A Guide to ‘Art Week’ in Cape Town this February

Feb 18, 2025 | Lifestyle, Community

Even for those already initiated into the frenzy that is Cape Town’s ‘art week’ — brought on by the annual Investec Cape Town Art Fair – it can be difficult to navigate where to put your time and energy. The entire city has cottonned on and taken advantage (rightly so) of the flux of interest in the arts, from a market, cultural resource, entertainment and educational perspective. In an attempt to illuminate some of the satellite events adjacent to and independent of ICTAF, we’ve curated a round up of events which might make the decisions to leave your house less daunting. Here we go!

Investec Cape Town Art Fair

Investec Cape Town Art Fair (ICTAF) is Africa’s largest art fair – enough said. They host over 120 exhibitors, 30 000 visitors, and 10 000 VIPs. It offers a platform for galleries, collectors, curators and artists from around the globe to create connections at the forefront of contemporary art. With an intimate experience of one of the world’s most unique art capitals, ICTAF has proven to be the place where the African art market and the international art world meet. They are hosting their 12th edition from 21-23 February 2025.

In addition to hosting galleries from SA, Africa and abroad, ICTAF is also hosting guided walkabouts and facilitated talks with moderators in conversation with artists, which also reflect this year’s theme ‘Play’. Gain insight and get inspired by these world-class panellists discussing everything from digital media to environmental responsibility and the impact of global collaboration.

Here are some of the topics which will be explored on Saturday 22 February:

Talk 1: The Role of Digital Media and Film in Contemporary Art

Talk 2: The Power of Art in Global Brand Collaborations

Talk 3: Imagining A Brighter Future Through Environmental And Social Responsibility

Talk 4: The Impact of Contemporary Art from Africa on Global Narratives

Talk 5: Bringing the Studio to the Fair: Creative Conversations with the Artists

 

Notable talks taking place on Sunday 23 February:

Art Walk with Sean O’Toole: Reimagining Craft through Global Makers and Materials

 

For more information about the available satellite events taking place at ICTAF, click here.

Book tickets for Investec Cape Town Art Fair here

Imagery courtesy of ICTAF

Bree Castle House Open Studios

On Wednesday 19 February 2025, Bree Castle House will once again present an Open Studios event. Hosted by RESERVOIR, an art gallery on the 7th floor of the building, Bree Castle Open Studios forms part of the official VIP programme for the Investec Cape Town Art Fair 2025.

Further to this, Design Week South Africa (which had its inaugural launch in October 2024) is popping up at Bree Castle House Open Studios on the first floor with an installation, entitled ‘Progression ll – The Prelude’, by Onesimo Bam. Onesimo will also be extending this installation to form a fashion show, taking place on Sunday 23 February during Open Bree, on Bree Street. Open Bree is an initiative encouraging pedestrianism and community in the city, which continues to run year-round. 

Open Studios will showcase 20 artists’ spaces across 9 floors to reveal process and unseen works. To name one, designer Koos Groenewald will be revealing a limited edition (set of 10) shirts designed in collaboration with National Arts Council and Art Club and Friends. 

Open from 18:00 – 20:00 at Bree Castle House, Cape Town.

RSVP for Bree Castle House Open Studios here

 

NURU Showroom 

In a recent interview with conceptual fashion designer Lezanne Viviers, she mentioned how 2025 would be the year for community establishment with like-minded creatives. With fellow founders, Nubia Moussa, Kerstin Engler and Didi Mogashoa, they have created NURU African Collective Showroom, taking place from 18 to 23 February.

NURU promises to make waves at the Cape Town Art Fair, shining a spotlight on African art and design that encourage collectors and clients to ‘Play’ – following suit from this year’s ICTAF theme.

In the spirit of play, they are inviting viewers to an exclusive visit to the historic Art Deco penthouse of Lezanne’s at Mutual Heights. The showroom fosters collaboration, shared resources, and a sense of camaraderie, showcasing ethical, authentic and artful design that reflect the spirit and culture of the African continent through conversations with art and fashion, together shaping a new paradigm.

The showroom will feature artists and designers such as ⁠Frances VH Mohair, Water Dixon, Boemo Diale, Yolanda Mazwana, Crystal Birch, House of Gozdawa, ⁠⁠Daisie Jo, ⁠⁠Viviers, ⁠⁠In Company, ⁠⁠Lukhanyo Mdingi, ⁠⁠Driaan Claasen, ⁠⁠Gabrielle Kruger to name a few.

SHOWROOM: 18–23 February 2025 (Apartment 1101, Mutual Heights)

ART FAIR BOOTH: 21–23 February 2025 (Investec Cape Town Art

NURU Showroom is available for viewing by appointment only. Book appointment here

Imagery courtesy of RESERVOIR

Imagery courtesy of NURU

Lemkus Gallery

Lemkus Gallery celebrates the opening of ‘GIRLS TOO: TOO MUCH, NEVER ENOUGH’, a group exhibition curated by Keely Shinners and assisted by Mihlali Jiya, taking place from Thursday 13 February.

Following from ‘GIRLS GIRLS GIRLS’, an exhibition curated by Keely Shinners and Dominique Cheminais that was organised loosely around femininity and its discontents, GIRLS TOO goes deeper into the question: what is it that makes us girls? Who’s us? What’s girls? 

Keely shares, “Anatomy is a sham, so let’s bin all talk of biology. Identity and its tentacular associations – gender, sexuality – are too unstable, too in flux, so let’s eschew that game of category too. The way we see it, GIRLS is a mystery. An enigma. A vanishing point. A sense. A sense of bloat and a sense of depletion. A sense, simultaneously, of excess and lack. A sense of being too much – too much and yet never enough. The artists gathered for the show approach their work from different vantage points, but each shares – in some way, shape, or form – an affinity with this paradox: TOO MUCH, NEVER ENOUGH.”

Featuring work by: Alka Dass, Cara Biederman, Charity Vilakazi, Dominique Cheminais, Gabriele Jacobs, Jet Snaith, Kerry Lee Chambers, Leah Mascher, Lebogang Mabusela, Miró van der Vloed, Nabeeha Mohamed, Nano Le Face, Neha Misra, Queezy Babaz, Sara Matthews, Sichumile Adam, Tyra Naidoo and Yolanda Mazwana.

Poster image: Sichumile Adam, Red, 2023

Visit LEMKUS Gallery to view the exhibition until 20 March 2025

 

D.O.G: PARTY & PLAY 

What has now become an institution celebrating self-expression and community – Death of Glitter (D.O.G) is hosting a ‘queer utopia’ party on 28 February at Alley Cape Town in Paarden Eiland (between 20:00 – 04:00). Since relaunching in May last year, The D.O.G has grown, solidifying its place as one of Cape Town’s most revered LGBQTIA+ nightlife events.

“Our community needs spaces of frivolity, now more than ever,” says D.O.G founder and Creative Director Tazmé Pillay. “We are entering into a moment of chaos. Locating the dance floor as a place of respite and playfulness is what we need to prepare ourselves for the reality of that moment. We need these utopias to not just survive – but thrive.” 

The intimate and accessible warehouse space in Paarden Island will be transformed by D.O.G’s creative team, including renowned lighting designer Kieran McGregor and digital artist Scumboy, under the creative direction of Tazmé Pillay. South African pop star and ‘ghetto rave’ pioneer Moonchild Sanelly will be making a special stop at D.O.G, giving us a taste of what to expect from her upcoming European tour. Moonchild will be supported by Kat Davids, Tipp.Exe, Soulchoke, Elle, Tactix, Phijos, DRAGMOTHER.

Book tickets for D.O.G here

Imagery courtesy of GIRLS TOO

Imagery courtesy of D.O.G

Ses’fikile

For more nightlife events, the Investec Cape Town Art Fair afterparty will be hosted by Ses’fikile at Botanik Social Club on 22 February from 9pm-4am. Sindiswe Zungu is the headline act for their 2nd birthday celebration which coincides with the Art Fair. It’s the opportunity to dance among the creatives, rub shoulders with the artists and explore the darker side of the ‘white cube’.

Book tickets for Ses’Fikile Afterparty here

 

Afterimage film screenings

Launched in January 2025, Afterimage is a film screening programme, funded by the National Arts Council and run by Mitchell Gilbert Messina and Ben Albertyn. Each screening has an artist share a work of theirs alongside some of the short films and reference material that informed it. The aim is to show video art outside the gallery or the password protected link, and to have artists frame their work within a lineage, highlighting the traits shared with works that came before it. 

Artists’ films have a tendency to feel fully formed, when they’re more often a collection of decisions held together by internal logic, homages and making-do with the footage available.

Afterimage is hosting screenings twice a month at The Labia. The latest screening features work by Dale Lawrence on 19 February, which is free and open to the public, though capacity is limited to 48 people.

Book free tickets for Afterimage here

Imagery courtesy of Afterimage

Imagery courtesy of Ses’fikile

Norval x Mount Nelson x RESERVOIR 

In collaboration with the Norval Foundation, RESERVOIR presents Disrupting the Dream: Surreal Narratives from the Norval Foundation Collection, an exhibition exploring contemporary African and diasporic perspectives on Surrealism. Opening on 22 February 2025, this year-long exhibition will be installed in the public spaces of the historic Mount Nelson – A Belmond Hotel, offering guests and visitors an immersive engagement with groundbreaking works from the Norval Foundation Collection. 

 

Cape Town Furniture Week 

Last, but certainly not least, another exciting festival of design is taking place around Cape Town from 19 to 22 February. Cape Town Furniture Week (CTFW) is a 4-day festival for contemporary furniture, lighting and homeware. The third annual edition features open showrooms, exhibitions, talks and factory tours. The aim is to invite designers and the general public to discover new products and ideas by exhibitors and brands, to connect with peers in the industry, and to engage in conversations around design, craftsmanship, innovation and sustainability. Exhibitors and talks include local designers Weylandts x Thebe Magugu and Piers Mansfield x Sindiso Khumalo among many more. 

Learn more about CTFW and RSVP to events here

 

There is truly so much to be inspired by and engage with in Cape Town over the next few weeks – this list is far from exhausted, in fact, visit Leo’s Wine Bar for a colourful popup with Lea Colombo; ‘That Art Fair Feeling’ party at Gorgeous George featuring M. Field (Friday 21 February) and pop in to see the ICTAF installation at AKJP Studio. We hope this aids in navigating the city with more direction, in the pursuit of supporting culture and those responsible for the organisation and expression behind it.

 

Imagery courtesy of Cape Town Furniture Week

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

Love Online: Is Ego Ruining our Relationships?

Feb 17, 2025 | Lifestyle, Community

At face value, technology and all of its mediated interfaces bring us closer. When we’re online, distance is reduced and connection is possible via pixels and platforms ad infinitum. In an information age, romance is marketably attainable so long as you’re willing to pick your preferences, create a profile and chat with semi-strangers. And if that doesn’t work, you still have the option of an AI boyfriend (Spike Jonze tried to warn us, but we thought it was fiction). We’ve managed to automate intimacy, to a degree where it sometimes doesn’t feel very intimate at all. For a chronically online culture, where the private is increasingly public, so many of the essential elements of romance have faded away, only to be replaced with coded texts, story surveillance and performativity. If you’re in search of love, you have to ask yourself whether all the profiling, DMing and swiping can genuinely accommodate and sustain a partnership that supersedes the liminal, digital realm. 

Personally, I’d like to believe that love can and does exist online. I myself have found flesh-and-blood sweethearts on Bumble, connected with community on Instagram, and maintained friendships via WhatsApp group chats. But these processes are not without flaws. Before you find ‘The One’ (Pty Ltd.), you’re likely to experience plenty of awkward, borderline creepy encounters. And even still, once you find someone you actually enjoy being around, there will be work. In an attention economy, where we’re always competing for time to be it all and achieve it all, relationships can feel like projects, something else to schedule into your Google Calendar. Even beyond the dating apps, we have to interface our relationships through a screen, texting and calling frequently. On top of that, we’re expected to externally profile our relationship to the world — because God forbid you let the simps think you’re single. Routinely, whether you’re seeing someone or not, navigating love online will leave you wondering whether romance is dead. 

Imagery courtesy of Death to Stock

Imagery courtesy of Death to Stock

Byung-Chul Han, author of The Agony of Eros, would probably argue that it is. In his 2012 essay, Han contends that modern love has been formulated entirely around the self, and is increasingly commodified and shaped as a channel for self-gratification. This approach to love, which focuses on the positive and easy, is theorised as a byproduct of living in a capitalist, achievement society. In a context where identity and freedom are closely associated with work, entrepreneurship, achievement and ability, love becomes yet another area of labour, something to maximise and routinise until it’s easy to please and quick to compliment. This is far different from the ecstatic pain and sacrifice associated with the lost love of Shakespearean times. Today, we tend to prefer what photographs well, affirms us and pleases us. Rather than submitting ourselves to what is unfamiliar or difficult, we prefer to embrace the immediately gratifying. Perhaps that’s why we lean on the dopamine hits of dating apps, pornography and AI lovers — these hedonistic endeavours don’t threaten our yearning for affirmation and control.  

To put it plainly, Han thinks we’re narcissists. He’s not the first. To be fair, he’s a bit of a cynic, but he’s not necessarily wrong. Take social media. Dating someone means tearing apart their profiles and assessing your mutuals in routine background checks. This mandatory vetting protocol keeps you safe, but regardless it’s scary how easily we can approve or reject someone based on their avatars. If the digital profiles we fashion are mere mirrors, reflections of only the most publicly pleasing parts of ourselves, then depending on them as channels for love will likely lead to superficiality. A profile can’t reflect your interior world, all of its contradictions and transgressions. Yet, it will probably impact who we fall in love with, and how we frame that love. It can be the determining factor of a first date, the thing that blows up the group chat or the source material for idealised daydreams. It’s like our partners have become paid actors in the narratives we craft about Who We Are, produced purely for public consumption. 

Imagery courtesy of Pexels

Imagery courtesy of Death to Stock

Is this all just another example of how humanity’s intersection with technology hollows out our capacity to genuinely connect? Have we turned love — once founded on mystery, wonder and selflessness — into something akin to career recruitment? If the answer is yes, it’s no wonder why so many of us struggle to make it past the dreaded situationship, even though most Gen Z’s crave monogamy. Evidently, so many of our interactions are founded on a compulsion to stroke our own egos — and what does that better than a weekend-long hang with someone who fits your preferred height requirements? And to complicate things further, the automated engagement markets that shape our echo chambers only bring us closer to ourselves. No wonder we’re shocked when we meet someone who disagrees, or listens to different music. Han would argue that this is just another side effect of a society of ‘sameness’ and self-preservation. He says, “All negativity, all negative feeling, is avoided. Passion and pain are giving way to pleasant feelings and inconsequential arousal. In the age of the “quickie,” the casual encounter, and sex as stress-relief, sexuality is losing all negativity, too. The wholesale absence of negativity is degrading love into an object of consumption, a matter of hedonistic calculation.”

So, final question: can love — literary love, true love, ‘Eros’ — exist in an information society obsessed with individuality, performance and achievement? To be honest, I don’t really know. Love, after all, is entirely subjective, and resistant to intellectualisations. But the answer, I think, depends on your willingness to reconceptualise love itself. If you can accept that, within love, there is a critical need to disagree, to sacrifice pride and remove pretence, then there may be a real chance. But if appearances, performance criteria and immediacy are of higher priority right now, you may be searching for something else. Either way, to save you from becoming the insufferable Carrie, it might be worth assessing whether your idea of romance is based on a need to protect your own ego. Tough ask, for sure. But if the myths are true, beyond ego death lies something worth signing off for. 

Written by: Drew Haller

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

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TRESOR releases ‘Wale Wale’ with Sofiya Nzau

Feb 14, 2025 | New Release, Music

After three years, multi-award-winning singer-songwriter and producer TRESOR makes his highly anticipated return to music with the release of “Wale Wale”, an exhilarating collaboration with Kenyan sensation Sofiya Nzau. Renowned for redefining African pop music on the global stage, TRESOR once again demonstrates his artistry.

“Wale Wale” is an anthem of liberation—a prayer brought to life through a captivating fusion of African house and pop. Sofiya Nzau, whose vocals graced the global hit “Mwaki”, brings her energy and soulful artistry to the track, creating an unforgettable soundscape that inspires freedom and hope.

“This song is deeply personal to me,” shares TRESOR. “It’s a celebration of the freedom to dream boundlessly and live those dreams out loud. Working with Sofiya Nzau was pure magic; her energy elevated the song to another level.”

TRESOR’s illustrious career has seen him dominate international charts, collaborate with global icons like Drake , Ed Sheeran and Metallica, and earn critical acclaim for his genre-defying sound. As the founder of Jacquel Entertainment Group, TRESOR has also cemented himself as a pioneering force in the business of music. “Wale Wale” marks his return to the stage as an artist, reconnecting with the music that has always been the core of his creative journey.

The track was born out of a single inspired studio session, where melodies flowed freely, capturing the essence of TRESOR’s belief in creating without boundaries. “The energy of this song is unlike anything I’ve done before,” he says. “It’s joyful, uplifting, and a testament to the power of African melodies to resonate universally.”

Listen to “Wale Wale” here

Press release courtesy of Only Good Stuff

 

Coasters release ‘U Wanna?’ with an accompanying music video

Feb 14, 2025 | New Release, Music

After releasing a string of synth-pop infused heartbreak tracks, Coasters re-enter the ring with a Western-inspired psych-rock song, ‘U Wanna?’ Since their debut EP ‘Heartbreak Looks Good On You’ in 2023, Coasters have been on a rollercoaster ride of growth and exploration. Opening for iconic acts such as Bongeziwe Mabandla, Jeremy Loops, Desmond and The Tutus, Yellow House and Acid Tongue. The band also ventured to the EU for a whistlestop tour around Germany and The Netherlands, connecting with fans and friends along the way. Whilst in Hamburg, they were interviewed on Byte.Fm and a number of their songs were broadcast.

Now two years old, Coasters has become well-known for their easy listening, ethereal music that sparks interest with dynamic lyricism. However, band-mates Luke and Kat are excited and curious to explore a plethora of genres. ‘U Wanna?’ was birthed as a result of this mutual desire and tentative sonic exploration. When Luke first played Kata the distinct, psych-rock guitar riff, there was an immediate inspiration to write a song that follows the story of a cowboy-draw. The story of ‘the draw’ in combination with the powerful instrumentals and vocals, align to create a sense of tension and momentum that builds throughout the song. A solid bassline, dirty guitar riff and church worthy organ, culminate in a catchy instrumental meal, topped with Kata’s belting vocals.

‘U Wanna?’ will be the first of three singles to be released in the next two and a half months. At which point, the band will hole up in their studio to work on their debut album.

Listen to ‘U Wanna’ here

Press release courtesy of Coasters

Close Counters release their album ‘LOVERS DANCE ACADEMY’

Feb 14, 2025 | New Release, Music

Australian producer duo Close Counters (Finn Rees and Allan McConnell) unveil their album ‘LOVERS DANCE ACADEMY’, featuring Lyric Jones, Tiana Khasi and Allysha Joy among others. The album takes in soul, broken beat, house and jazz sounds, delivered by some top-notch musicians.

‘LOVERS DANCE ACADEMY’ is packed to the brim with rhythmic percussion, improvised synths and syncopated bass lines. The record showcases Close Counters’ infectious instrumentation, while intricate production allows the tracks to retain an energetic yet spacious feeling. Collaboration has always been at the heart of Close Counters’ music, and the album showcases exuberant feature performances from Lyric Jones, Tiana Khasi, Allysha Joy, Jace XL and Shiv, plus nods to their wider collaborative team on the record (Lucky Pereira, Robyn Poppins, Matthew Hayes, Ryotaro Noshiro, Tiaryn Griggs, Annalisa Fernandez, plus Adam Halliwell of Mildlife on the album opener) creating a festive community and captures their live-performance energy throughout.

 

Listen to ‘LOVERS DANCE ACADEMY’ here

 

Press release courtesy of Only Good Stuff

Rose Bonica is back with a new EP ‘QUICKSAND/FEAR ME’

Feb 14, 2025 | New Release, Music

Rose Bonica is a live electronic act, music producer and visual artist based in Cape Town, South Africa. Rose’s production style is complex, self taught and unpredictable. Her work is a reflection of her perspective on everything from love and pain to the joys of domestic cats or the experience of navigating a world in crisis.

She shares about her latest release, “Life doesn’t stop—and that’s okay. Sometimes, it takes time to find your rhythm again. In the past three years, my world has flipped, flopped, broken, and rebuilt itself. I’ve been trampled and rebirthed, let go of my last name, and now I’m standing at the edge of a new chapter, awaiting the title of Mom.

Before she arrives, I feel the need to shed what was and honor what’s to come. This 2-track EP—QUICKSAND/FEAR ME—is a part of that process. The tracks were created in some of the most turbulent times of my life, when I believed music was all I had. It felt like I had to race to get the tracks out, as if I was desperate to hold onto something amidst the chaos.

Listening back now, with years of space and a different perspective, I hear the beauty in them—raw and unpolished, yet honest. They no longer feel like something I need to explain or defend. They simply exist as snapshots of who I was then, making room for who I am becoming now.”

Listen to QUICKSAND/FEAR ME here

Press release courtesy of Rose Bonica

ASICS x CEC: City Living is a Sport – ft. Tarryn ‘Bambi’ Tippens

Feb 12, 2025 | Fashion, Community

‘THE ART DIRECTOR MAKING EVERYTHING LOOK GOOD – LITERALLY.’

She builds visual worlds that feel and look like they were plucked from your dreams. There is no space left untouched or unnourished when she’s on set, and it shows. To revitalise her eye, she heads for the forests around the city.  

You can catch her frolicking in a meadow or curating the perfect shoot in her sleep.

In collaboration with ASICS SportStyle, our latest editorial campaign ‘CITY LIVING IS A SPORT’ highlights a series of creatives over 5 weeks who embody the agility and self-expression required to create their visions. Cities are a convergence of chaos, resilience, and the pursuit of opportunity; we are inspired by the people whose very essence encourages and grows the cultural story of the city that they live in, and the way in which ASICS as a brand serves as the perfect companion on their path.  

Last week, we brought you Andile ‘Ace’ Dlamini and this week, we introduce our second character; the essential and critical art director; a role that dissolves the line between precision and imagination, with their work translating the visual worlds intended by a creative team. Tarryn ‘Bambi’ Tippens is one such art director, whose initial foray into fashion design led her to curating dreamlike shoots and commercials; and she’s a force to be reckoned with.

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus, Talent: Tarryn ‘Bambi’ Tippens, Photographer: Keegan Foreman

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus, Talent: Tarryn ‘Bambi’ Tippens, Photographer: Keegan Foreman

For this art director, Tarryn’s secret to moulding the mood in her work lies in flexibility. “It’s about knowing when to stick to the plan and when to let things flow,” Tarryn says. “You need a solid base to make sure everything looks right, but then there’s room to get creative and experiment. I think it’s about striking the right balance between sticking to the vision and allowing a bit of freedom to keep things fresh.” 

When bringing a shot to life, energy comes first. “I consider what kind of energy I want the shoot to give off.” she notes, and “whether it’s laid-back, edgy, or dramatic, that feeling sets the tone for everything else, from the colors to the styling to the setting. Once I’ve got that locked in, everything else just falls into place.” It’s this intentionality that ensures every detail aligns with Tarryn’s overarching vision, and makes her one of the most exciting creatives in South Africa right now. 

When conceptualising Tarryn as a character, we were equally informed by her personal style and ASICS’ origins in the sartorial home of the avant-garde—Japan—and its disciplined status masters in the art of layering. “My personal aesthetic leans more toward the edgy and darker side, and that definitely makes its way into my work. I like to incorporate bold, raw elements that add a bit of depth to the projects I work on. But, of course, I always make sure the project’s vibe comes first. It’s about finding a way to blend my style in a way that still serves the bigger vision,” Tarrryn explains, underpinning  her ability to adapt while staying true to her instincts creates work that feels both personal and universally resonant.

For ‘City Living Is A Sport’, Tarryn is styled in the GEL-1130™ sneakers, an homage to the ninth iteration of the iconic GEL-1000™ series. Originally a stability running shoe from 2008, it offers a supportive design perfect for wherever your mind takes you. The traditional materials have been updated, blending its notably nostalgic aesthetic through a contemporary lens, and for added comfort, ASICS’ signature GEL™ technology in the heel ensures all-day cushioning, making it as functional on the streets as it was on the track.

Paired with the Tennis Midnight Blue Court Skirt, a piece designed for matches, practices, or layering, is made from classic tennis material with pique mesh, keeping the body cool and balanced. The adjustable drawcord waist and side slits provide flexibility and a perfect fit, allowing the wearer for complete freedom of movement. Finally, the look is completed with the Performance Running Black NAGINO™ Run Adjustable Hoodie, designed to inspire calm through mindful movement. This versatile hoodie features a soft knit fabric, relaxed fit, and practical details like side pockets and thumb holes— we say, more to thumb hole additions in womenswear, please!

ASICS SportStyle itself is an offering from the iconic brand that brings together the functionality of performance technology with contemporary design; showcasing footwear and apparel that transcend the boundaries between sport and lifestyle. Rooted in ASICS’ legacy of innovation, SportStyle collections combine functionality and thoughtful design; for taste-makers and athletes alike. 

To keep her ideas fresh, Tarryn draws inspiration from a wide range of sources. “Music, research, and social media are huge for me, but I also have some really cool friends who I can bounce ideas off of,” she says. “Every project has its own challenges, and that’s what keeps things exciting and helps me stay open to new influences.” 

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus, Talent: Tarryn ‘Bambi’ Tippens, Photographer: Keegan Foreman

‘CITY LIVING IS A SPORT’ Produced by CEC for ASICS SportStyle with Creative Direction by Candice Erasmus, Talent: Tarryn ‘Bambi’ Tippens, Photographer: Keegan Foreman

On what ‘City Living Is A Sport’ means to her, Tarryn shares that “city life demands constant energy, adaptability, and a sense of timing,” she says. “As an art director, I’m often juggling multiple tasks, pivoting quickly, and navigating a fast-paced environment. It’s about balancing strategy with spontaneity and taking it one step at a time.”

In the landscape of city living, Tarryn’s commitment to her work and self-expression demonstrates the dynamic interplay of discipline and creativity in realising one’s purpose. Through this view, City Living Is A Sport pays respects to the ingenuity that defines what it means to truly flourish in the ever-changing movements of city life. 

Tarryn’s look: Tarryn wears the Asics Tennis Midnight Blue Court Skirt, layered with the Asics Performance Running Black NAGINO™ Run Adjustable Hoodie, a piece designed to inspire inner calm through mindful movement. The look is completed with ASICS’ GEL-1130™ sneakers in Black and ASICS’ crew socks, with the intention of the look offering a nod to ASICS’ origins in the sartorial home of the avant-garde—Japan—and its disciplined status masters in the art of layering.

 

Credits: 

Produced by CEC for ASICS SportStyle 

Creative Direction by Candice Erasmus

Talent: Tarryn ‘Bambi’ Tippens

Production assistant: Grace Crooks

Photographer: Keegan Foreman 

HMU: Xola Makoba 

Stylist: Holly Beaton

Art Direction and Campaign Design: Briony Blevin

Written by: Holly Beaton

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

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‘When You’re Too Good To Gatekeep’ with Model, Muse and DJ Ponahalo Mojapelo

Feb 11, 2025 | Interviews, Fashion

I have been trying to challenge, within myself, the idea that a single craft or expression is the thing that will eventually come to define us. For artists and creatives, mastery is a necessary part of excelling and exceeding— but beyond our ability to ‘do’, lies an ephemeral spirit that is beyond articulation. The wisest advice I’ve ever received is that ‘no one can do what you do, the way you do it, with your energy and essence’ and I think about this phrase with each and every creative person that I speak to on this platform. This is the truth for each of us, and the medicine we must each employ when competitiveness — lack — or even jealousy comes knocking on our fragile psyches. The innate essence of each person is what makes our mandate at CEC, to celebrate creatives in all their multi-dimensional forms, a process with no expiry date or few restrictions. 

So in thinking of the characterisation and nature of multi-hyphenated essence— and the ability to share it through varying forms— I think this idea is exemplified by the work of Ponahalo Mojapelo. Few faces are synonymous with South Africa’s cultural renaissance across fashion, music and art over the last decade as Ponahalo;  as a model, DJ and content creator — you would be remiss to believe that after steadily ascending towards all her manifestations, that Ponahalo has even scratched the surface of her visions for herself, her hometown Joburg and South Africa at large.  From gracing the cover of Dazed, to her own Boiler Room set, to an original muse at Thebe Magugu; Ponahalo is *that* certifiable vision of our creative landscape. 

On her genesis, Ponahalo shares that “modeling came first when I was 18. A friend of mine was scouting models for a fashion show—it was a capsule collection by Nao Serrati. They were scouting models around Braam and Wits, and I was studying at Wits at the time. It was actually my roommate who got me into it. She was like, ‘You need some money, girl, so I’m putting you down.’ She didn’t even ask if I wanted to do it; she just decided for me.” With an initially casual approach, Ponahalo had no idea what lay in wait for her with this fateful experience; “I had always thought about modeling, considered it, but never really pursued it seriously. So when this opportunity came up, I thought, ‘Okay, let’s just do it for fun.’ It ended up going really well. There were some important people in the room, and I guess because my friend had been modeling for a while, people just assumed I had experience too. So I kind of just went with it.”

Pictured here, Ponahalo was flown to London by H&M, photographer unknown, imagery courtesy of Ponahalo

Photographed by Kagiso Phaswana

Ponahalo’s journey into DJing came shortly after her modeling debut. “There was a platform in Braamfontein, specifically at Kitchener’s, called Pussy Party—it was this queer space where they held parties every month,” she explains. “They reserved a segment of the lineup for femmes and queer people, while the rest of the venue was open to everyone. They also taught queer people and femmes how to DJ for free.” One day, the platform tweeted asking if anyone with good music taste wanted to open a set, and “A friend of mine tagged me because I was always the one playing music for everyone. If an album dropped, I had it first. I was that girl!” Ponahalo laughs, and after being tagged multiple times, Ponahalo shows up for her first set, arriving early. “They were like, ‘Okay, while you’re here, let’s give you a quick crash course on mixing,’” she recalls. “So I kind of learned on the job. But since I was already there, I just played what I knew my friends would love. It was an opening set, so at first, there were maybe two people on the dance floor. By the time I finished, the place was packed.” 

With an instinct as a curator and sonic space-holder, Ponahalo credits her years as a part girl with figuring out her signature formula of “starting slow, building up, and ending on a banger,” and that “I just knew how to create that energy. Plus, I grew up around music at home. I was a music captain at school—it’s always been a part of me.” Modeling and DJing, she notes, were the first two creative things she did, likely within six months of each other, around the age of 18 or 19. 

Reflecting on her work in both fields, Ponahalo sees it as a blessing to do music at night, and fashion during the day; “it’s work that I enjoy a lot, but at the same time, it’s also work that challenges me. It really exposes you to public perception in a big way. You can’t fail in private or fail quietly. If you mess up a transition, everyone on the dance floor feels it. If you’re not giving your all on a shoot, it’s going to show in the final photo that everyone eventually sees.” 

Ponahalo’s journey is marked by an equal measure of ambition and effortlessness; the kind of divine timing that words like ‘manifestation’ only attempt to allude to, but never quite capture. When Ponahalo was shot by Kristin-Lee Moolman for the cover of Dazed, this was a seminal moment for South Africa — with both photographer and muse South African born-and-bred. As Ponahalo reminisces; the whole experience was utterly surreal. “I’ve always had goals,” she says, and “I remember when I was 19 or 20, during the pandemic, I made a mock Dazed cover on Instagram. We weren’t really outside, so I took an old photoshoot, grabbed a PNG of the Dazed logo, and tweeted it as my interpretation of a Dazed cover. That was in 2020. Then, at the end of 2023, when I got the actual call to be on the cover, I was in complete shock.”

I remark to Ponahalo about the extent of this moment as historic, to which she says, “the power of timing, the power of manifestation—it’s so real. But I also believe manifestations lead you to where your work is. You have to put yourself out there, practice, say yes to as many opportunities as possible, and tell your own story. That’s been a huge part of my personal growth. I honestly don’t even know how to quantify it. I just know I’ve learned through failure, through trying, through reaching for the stars. And I’m still on that journey—I’m still growing, I’m still young, and I’m still figuring myself out.” In a cultural landscape that have diminishing returns on the longevity of such moments— Ponahalo is deeply earnest about her experience of these accolades, and the gratitude that she credits with motivating her experience of whichever opportunity she steps into, saying that “At the time, things like Boiler Room and Dazed felt like the peak—like, ‘This is it. This is everything I’ve ever wanted to do.’ Boiler Room is like the DJ Olympics. When I got that email, that call—I literally fell to my knees and cried. And when the Dazed cover was delivered to my house, I was just home alone, holding it in my hands. It was a random Friday, 11 AM, everyone else was at work, and I was in my house crying because it was real. My name was on it. Spelled correctly. It was a big deal for me.”

Photographed by Kagiso Phaswana

Photographed by TEE$ for Boiler Room TV

Above all, Ponahalo rides for Joburg like no other; and she is at the heart of a creative movement that emanates from the city, which I personally feel forms the heart of our overall renaissance as a country. As Ponahalo notes, “Johannesburg has always embraced bold fashion—crazy combinations are welcomed and celebrated.” Reflecting on the city’s growth, she recalls the rapid expansion she witnessed between 2016 and 2018. “I remember seeing it boom and grow, and then, with the pandemic and the global rise of South African fashion, the momentum only intensified. The spotlight was undeniable—especially when Thebe Magugu won the LVMH Prize.” Ponaholo worked with Magugu in 2019, the year he won, and remembers the surge of pride that followed. “It was a win for the entire culture, for Johannesburg in particular. The city was buzzing—we had so much pride, so much joy. It was like, ‘We built this, brick by brick.’ And it had been on the cusp of happening for so long. It wasn’t about getting ready—we had always been ready.”

“The city has always had this culture of cool, of standing out, of excess in fashion and expression. And what I love is that it feels so natural here. When you leave, you realise just how different it is.” She recalls a trip to Berlin where the difference was surprisingly stark. “I was in Berlin on holiday, and everyone was in shorts and slops. Babe. But if I had been in Braam, no one would have batted an eye. That’s just Jo’burg—everyone is a star in their own way.” 

“There’s this incredible energy here. Everyone is doing something big, something exciting. Everyone is part of something larger,” Ponahalo continues, and the city’s competitive edge is something Ponaholo cherishes deeply as a social code that keeps everyone aiming higher and higher, “What I appreciate most is how competitive it is—there’s no monopoly, no one entity dominating an industry. Everyone is thriving, and there’s always something new happening. Some people complain about there being too many events, but I love that. If one thing isn’t for you, there are twenty other options. You’re not boxed in—there’s variety.”

This diversity extends beyond just fashion, embedded in Johannesburg’s music scene. “There are gay parties, lesbian parties, spaces where trans people can feel safe and have a great time. There are inclusive spaces, balls, raves. Every kind of event exists in Johannesburg, and that, in turn, allows for every kind of music to thrive.” Ponahalo, who brings this wide-ranging energy to her DJ sets, shares how the city has shaped her sound. “No single genre dominates the city. You have piano parties, hip-hop events, punk nights, techno raves. I don’t just play one genre because I’ve experienced a city where every genre is given space to shine.”

Ponahalo’s journey as a DJ has always been about creating spaces where people feel seen and empowered. “When I started, my main focus was playing music that paired well with a girls’ night—music that made women, femmes, and queer people feel good,” she shares. She aimed to blend underground sounds with mainstream tracks, proving that these worlds can coexist. “I’ve always loved underground music—techno, hyperpop, ballroom, baile funk—but I also love pop classics, the kind of tracks that make the girls and the gays feel powerful.” Ponahalo’s musical evolution reflects the cultural shifts in Johannesburg; the city that she has grown up in and remains deeply a part of, “playing one genre is boring to me. I want my sets to be dynamic, inclusive, and unexpected. You’ll hear everything from vogue music to gqom to hyperpop. I want people to hear something familiar but also something that expands their musical world. At the end of the day, music is meant to unite.”  It’s the best feeling ever when you think you’re listening to one thing, and then it shifts into something unexpected—like another part of you is unlocked in that moment. I love that Ponahalo is the kind of DJ who embodies that; who gives each person on her dancefloor permission to know their multifaceted nature, and her multifaceted nature, too. 

I ask Ponahalo about building – year by year and seed by seed — on her life and vision, goals and dreams, to which she explains that “2024 was amazing. It felt so good to finally be seen by fashion brands I had admired for so long—brands I couldn’t afford growing up. To now be in a position where they’re sending me things, wanting to collaborate with me—it’s something I don’t take for granted at all. I spent a lot of time crying, a lot of time practicing gratitude. If I could quantify my tears, they’d probably fill a pool. That’s how overwhelming and beautiful it’s been. One of my biggest highlights was being flown to London by H&M. That completely changed my life” and that “I had been to London before, touring with Moonchild a few years ago, but this time, I was there with my own name, my own light. It was life-changing. I got to see Charli XCX live, which was surreal, and reconnect with so many friends who had moved to the UK. They were so welcoming, saying things like, ‘If you moved here, you’d be sorted. You’re going to be such a star.’ They really spoke life into me.”

“Traveling does that—it gives you a refreshed perspective on yourself and your work,” Ponahalo muses, and that “seeing my style and energy resonate in another country was really affirming. Strangers would stop me on the street—because, you know, in London, you’re walking everywhere—and I realised that the way I present myself, the way I stand out, translates no matter where I go. But I always made it clear: ‘I’m from Joburg. I’m from South Africa. This isn’t your style. This is South African style.’ I never wanted to be attributed to London or a Western influence. This was all us, baby.”

Last year set the tone for Ponahalo’s focus for this year; a shift toward creative direction, and further expansion of her creative expression in the world; “It was also incredible to have brands that believe in me and trust me to interpret their garments in a way that’s authentic—to me, to African hairstyles, to African expression—while also investing in me financially so I can pursue my own creative projects.This year, I really want to lean into creative direction. The relationships I’ve built with brands have put such a fire in my belly to push my personal work further. I’m hoping to start that as soon as this weekend.”

As for her advice to aspiring creatives, Ponahalo is explicit in trying everything and saying yes as much as possible; “I’d say try everything at least once. From fashion to DJing to any creative career—just give it a go. I think we’ve become so caught up in trends and aesthetics, but I believe in experimenting. Try “office core,” try “this core,” try “that core”—mix them up and find your personal style. If you’re interested in music but don’t know your genre, try playing a hip-hop set once. See how you feel preparing it, how comfortable you are performing, and how the crowd reacts. The same goes for creative directing, styling, and any other art form. I’ve done it all—I was a full-time stylist, a personal shopper, and even started a makeup course before the pandemic disrupted it. Some things stuck with me, others didn’t, and some found their way back to me over time,” and that, “with social media, it’s easier than ever to learn and connect. There are tutorials on almost anything, so there’s no reason not to give things a shot. It’s never too early or too late to start. More than anything, root for yourself—put your all into it and imagine there’s no way you can fail.”

For someone whose natural instinct is to manifest — Ponahalo is manifesting her next move, this time overseas, as she dreams of living and working in Europe, whether in London, Paris, Amsterdam, or Milan. “I feel like my style, my flair, my energy—it’s too good to gate-keep! It would be criminal not to share it with the world,” she says. Ponahalo envisions immersing herself in new cultures, growing through challenges; time abroad as a formative experience, and I agree wholeheartedly that Ponahalo is too iconic to gatekeep; South Africa, we’ll have to let her go— just for a bit, as after all—  “I want opportunities to flow naturally, in creativity, energy, and finances. Bigger things are coming, I know it.”

Watch Ponahalo’s Boiler Room Set HERE

Listen to Ponahalo’s Apple Music Visionary Women Mix HERE

Written by: Holly Beaton

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Peter Matson releases his new track titled ‘White Noise’

Feb 7, 2025 | New Release, Music

Featuring Kendra Morris, ‘White Noise’ is the first single taken from ‘Hotel PM’, the debut solo LP from Brooklyn-based musician/producer Peter Matson, co-leader of Underground System.

‘White Noise’ is a tune that goes on a journey. Musically speaking, a disco banger that is every bit as insistent and punchy as it is late night hazy and dance floor instigating. Kinetic percussion, synths, guitars and the brilliant string arranging of Sly5thAve layer in and out on top of the distinctly New York feeling rhythm section of Vito Roccoforte on drums and Mattie Safer on bass (bandmates from Poolside and The Rapture, and Brooklyn studiomates of Peter).

While the tune was originally a demo Peter sketched out in Mexico City and re-built slowly with the live instrumentation in mind, it sat idle for some time until Kendra Morris knocked it out of the park with her vocal performance and clicked everything about the song into place. Kendra is a Colemine recording artist and known for her stellar work in the modern soul, rock, and r&b spaces, but the mirror ball proves to light her up just the same, and the ‘White Noise’ echoes of Donna Summer-esque vocal range combined with the lyrical content is as fresh as it is classic.

Says Kendra:

“I was totally inspired both melodically and lyrically by Peter Matson’s disco palette of sound he created. I imagined being trapped inside an old television in the 70’s wearing a fur coat and trying to sell stereos on late night programming. The song is about those weird and wonderful nights out that really seem to begin after the rest of the world goes to bed.”

 

Listen to ‘White Noise’ here

 

Press Release courtesy of Only Good Stuff 

Mr Bongo releases ‘The Original Sound of Mali 2’

Feb 7, 2025 | New Release, Music

Following the success of ‘The Original Sound of Mali’ compilation, we return with another explorative delve into the wonders of Malian music compiled by French writer, journalist and Grammy-nominated compiler Florent Mazzoleni and David Buttle. Restoring, reissuing and contextualising iconic tracks from Ousmane Kouyaté & Ambassadeurs Internationaux, Rail Band, Les Messagers du Mali, Mystère Jazz de Tombouctou and many more, the second compilation in this series dives ever further into the richness of post-independence music emanating out of Mali. One in which traditional foundations and instrumentation, blended with modern musical advances and influence.

Following Mali’s independence, after ten years of maturation, the 1970s saw modern Malian culture revealed to the world through musical anthologies and overviews of national and regional productions. It was a remarkably fertile period of the country’s musical history, with state-sponsored bands and orchestras now able to be documented and recorded by sound engineers.

Mali has always had a diverse storytelling tradition through music, with each province and ethnic group having its own unique character and nuances. As influences and sounds from the West drifted over the Atlantic, Malian musicians began hearing artists like John Lee Hooker, Wilson Pickett, Johnny Pacheco, Celia Cruz and James Brown. Elements and ideas from blues, soul, rock and funk led to bands covering artists they’d heard from these genres. The Tjiwara Band de Kati’s raw cover version of Pickett’s soul / R&B classic ‘In The Midnight Hour’ and the James Brown funk-channelling cut ‘Get Up James’ from Les Ambassadeurs du Motel de Bamako, are two such examples featured on this compilation.

Those are just a handful of the recordings highlighted on this compilation, which includes an extensive booklet looking at the history and relevance of the tracks written by Florent Mazzoleni. With so much enchanting, deep and mind-expanding music coming out of Mali in this period, ‘The Original Sound of Mali 2’ is a perfect aid to discovering the richness of music this country has to offer.

Listen to ‘The Original Sound of Mali 2’ here

Press release courtesy of Only Good Stuff