Let’s Talk About Dagga – A Guide to Marijuana Legalisation in South Africa

Let’s talk about dagga. The so-called original temptress, the gateway drug, the brain-cell killer and if my primary school Life Orientation teacher was to be believed; the devil itself. Like many other drugs, the list of stigmas surrounding marijuana is about as long as the list of slang terms you can use to refer to it (around 1200, if you were wondering). In recent years, the motivations for the marijuana plant and its myriad of benefits has been central in the collective conscience. Here’s a rundown of dagga and the legal liminal space in which legislation regarding legalisation finds itself in our country right now. 

I want to start with my relationship with marijuana to set the scene. I don’t have any early recollection of my parents or their friends ever smoking, even though I now know many of them did and still do to this day. My first introduction to pot was not some secondhand exposure. I was probably around Grade 10, wet behind the ears and extremely annoyed at everyone and everything as it should be at the peak of puberty. A friend of mine, who will remain anonymous, got a contact from a matric student. “Go to this guy. He’s solid, don’t worry.” The “solid” gentleman in question was, in fact, a dude hanging out in the parking lot of a Spar in Linden. Every fibre of my being felt uneasy as two obviously young men stepped up to the dealer in question. “How much for a bankie?” my friend asked with not a tremor in his voice. On the other hand, I was an absolute ball of anxiety, a feeling that still sticks with me to this day whenever I buy any form of drug, no matter how tame it is. I can’t remember exactly how much we paid, but it was undoubtedly overpriced. Getting financially screwed over on a couple of bankies at the start of life as a stoner is somewhat a right of passage, I feel. We handed him the money and he handed us some overly dry buds wrapped in the back pages of the Mail & Guardian (a man of culture, nogal) and told us to voetsek.

Now that first bankie was, as you’d expect, atrocious. A good old dry husk of seed-filled Swazi outdoors that tasted of diesel and disappointing our families. Maybe the absolutely laughable joint we attempted to roll didn’t help, but that was how it all started. By uni days at Stellenbosch, we’d get sent menus on Whatsapp, and whatever you ordered would be delivered to you by a sweet old Afrikaans oom, or you’d stand in queue on Banghoek Road to buy from a dealer half of the town expected was a narc. Long gone were the days of bad joints and even worse weed. Now it was all about bong rips and being a connoisseur of sorts.

A lot has changed since the days of those shady drug deals. South Africa’s cannabis future has seen a host of activists, business people and everyday users fight to bring this humble plant out of illegal obscurity and towards a legalised future. As of 2018, the Constitutional Court passed a bill decriminalising the use and growing of cannabis on your own private property. This fundamentally changed the manner in which South Africans could interact with the once heavily illegal substance and subsequently started an absolute gold rush by entrepreneurs trying to get ahead of the cannabis commodity boom that was bound to happen. 

Where do we stand now? It’s been all but five years, and yet there is still an air of uncertainty, loopholes and lacklustre policy pushing that has left not only the public but the growing professional, marijuana market players scratching their heads. Nowhere has this become more apparent to me than in the research of this article, as the issues lie in the broad scope of the current legislation. Although regulations have been tightened or, somewhat more aptly, given more clarity since the original Constitutional Court decision, there is simply still too much grey area to navigate. We know that the use is limited to personal use within a private residency. We also know that there is a limit to the amount of cannabis an individual may possess. Each individual is allowed 600g of dried cannabis or 1,2kg per dwelling. As for flowering plants, it’s a very similar amount; four flowering plants per person or a total of eight flowering plants per dwelling. It is precisely here at this juncture that the state has yet to move legislation beyond this legal limbo. It’s absolutely fantastic that stoners and social smokers of sorts don’t have to be subject to unjust and unconstitutional rules, but the path to the actual end goal has seemingly not become any clearer. 

Let’s not beat around the bush (pun fully intended). The cannabis industry is an absolute mind-boggling commercial power. You need only look at the likes of the US, in which the cannabis industry is projected to rake in revenue of $33.88 billion in 2023. Even our landlocked neighbour Lesotho is further down the line than us legislatively, with the 2019 African Cannabis Report projecting that Lesotho’s industry would be worth at least $92m by 2023 astonishing, really, given just how much smaller of a market it is. 

So what are the projections like in a South African sense? Well, it is no secret that President Ramaphosa is very keen on industrialising the industry. ”We will review the policy and regulatory framework for industrial hemp and cannabis – which will come as sweet news for our people in the Eastern Cape and KwaZulu Natal – to realise the huge potential for investment and job creation. Now this natural product, which our people have been farming with and harvesting for a number of purposes, is going to be industrialised – and no longer just restricted to the smoke process!” he stated at the 2022 State of the Nation address.

Mike Von, Unsplash

DTS, Cannabis Mouthwash Studios

Some estimates point to the immense job creation power that the industrialisation of the cannabis industry would bring to the South African market. Well, according to Ramaphosa, around 130 000 new jobs are a welcome figure in a country with sky-high unemployment statistics. More impressively, however, is the sheer economic impact the industry could prove to have. However, according to a report by the Mail & Guardian (what a full circle moment for this article), in 2021, the South African cannabis industry had an estimated worth of R87.7 million. By 2026 this figure is projected to reach R406.3 million, with a projected growth rate of 28.4%.

London-based cannabis industry analyst Prohibition Partners had an even more positive outlook starting in a 2022 article with the BBC that “legal cannabis trade on the continent is set to rise to $7bn as regulation and market conditions improve, with Africa’s top producers by 2023 will be Nigeria with $3.7bn, South Africa $1.7bn, Morocco $900m, Lesotho $90m and Zimbabwe $80m.” That is an extraordinary injection of capital into an economy that is pretty much stagnant.

We are still in legal limbo concerning the commercialisation and industrialisation of cannabis in South Africa, but I am actually keeping my hopes up for once. Simply put, money talks, and this industry promises to be such a honey pot that the government will find a way to push legislation through, but this doesn’t mean that my optimism is without concern. Once again, this is an industry that could prove to be unbelievably financially robust, and I think I, like many other South Africans, would be a bit wary of how the government chooses to get involved with it. A R400 million industry can soon become an industry fattening pockets rather than providing for the people. But frankly, I have a far bigger concern, which has, for the most part, already somewhat come to fruition. How do we shape legislation to include SMMEs (small, micro and medium enterprises) rather than creating an industry that benefits only the pockets of the elite while widening the income gap?

Simply put, how do we adjust legislation not to price out small-time growers or traditional growers? At the moment, there aren’t any clear answers, and these farmers are simply being priced out of the wider global market, “growing cannabis to export for medicine is not feasible for small-scale farmers, because of the eye-watering costs. It requires a licence from the South African Health Products Regulatory Authority (SAHPRA) which costs about $1,465. Besides the licence fee, to set up a medicinal cannabis facility you need about $182,000 to $304 000, which is beyond the reach of many traditional growers.”

Esteban Lopez, Unsplash

Andre Taissin, Unsplash

In addition to the logistic challenges of growing a regulated cannabis industry, are the concerns of its portrayal in the collective conscience. Michael Stringer is the CEO and founder of Bassani Medical – premier cultivators of medicinal cannabis. On adult-use regulation, he feels we still need to shift our thinking around the presence of this plant in everyday life, as much as I am an advocate of medical cannabis, I have some concerns about immediate implementation of legalised adult-use cannabis and this is mainly due to the socio-economic conditions in South Africa. If we are to industrialise the cannabis economy we have to create clear and unambiguous laws detailing responsible adult use. In support of this plan, we need to destigmatize cannabis through a well balanced and effective education system and social media is a great place to start – let’s portray cannabis for what it is – safer than alcohol with significant medical benefits, unlike alcohol.”

This is an exciting industry with talks of more transparent and open regulations. The future of the South African cannabis industry looks bright. So go and grow that grass, but always remember to be responsible with the zol, just like Tannie Dlamini Zuma warned us.

Written by: Casey Delport

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

‘Play Like A Girl’ Celebrating South African Women in Sport

Women in South African sport are having a major moment, guys. Last week, South Africa’s women’s national soccer team, Banyana Banyana, made history in a head-to-head match versus Italy as rising football star Thembi Kgatlana scored in the 92nd minute, bringing the team out of a 2-2 headlock and straight into the top 16 of FIFA World Cup. This is the furthest any South African team, men or women, has progressed in any knockout stage of FIFA. 

Football is deeply and intimately woven into the fabric of South Africa. Across the planet, it has become the single most democratised activity among nations – with FIFA reporting that over 3.5 Billion people tuned into the 2018 FIFA World Cup, making the sporting event the most viewed television broadcast of all time and reaching more people than anything else across the world.  South was only unbanned by FIFA after democratisation; FIFA sought to restrict our country as an international protest against the apartheid government. It was in 1993, that the South African Football Association (SAFA) established the women’s national team, which they named “Banyana Banyana” translating to “The Girls, The Girls” in isiZulu.

The current Banyana Banyana squad is coached by OG football legend Desiree Ellis. From Salt River, Cape Town, Desiree is hailed as instrumental in Banyana Banyana’s success in the last few years, even being awarded the Confederation of African Football Coach of The Year in 2018, 2019 and 2022 for a variety of reasons, most notably for bringing her squad to second place in the African Women Cup of Nations. In an interview with Sports Industry Group, she described her leadership style as “a combination of transformational, supportive and democratic. In terms of transformation, I don’t have to be present to effect change. Supportive, in a way that I don’t micromanage. Everyone’s an expert in their own right and we are respectful towards each other. In terms of democratic leadership, we emphasise equality and encourage discussion and a flow of ideas. We pride ourselves on teamwork both on and off the field.”

Jermaine Seoposenwe by Muzi Ntombela, Backpage Pix.
2022 Women’s Africa Cup of Nations – QFSouth Africa v Tunisia. Stade Prince Moulay Al Hassan, Rabat, Morocco.

Courtesy of Banyana Banyana Twitter.

Women’s football faces the challenge of historical underinvestment and societal bias, but embracing women’s football enriches the sports landscape and catalyses broader transformations in attitudes, creating a more equitable and progressive society and it is for this reason that Banyana Banyana’s victory marks a new era of appreciation and support for the triumph of women in South African sport. Unlike our men’s national team, Bafana Bafana – Banyana Banyana do not receive the same kind of subsidies, salaries or structural support from government or the kind of sponsorships required to develop women’s professional football.

Many of the players in the women’s team are noted to work other jobs full time, with coaching occuring in the evenings after work. . This systemic experience of women in South African is proliferated across all industries, but when extended to the realm of professional sporting, highlights the gendered tensions and recognition of women’s sport in a particularly confronting way. Banyana Banyana’s win is a win for all women in the country, but it is also a win for all South Africans. Despite the intense challenges that we face as a country, that indomitable South African spirit continues to make itself known on the world stage.   

Banyana Banyana’s current squad is:
Goalkeepers: Andile Dlamini, Kaylin Swart
Defenders: Lebohang Ramalepe, Noko Matlou, Bambanani Mbane, Bongeka Gamede, Tiisetso Makhubela, Karabo Dhlamini
Midfielders: Refiloe Jane, Kholosa Biyana, Sibulele Holweni, Linda Motlhalo
Forwards: Thembi Kgatlana, Jermaine Seoposenwe

President Cyril Ramaphosa on Wednesday, 27 July 2022, celebrated Banyana Banyana’s victory in winning South Africa’s first ever Women’s Africa Cup of Nations (WAFCON). [Photo: GCIS]

Members of Banyana Banyana courtesy of safa.net 

Netball is an enduring fixture for girls across South African schools. Our national team, the Proteas, has gained recognition on the global netball stage, currently ranking fifth in the world. For the first time, South Africa is hosting the Netball World Cup; with matches currently underway at the CTICC.

The Proteas are coached by formidable Netball icon, Norma Plummer. Previously, Norma was a national Australian player before retiring to focus on coaching and is known for her incisive tactical knowledge based on her own career. Norma has stated that “My whole coaching structure wasn’t formed by sitting on a sideline – it never was. You learn so much if you actually study the game and I had to as a player-coach.”

Spar Proteas’ current squad is:  
 Captain: Bongiwe Msomi
Vice-Captain: Karla Pretorius 
Team: Khanyisa Chawane, Izette Griesel, Phumza Maweni, Owethu Ngubane, Refiloe Nketsa, Lenize Potgieter, Lefebre Rademan, Nicola Smith, Jeante Strydom, Nichole Taljaard, Elmere van der Berg, Shadine van der Merwe, Ine-Mari Venter.

Spar Challenge, International Netball Test Series: South Africa v England, Match 3.

Bongi Msomi Shivambu, Backpage Pix.
RSA Squad Announcement.

In addition to these historic moments for team-sports, athletes like Olympic running champion Caster Semenya and swimming star Tatjana Schoemaker are continuing forces in South Africa’s sporting world. Caster Semenya achieved a significant legal victory in the realm of sports in July, with The European Court of Human Rights ruling in her favour, acknowledging that she had experienced discrimination due to regulations in track and field. These regulations had required her to undergo medical interventions to lower her natural hormone levels in order to participate in major competitions. The decision marks a potentially groundbreaking moment for the sports community and highlights the ongoing dialogue surrounding fairness, inclusion, and the rights of athletes. Then, Tatjana Schoenmaker (specialising in breaststroke swimming) became the first South African woman in history to win a world title at the World Aquatics Championships in Fukuoka, Japan in July – stating in an interview that “I just wanted to pitch up and not be scared to take on the opportunity to race some of these girls… I just wanted to come and see where I am personally and I didn’t expect to walk away with any medal.”

Tatjana Schoenmaker at the Tokyo 2020 Olympic Games courtesy of Roger Sedres, Gallo Images.

The challenges for women’s sport remain across the world. This year has proved the national and historical importance of our female athletes and I have no doubt that we will begin to see more support (from fans and industries alike) – as we say at CEC, PLAY LIKE A GIRL.

Written by: Holly Beaton

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

Matric Thrift Shop Is An Incredible Cape Town Initiative

The Matric Thrift Shop is a youth-group initiative aimed at cultivating a culture of serving among students in Cape Town. The outreach assists matriculants who cannot afford their matric ball outfit while celebrating the notions of sustainable fashion through reselling and thrifting. 

The events invite matriculants to thrift for their matric dance outfits through sustainably and economically viable means. The matric dance is a rite of passage for all learners and the thrift shop is designed for students to celebrate the closing chapter of their 12-year journey of schooling with excitement, diminishing the financial burden that the dance often imposes on students and their parents. 

“Going to your matric ball is a celebration of the last 12 years that you have been at school and this thrift store takes a lot of pressure off single parents, grandparents, aunts or anyone who live with a matriculant,” said organiser Kelly Morkel. Shoppers can choose from dresses, suits, shoes, ties, jewellery, clutch bags and shirts. The bonus is, you get to keep the clothes. “It is purely matrics who can choose their outfits, nobody else can come and buy clothes,” cautions Morkel.

 

The Matric Thrift Shop is calling for donations of good-quality, stain-free items relevant for matric dance attire.

IF YOU HAVE ANYTHING TO DO DONATE, PLEASE CONTACT:
For Mitchell’s Plain contact Kelly at +27 61 461 3233
For Kuils River contact Kelly at +27 66 219 6763
For Silver Town contact Bianca +27 73 526 3340 

Three Matric Thrift Shops will be held:
4th August 2023
18h00 – 20h00
3 Civet Street
Eastridge 
Mitchells Plain

18 August 2023
18h00 – 20h00
37 Patrys Street
Kuils River 
Community Church 

24 August 2023
18h00 – 20h00
335B Lower
Silver Town
Athlone 

MATRICULANTS TO PLEASE BRING ID DOCUMENTS.

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

Reel People Music release latest compilation ‘Soulful Deep & Dope Ibiza 2023’

One of the UK’s best loved independent imprints, Reel People Music, continue to push their love and passion for all things Soulful as they drop the new installment of compilation series, ‘Soulful Deep & Dope’. 

SOULFUL DEEP & DOPE IBIZA 2023 is made up of 20 gorgeous slabs of soulfulness and features wonderful contributions from the likes of Atjazz, Emmaculate, Osunlade, Dennis Ferrer, The Layabouts, Crackazat, Sebb Junior, Kraak & Smack, Opolopo, Turbojazz, Sean McCabe, and Reel People.

Stream ‘Soulful Deep & Dope Ibiza 2023’ HERE

Press release courtesy of Only Good Stuff

Crayon releases highly anticipated album ‘Trench to Triumph’

Following the fresh offering ‘Modupe’, which accumulated almost one million streams across all platforms in its first week– Afropop maverick Crayon continues to make waves. Crayon gifted listeners with an impeccable album, ‘TRENCH TO TRIUMPH’. This album explores personal themes, growth, and further defines his creative direction as the multifaceted artist that he is – all while using this pivotal moment to assert his presence across the powerfully dominating Afro scene. The focus track “Belle Full” introduced the highly anticipated body of work in which he featured Afropop star Victony.

Touching on the making of the single, Crayon shared “I really wanted to create a song that talks about contentment in love, and that was what I teamed up with my talented bro Victony to do”.

‘TRENCHES TO TRIUMPH’ is a sonically flawless album that effortlessly illustrates Crayon’s aim to push creative boundaries, honing features from a few of Africa’s exciting talents. With additional appearances from the likes of Ayra Starr, Oxlade and Yaba Buluku Boyz to name a few, Crayon also joined forces with fellow Mavin act Magixx in the all-rounded production that is worth talking about.

Bouncing between smooth numbers and catchy party bangers, Crayon’s dynamic writing skills are clearly evident, serving timeless Afropop classics to his strong, growing catalogue. Working with a roster of producer-turned-friends on the project including, Andre Vibez, Babyfresh, Sarz, Ktizo and many more, ‘TRENCHES TO TRIUMPH’ not only shows off Crayon’s new heights but opens us up to a whole new world of the Afropop star.

Speaking on the album’s making, Crayon said, “’TRENCH TO TRIUMPH’ is a carefully put together body of work where I have poured myself. When you listen carefully, you’ll hear my story as it’s unfolding, my relationship with Calvary and how it’s been instrumental in my growth.”

He continued, “Trenches, in this case, does not mean poverty, it’s different things to everyone, it could mean your life journey, trench could be translated to mean a state of mind here too, so it’s whatever you translate to be personal. From a good state to a bad state, from darkness to light, from confusion to clarity etc.”

In the testament of him honing his craft and being an artist staying true to keeping the torch of Afrobeats aflame, he opened the year by collaborating with Amapiano powerhouse Yaba Buluku Boyz, for hit single ‘The One (Chop Life)’, before moving on to release purely solo material with the recent drop, ‘Modupe’, which has instantly become a street anthem.

Musically, 2023 has been an exceptional year thus far for Crayon as he continues to channel his story through his art. Now that the anticipated album is finally out, we’re excited to see his story unfold through the growth of his music. 2022 proved a defining year for the Mavin act. Following his critically acclaimed performance on the Mavin All Stars single, ‘Overdose’, it was quickly followed up by the Sarz-produced hit summer jam- ‘Ijo Labalaba’, leaving listeners wanting more. With past coverage support spanning from the likes of key UK music and culture tastemaker titles including Mixtape Madness, GRM Daily, GUAP Magazine, The Floor Magazine to name a few, Crayon is poised to have a longstanding career, joining a long lineage of global greats, as his continued tireless focus and drive sets this new sensation up for great things for years to come.

Stream ‘TRENCH TO TRIUMPH’ HERE

Connect with Crayon:
Twitter: @crayonthis
Instagram: @crayonthis
TikTok: @crayway

Press release courtesy of Sheila Afari PR

Adekunle Gold releases album ‘Tequila Ever After’ through Def Jam Recordings, with features from Pharrell and Khalid

Adekunle Gold releases his debut album for Def Jam Recordings, Tequila Ever After. The album includes previously released singles “Party No Dey Stop,” “Ogaranya,” and the tracks from his EP Tio Tequila that came out earlier this year. The 17-track album features production from frequent collaborator Kel-P and Labrinth as well as features from Nigerian singer Zinoleesky, Texas superstar Khalid, legends Pharrell Williams and Nile Rodgers in addition to Gold’s wife Simi.

Tequila Ever After is a love letter to the sounds of Africa that have recently taken the world by storm. It is also a showcase for Gold’s growth and experience as the singer notes he has developed as an artist and human in the last few years since his last release. Speaking to that evolution, he shares “I’m not the Adekunle Gold who released my first album in 2016. I have a lot more confidence now.” Integrating the South African genre of Amapiano, classic R&B, and a complex mix of Nigerian and American rhythms, Gold cements himself as one of Africa’s most essential contemporary musicians and the king of Afro-pop.

On the heels of the release, Adekunle Gold will start his North American tour in September. The 17-date tour kicks off on Friday, September 22nd with Canadian-based Afro-R&B singer Nonso Amadi as his supporting act. 

Produced by Live Nation and Duke Concept, tickets are now available for sale via Tequilaeverafter.com/tour.

Stream ‘Tequila Ever After’ HERE 

 

Press release courtesy of Sheila Afari PR

FEDE x Under Projects’ collaborative showcase ‘Fullhouse’ at blank projects

When I last wrote about FEDE Arthouse, it was early days for Lebo Kekana’s developing matrices of artistic expression. As a practising artist himself, the confinement of the traditional gallery environment presented itself as a challenge for Lebo to create something new; in doing so, FEDE was born from the experimental pursuit of unconstrained, unconventional expression. As a nomadic gallery, FEDE has arrived at varying sites to install shows and host events. These have been as much realistic as they are speculative; communal as much as they are curated. The energy around FEDE is enticing and refreshing – quite literally, one never knows where they will be next. 

When blank projects, the deceptively large space at 11 Lewin Street in Woodstock, invited FEDE and Under Projects to join together in a collaborative group show, it made sense. Under Projects is an artist-run project space by Brett Seiler, Luca Evans, Guy Simpson and Mitchell Messina – a testing ground by artists, also focused on alternative modes of exhibition and dissemination.

This is FEDE’s first time ever in a ‘traditional’ gallery space. Such was the symbolism that struck when I went to see the show as Lebo explained that the pieces (by 41 artists) are stacked in ‘the Library’ (effortlessly, un-preciously) and reconfigured by FEDE and Under intuitively as the show continues until the 19th of August. This transience is almost a subversion of the ‘curatorial’ role, but more so that FEDE generally rejects any fixated locations or permanency – that spirit that drives FEDE almost had to manifest somehow. The show has a stellar line-up and reflects both FEDE and Under’s respective communities of established and emerging artists alike, with both spaces presenting artists novel experiences beyond the rigour of the art industry.

How was Fullhouse conceived and what is the intention?

blank projects invited FEDE and Under Projects to come together to take over their gallery space for their Winter exhibition. The intention was to find ways to merge our two spaces in a third space to create an exhibition that brought together the best parts of each party.

FEDE works with a collaborative, community-centric praxis – please comment how Fullhouse expresses these threads?  

At first, I wasn’t entirely sure whether the collaboration made the most sense – because as much as we’re both known for alternative exhibition experiences, we’re also very different in our language and aesthetic. But thinking of this idea of cultivating community allowed us to keep going. It’s important that in speaking of “community”, we refer not only to the people and spaces we are comfortable with, but also those that are maybe unlike us, or exist in ways that are different to what we are accustomed to. It puts you outside your comfort zone and makes you open to new ideas – which is probably the best take-away from any collaboration. Also, that same open-mindedness is how we encourage people to engage with or receive our offerings.

The idea of community then became central to the exhibition, manifested as “The Library”. It exists as two large shelves of artworks in the main exhibition space (the first of two components of the show) which holds a large and broad collection of works from about 40 artists that both FEDE and Under continue to engage with. The Library serves to honour them as the community that supports us, whom our offerings firstly serve, and whose creations are at the centre of our work. Most importantly, The Library speaks to art as a kind of knowledge production that informs our curatorial practice.

It was interesting to see the merger of our ideas, but what has been particularly interesting and beautiful has been the coming together of two different communities, which actually hold similar values and interests.

How has blank projects served as the aligned site for this show?

Although I don’t like to use the term “project space”, which is a term used to describe experimental and/or alternative gallery spaces which often veer away from the traditional gallery format, it’s a term that’s often imposed on us – which I understand. Under Projects is a project space. blank also began operating as a project space before it perhaps ‘graduated’ to become a well-established gallery, and through its exhibitions, it still embodies the same alternative ideas with which it was established.

With that in mind, it felt natural for blank to be the first gallery we work with in some capacity. Also, I like to think of FEDE, Under and blank, as the same kind of “thing” – in the context of the overall art ecosystem – but just at different points in their lifecycle, and each with their own language, which in the case of Fullhouse felt complementary.

What has this year shown you in terms of FEDE’s continued movements and experiments in different spaces?

This year has been very affirming. I think it’s allowed us to practise claims which at the earlier stages felt more like projections or hopes. What was termed as a “nomadic” gallery, initially due to the lack of physical space, has actualised quite beautifully though FEDE’s ability to merge into different forms through working in different spaces. 

Second to that, we’ve always seen ourselves as multidisciplinary, practising at the intersection of art, design and architecture. 

I think of moments like The Jazz Lounge which centred around a sonic experience and also called for a sharp eye for interior design, and EARTH (our Decorex presentation), which had a strong focus on architectural research and practice, as well as furniture and homeware design. These are key moments which have felt affirming and have brought about a lot of gratitude. Moving from ideation, and carrying these ideas through to completion makes us realise we actually can become what we dream of being – and now that feels broader than ever. 

 

VISIT ‘FULLHOUSE’ AT BLANK PROJECTS
NOW UNTIL 19 AUGUST 2023

Images by @_kylemorland

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

Remembering Why August is Women’s Month in South Africa

On August 9, 1956, South African women marched to the Union Building, marking one of the first marches that set the tone for protest in the decades to come as our country went through apartheid and subsequent democratisation. Around 20,000 women (a staggering amount and level of mobilisation for its time) from various racial and ethnic backgrounds gathered in Pretoria, to protest against the extension of the Pass Laws to women. This protest marked a pivotal moment in the struggle against apartheid and the systematic racial segregation enforced by the government – while bringing together a variety of women that the state had aimed to separate and divide.

The Pass Laws were a set of discriminatory regulations that required non-white people, particularly black South Africans, to carry identification documents (passes) at all times. These laws restricted movement and subjected them to harsh control measures, forming the backbone of the apartheid government’s racially motivated authoritarian regime. Prior to 1956, these laws primarily targeted men, but it became known that the state was planning to extend them to include women as well. Led by a coalition of organisations, including the Federation of South African Women (FEDSAW), the women gathered at the Union Buildings, the official seat of the South African government, to voice their opposition to this proposed extension. 

Marching peacefully and bearing petitions containing thousands of signatures, the women delivered their petitions to the then Prime Minister J.G. Strijdom’s office within the Union Buildings. The event received significant attention from both local and international media and highlighted the resilience and unity of South African women in the face of racial discrimination and gender inequality.

South African History Online

National Library of South Africa

The Women’s March of 1956 showcased the crucial role that women played in the struggle for freedom and equality in South Africa. Their collective action demonstrated the power of nonviolent protest and mobilisation in challenging unjust laws and policies, eventually contributing to the eventual dismantling of apartheid in 1994 and the establishment of a democratic South Africa. The march is now commemorated annually as National Women’s Day on 9th August in South Africa, while the entire month is dedicated to commemorating women in the country. May we never forget their resilience and determination as we create the future of South Africa.

Feature Image Courtesy of National Library of South Africa

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

Conjuring Vulnerability with Visual Artist Naledi Modupi

Illustrators are the visual conjurers of emotions – bringing forth the tapestry of stories that bind together the human experience. Among the many illustrative styles and forms arising out of South Africa, visual artist Naledi Modupi illuminates one of the most critical depictions that we need; the experience of womanhood. Specifically for Naledi, the tapestry of womanhood that has informed her own individuation is underpinned by ‘the beauty of blackness’ – with Naledi’s work showcasing many stunning portrayals of black women. Naledi has carved out a significant stylistic mode unusually quickly for an artist who began focusing on her practice fulltime from 2020. As Naledi says, “I’ve always known myself to be artistic. I only started connecting with my art as a form of expression a few years ago, especially when I decided to create more intentionally in order to connect with others.” 

The willingness for vulnerability is one of the most courageous acts. In a world that demands our total concealment (and strength in the face of distress), to be vulnerable and lead with authenticity and honesty are the deepest virtues. For Naledi, vulnerability is indistinguishable from her self-expression, saying “I really don’t like being perceived, in general. I thought I could shield myself behind my art but I quickly realised that if I could demonstrate vulnerability, then I could use the daunting experience of being perceived and known as a way to grow. From the moment I started to create with more openness and vulnerability, the more meaning my work took on – for others but also for myself. Some pieces I absolutely cannot part with or let go of. Vulnerability has opened an entire world within my work.” Naledi’s founding principle in her work is the concept of sharing and it becomes clear to me in our conversation that Naledi’s tenderness is an instrument of insight for all who know and support her work.

BUSI VICTORIA MHLONGO

MY ANCESTORS REFLECTED

Naledi works between the realms of digital media and traditional methods. This capacity for transience in her mediums edifies Naledi as an artist for the future – albeit with total reverence for the past histories of her thematic concerns. On her digital style, “digitally illustrating opened up possibilities in a way that I hadn’t imagined before. I first started practising digitally during lockdown in 2020 and it was my saving grace during a time when I couldn’t go explore mediums or get materials. Instead, I had this access at my fingertips. I fell in love with the whole space of digital illustrating.” Of the illustrators that I’ve spoken to, this new media is an incredible site experimentation. Naledi’s style of soft linework and shading in warm tones, most often set against the rich blackness of her figurations, exemplify the compelling future of digital art in South Africa. Naledi has found that her digital art can convey a steadiness in her expression and output, while her first love for traditional painting can form part of a more personal, slow practice unencumbered by the demands of creative commodification within the artistic career path.

On the subject of womanhood – the theme that underpins Naledi’s work – she says, “I think I’m a really optimistic person. The whole point of my work is to express positivity and light. Leading up to women’s month, it feels a bit weird because of the situation that we are in as women in South Africa. We have a lot stacked against us. I want my joy to be the heart of my work, but I do think we need to have more difficult conversations around womanhood. I think my next body of work will invite more dialogue that is challenging, which is going to be tough because I try to protect myself from negativity.” Something which Naledi raises is the experience of forsaking our femininity in order to adapt to the masculine ideals of our society. This is a conversation that has been coming up around me recently, too. The fierce, soft, tender and creative forces of womanhood are sometimes exchanged for ‘male’ ideals of assertiveness, ambition and power – in order to survive. Yet, when we look honestly at all of these ideals, are they not merely intrinsic to being human? Naledi says, “as women embracing every single aspect of who we are and who can only bring balance to our world.”

BROWN, SOFT

ACCEPT BEING DIFFERENT

Naledi’s first solo exhibition ‘More Women in Colour’ took place until June this year. The show was a love-letter, as Naledi describes “that body of work was a celebration of the women in my life. I was raised by predominantly black women and on the opening night, I told each of their stories – the women who I had portrayed. I was able to tell, through my work, how much my sister’s story means to me, or the fact that my granny was one of the political fighters. The collection was an array of reflections of the feminine forces that have created and nurtured me. I also wanted the show to challenge the tropes and stereotypes of black women – that we are meant to be strong. I wanted to shine light on the nuance of the stories from the black women around me.” As Naledi explains, formulating the show offered her time to sit in conversation with the women in her life – asking questions and tempering her curiosity in a way that she had never been able to do before. Suddenly, the ways and means of who someone is are revealed, “suddenly I understood why they were who they were and I could challenge some of my own expectations, like just accepting that single, black mothers have just the quality of strength within them out of necessity. There is so much more to be told than that.” This kind of storytelling is a gentle alchemy invoked in Naledi’s work and one that I imagine will continue in all the shades of vulnerability and authenticity of her artistic journey.

OLWETHU

SELINA & BONTLE

Lastly, I ask Naledi what she would like women to remember during this month of August, South Africa’s ‘Women’s Month’ in remembrance of 20,000 women who bravely marched to the Union Buildings on 9 August 1956, voicing their protest against the extension of Pass Laws to women. Naledi says, “allow yourself to embrace yourself and to embrace other women. If we embrace each other, the world will learn to embrace and celebrate us. Don’t put so much energy and effort in trying to show our worth.”

Written by: Holly Beaton

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

Chapter 18 | Collectives + Concept Stores shaping South African Fashion

I am astounded by the moves being made in South Africa’s fashion scene. This is a subject I go on and on about – it’s the entire reason that this fashion column exists, proudly in its eighteenth month of existence. Community is central to the human experience and in the context of South Africa, community is a necessity. Gathering together, with all hands on deck, has served as a survival tool within a socio-economic, historical landscape plagued by under-resourced and disenfranchised features. Yet, resilience is the name of the game. Connect Everything Collective’s primary mission is to archive the creative expression of this country and we never, ever find a shortage of inspiration murmuring across the country. Us safrican’s are an enterprising, hustling culture. 

Collectives and concept stores are different models that function for similar purposes: to unify people under one roof. With concept stores, the modus operandi goes a little more beyond the tangibility of brick and mortar. Concept stores convey a certain philosophy – whether for design or lifestyle – that seeks to change the thinking of their clientele. The dynamic spirit of a concept store is inherent in bringing varying brands, products and ideas into the same space, culling the concept of competitiveness to a healthy degree. With a burgeoning arena of small brands cropping up all over the country, the concept store reigns supreme in consolidating the mission for visibility, tangibility and versatility in South Africa’s design lexicon. I’ve often said that the benefit of our ‘emerging’ fashion industry is the ability to do it in our own way. The concept stores detailed later in this article are incredible examples of what it means to create a unifying retail experience, dosed with the hope that we as a country feel in our bones – despite it all. 

Collectives are less defined instruments of our fashion scene. Often, collectives and concept stores are one in the same. Concept stores are driven by collectivised thinking, yet not all collectives have a physical space. Aristotle’s idea that ‘the whole is greater than the sum of its parts’ is one of the most succinct descriptions of the human experience and even in our highly individualised society, nothing truly occurs in a silo. Seeing crews merge and take on the future speaks to the mood of South African fashion – namely, why would anyone want to go it alone? This notion is the most critical feature of fashion’s rising cast of talent. For emerging designers to navigate the industry challenges, it is best to have many minds adhere to one vision; from this, innovation is bred. Look at Broke’s car boot sale recently, which is now heading all over the country? I’ll detail this more later, but the point is that a collective can be powerful enough to gather people on the street, in a frenzy, to shop out of the boot of a car. Marketing can be as simple as this, when the purpose is intuitively emanated from the brand or collective itself.  

The following list is by no means exhaustive, but it is comprehensive in its expression of South Africa’s concept stores and collectivisation. The future is complete and utter VIBES with leaders in fashion like these:

99 Design

99 Design is a multi-label concept store in Braamfontein, Johannesburg. Founded by Tayla Foong as an extension of her agency ‘Dear Friends’, she sought to infuse local fashion into the design-focused development at 99 Juta. Housing around 28 local labels, 99 Design is focused on bringing their community together through the power of brick and mortar. On the efficacy of this approach, Tayla says “We really do value the in-person customer experience. Not only do we get to interact with our consumers, but we also get to tell stories of where the garment was made and why you should support and buy it. People love coming into the store for the personal experience where we can also style them and pick out unique pieces which suit their style, or the new street style they’re trying to emulate. We also really like doing pop-ups which can introduce the brands to people outside of our community.”

99 Design exemplifies the power of collective units for building a concept store. Tayla says that  “community builds connections and makes our brand that much stronger – people also feel a part of the store’s story, and are always willing to lend a helping hand or even be part of the team on our shoots!” Having their own physical space has also opened up the possibilities for what 99 can offer beyond retail, such “hosting design focused workshops, and creating content in our store (my interviewing Braamfontein goers with what they’re wearing), or just being in the middle of Braamfontein, we are met every day with creatives, entrepreneurs and freelancers who have something to add to our ever growing database of Joburg tastemakers.”

99 Design currently stock: Afrogrunge, Amen Concepts, Artelier, Asa Sadan, Boyde, Broke, Dokter and Misses – Accessories, Everyday Green Co, Floodhouse, Long Season, Maison Originals, Moshwe Swim, Muted Raggs, Neimil, Peace By Khotso, Pedestrian, Refuse, RGD Studio, Richmanskyf, Sash South Africa, S.Eislin, Searching For Textures, SinChui, Thabo Kopele, Unknown Projcts, Vues, The Uniconz, Yarns and iPantsula

Images by Marc Hervé / @el.herve

Lemkus’ Second Floor 

Jack Lemkus is an enduring and historic retail store in Cape Town with a deep sentimental value for many locals in the city. Established in the 1930s as a specialty sporting goods store, Lemkus is situated in the heart of the CBD in the iconic, art-deco ‘Exchange Building’. Aside from the Lemkus retail store (online and in-store), the brand’s vision is to align local design directly in relation to the international brands that they stock. The second floor is the crown on their multi-storey retail experience and has been a streetwear mainstay for the last few years, with its partitioned sections and freshly rotating array of brands. Known for some of the best activations and First Thursday parties, the newly renovated courtyard is home to Jack’s Burger: Lemkus answer to the simplistic genius of the hamburger. Lemkus’ vision merges the notions of community and creativity through the lens of retail, honing in on the synergistic, connective potential of hosting a physical space where people and ideas can proliferate.

Images by Calhoun Matthews / @calz6453

Garm

Garm is the brainchild of Ross Askew and Kamo Selane and was introduced to me by Tantaswa Amisi – Tiktok’s fave African fashion voice. Ross and Kamo had both been on a journey to shop locally and curate their wardrobes in support of small-scale brands – but quickly found themselves realising the logistical and resource challenges that so many brands and designers face. Garm was conceived as their answer to this, and have set out to become Africa’s top streetwear e-commerce platform with core services for start up brands. Rather than just stocking one’s brand with Garm, to be part of Garm’s network is to receive structural support from everything across the supply chain to in-house studio shoots. Founded on the premise of ‘culture, convenience and creation’, as Ross says, “we are incredibly optimistic for the future of South Africa and Garm is our way of communicating that. We provide a platform for startup brands to operate more professionally and equip them with the resources to better their customer expectations and their collections, overall. There is so much going on in the country and we want to showcase that.” 

Garm is a dream come true for anyone setting out to contribute to South Africa’s streetwear landscape. On the challenge of doing this, Kamo says “we had initial challenges in getting brands to understand what we were offering. We have made sure that Garm can assert itself as a force for good in the industry and that there is genuinely a space that wants to facilitate the success of local design.” In chatting to Ross and Kamo, I am amazed by the grit and determination of South Africa’s new wave of entrepreneurs. Both speak of their commitment to bringing back our notions of creativity and innovation to Africa; that South Africa, in particular, is truly where it’s at. As they say,We want African streetwear brands to be considered alongside the likes of Palm Angels, Off-White, Heron Preston, and Kith.”

Find out how to join your brand with Garm here and shop their offerings here.

Images by Maverick Seizure / @maverick.seizure and Tyrick George / @rockstar.cr3

Broke  

Look, Broke has become the blueprint. The cult-followed brand and collective is more than just a brand – it’s a vision, a prophecy and a mandate. The Broke Boys have almost singularly achieved streetwear, fashion and community ideals through a South African lens, as a playbook for everyone who comes after. 

Led by creative director and marketing genius, Andile Dlamini, Broke is set to open their highly anticipated ‘Clubhouse’ at 53 Wale St as their answer to a concept store and experimental site. If you know you know – Broke do it all – music, events, gatherings – you name it. The news of their own space has been welcomed with ecstatic response. Andile, alongside Broke’s core members Sindiso Tshuma, Mzwandile Sithole, Akhona Beja and Simbongile Bino inaugurated 53 Wale St with a ‘BROKE BOOT SALE’, gathering their community in a frenzy on the street to get their hands on the emblematic ‘B’ cap that has come to define Broke’s signature aesthetic. You know you’re doing something powerful when all you need is the boot of a vintage BMW and a single product to get your collective moving. Now, the BOOT SALE is heading all over the country because Broke is a nation-wide phenomenon.

Images by Jonah Louw / @shotsby5ive_

AKJP 

Two of my financial goals are as such: that I can one day walk into AKJP and Giovanni’s Deli and get everything I want without looking at the final bill. Situated on Kloof Street, the store is the home of local design as well as its eponymous in-house label. AKJP’s manifesto reads, “AKJP Studio showcases a carefully curated, all-inclusive, contemporary selection of products, in order to create a unique exploration of modern designs. Handpicked products are pulled together from different brands and designers. These span from various lines, such as fashion, art, publications, homeware, ceramics, and beauty products. Concept stores are about discovery and experience. The products and design change regularly, to keep telling that story in new and interesting ways.” 

AKJP’s shop window is always home to a unique display often in collaboration with one of the designers or brands that they stock. Also, the visual merchandising is on a level of its own; I have never been to the store where something has not be changed, re-curated, reassembled – this is the highest articulation of a concept store and truly, in my opinion, one of the most important design spaces in South Africa.

Images by akjpstudio.com and capetowncityguide.co.za

Eku Collective

Abigail Merhar’s Eku Collective and Studio is a thrifter’s paradise. Central to Abi’s own business as a curator and reseller of pre-loved clothing are Eku’s iconic markets. As their manifesto reads, Eku is, a community of fashion lovers who believe in the power of sustainable fashion. Our preloved clothing market events are just one way we bring together people who share our passion for unique fashion finds, great music, and delicious food and drinks. But more than just a shopping experience, Eku Collective is a movement towards a more conscious and ethical approach to fashion. We believe that fashion should be about expressing your individual style, without sacrificing the health of our planet or the well-being of the people who make our clothes. That’s why we support preloved and reworked clothing, as well as local and independent designers who prioritise sustainability and transparency. Our community is made up of people who care about the impact of their fashion choices, and who want to connect with others who share those values.Thrifting is one of the beating hearts of South African fashion – and the perennially vintage tastes of Cape Town’s coolest knows no bounds. Eku defines what it means to showcase thrifting as a community experience that facilitates a kinder, better way of living.

Images by Eku Collective

Written by: Holly Beaton

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