo Kekana (Fede Art House) in conversation with Zimasile Mjokozeli on:

Saturday 7 October, 11:00 – 13:00
Gallery Hours:
Tuesday – Friday: 10:00 – 16:00
Saturday: 10:00 – 14:00
Monday and Sunday: Closed

Limited Access if other events are in the space.

For more information: [email protected] | +27 21 461 0666 | @emergingartistscpt

Thank you to our collaborators: Emerging Artists Programme | City of Cape Town | AV Direct | DA Concept | 6 Spin Street Gallery | Afriworld

Featured Artists:
Amanda Botha @Indiego.Botha
Bernice Miya @bee_art_studiooo
Candice Myataza @deepartearthworld
Chloe Khan @chloekhan.art
Dorian Watson
Fatima Ward @fatiema_ward
Jordan Philander
Kabelo Moraloki @Kabelomoraloki_art
Kimberley Titus @Kim.titus_art
Khaya Bobotyana @khayabartwork
Khomotso Phetla @aspacekhomotso_arts
Kwabena Shange @kwabena.shange
Kenneth Gaffley @_ken_obi_
Lee-Anco Adams @leeancoadamsart
Sinawo Ngceni @s.ngceni
Sive Mraulana @Blaqslim_Arts
Theo Potgieter @theokillerwhale
Viviane Hertzog @vivianeherzog

About Emerging Artists Programme:
Emerging artists confront a multitude of challenges, including a lack of essential support, exposure, and opportunities to nurture their artistic journeys. At the same time, they grapple with the urgent need for a more inclusive and diverse art industry.

In response to these challenges, the City of Cape Town’s Arts and Culture Branch has initiated the Emerging Artists Programme. This Programme is designed to address the needs of under-resourced, inexperienced, and relatively unknown artists in Cape Town.

Through this Programme, we offer accessible training, mentorship, networking opportunities, and opportunities for showcasing their work. Our mission is to empower emerging artists from all backgrounds, providing them with opportunities to thrive.

The Emerging Artists Annual Business Development Programme is an initiative specifically designed and aimed to empower emerging artists. It equips them with the essential tools and resources required to develop and flourish in the arts industry. This Programme titled “Building a Sustainable Art Career” was aimed at emerging artists based in Cape Town who are in the early stages of their careers.

One of the significant benefits of the workshops was the way in which they stimulated the attendees’ entrepreneurial spirit. By shedding light on various strategies and best practices, we encouraged the participants to think strategically and develop a business mind-set that would enable them to thrive in their artistic endeavours. Additionally, the workshops facilitated the formation of connections and networks within the creative space, providing a supportive community of like-minded individuals who could offer guidance, collaboration and mutual inspiration.

Overall, the “Building a Sustainable Art Career” workshops created a dynamic learning environment that nurtured the attendees’ growth and development as artists and creatives. It served as a catalyst for their success by equipping them with invaluable knowledge, fostering a sense of entrepreneurialism, and connecting them with a network of peers. We are delighted to have had the opportunity to contribute to their journey, and we look forward to witnessing their continued growth and accomplishments in the art world.

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

Thebe Magugu presents the ‘CUSTOM FAMILY HEIRLOOM SHIRTS’

At THEBE MAGUGU, we believe in preservation. I love the idea of wearing one’s heart on the sleeve, and it is with this that I am excited to present the CUSTOM FAMILY HEIRLOOM SHIRTS, where our valued customers can pre-order a shirt that will be emblazoned with an image from their own chosen family archives.  Launching in a pre-order window from the 6th to the 22nd of October 2023, customers can log on to thebemagugu.com and upload an image of someone dear to them, which Thebe Magugu will use to create a custom wax print exclusively for them – to be delivered from the 10th of December worldwide.

You can choose to honour and memorialise anyone who has left an impact on you – living or transitioned, blood or chosen. The shirts, available to both men and women, will have three colour ways to choose from: Ice Blue, Candy Pink & Apple Green. The Heirloom Shirts will also enjoy a size curve of Extra Small to Double Extra Large.

“As you know, African wax prints often have important historical figures printed all over them. However, I think so many times, history and its figures have always been imposed onto us, and I love the idea of taking back and empowering others to fashion their own history with their own key figures”, says Thebe Magugu, who emblazoned his own personal shirt with an image of his late grandmother Matiego Magugu, who is seen on the shirt praying. “Wearing it makes me feel protected and watched over by her, and I hope people choose subjects based off of emotional connection, because that is a function of a charm – a physical part representing a metaphysical whole”

The Thebe Magugu site has been redesigned to reflect a portal that will generate a 3D Heirloom Blouse tailored to the specifications keyed in by the customer, giving an idea of the final product rendered as a preview. The Heirloom Blouse, which will be created in a Semi-Matte Satin, will be delivered from the 10th of December 2023 to all its respective buyers.

“I’m so excited to be a witness to all your Heirlooms – see you all on the 6th, much love” – Thebe. 

Keep a look out for the pre-order window for your FAMILY HEIRLOOM SHIRT HERE

Press release courtesy of Thebe Magugu 

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