PAIN IN THE EYES OF A MOTHER!

The look of a mother who wants nothing but to feed her young ones. She will exercise all means possible - even to shut down the city streets to ensure that the government officials listen to her grievances. They sat down on the then Van der Wald Street in Tshwane as they sang songs of a sad tone. They were grieving their eviction from trading amid the city's programme of relocating the informal traders. Following the protests and showing unity within the sector, the traders also acquired a voice in the city. Here is an article did for Daily Sun (2014 January 23) following the protests.

Informal traders and the city of Tshwane have reached a trading agreement.
Four major informal trading organistions held a meeting on Tuesday to say the city and the traders had come to an arrangement. This involved trading space, infrastructure development, licence allocation and sector regulation.
The associations were the Tshwane Informal Traders Forum, Tshwane Informal Traders Council, Tshwane Micro Entrepreneur’s League and the Tshwane National African Federated Chamber of Commerce.
The associations also condemned the recent death of 20-year-old trader Foster Rivombo, shot dead by a Metro policeman allegedly while the cop was trying to confiscate his bananas and apples.
“We don’t want to see that happening in the informal sector, whether they are killed by Metro cops or civilians,” said Strike Sebake of the Micro Entrepreneur’s League. “It dents the image of informal trading in the city while we are trying to expand it.”
He also slammed point-scoring missions by people or political organisations because someone had died.
Phillip Lethuba of the Informal Traders Council pointed out the Tshwane Barekisi Forum, whose leaders recently threatened to make the city ungovernable, was a break-away organisation from their group.
He said the forum will still be attending steering committee meetings under their umbrella. “There is this tendency among the informal traders, when a leader tells them the truth or something they don’t want to hear, to start labelling you as a sell-out.”
Sebake said the city recognised only these four organisations.

THE UNCONTAINABLE AFRICAN MELODY

A piece I did while ago... it does not have a title till I decided to post it on this Blog! I did not have a specific picture from the scene but I pull a related picture from my archives.

 A situation close to the massacre... It was on a koppie where miners were united through song for a struggle of their own and families. It did not only remind me of the bloody scene but how African we are and that Africa lives in us. The music, rhythm and the beat all entrenched in the heart tied to the soul.

 It was one afternoon near the mountains of Free State. Situated a few kilometres from the town of Bloemfontein [army mobilisation centre], a group of young men seated on what seemed to be a man-made koppie. A young black man aged between 18 to 22, medium in stature, with dark lips and bald head. He was wearing a white t-shirt with a black and white face print of Bob Marley.

Silent as the atmosphere was, one could hear the feet of those passing by rhythmically hitting the ground step by step. With the dust hovering a metre away from the ground, the sun was safely dancing behind the greyish clouds - that meant a chilled afternoon for the gents. One gentleman in a low tone started humming a song.

The melody resounding in the voice box just in the neck area awoke the Africaness that stood under the greyish clouds. Another gentleman jumped on the melodic boat. He started backing the melody in a bass tone. In less than 3 verses, over 10 people had hopped in the melodic boat. "Mama we mama we maaa!" In an alto tone, a voice erupted from the group of men. As if it was rehearsed, it was seconded by a deep "Wee maa!" The song gained momentum, the rest of the group joined. The voices hovered in the atmosphere accompanied by rhythmic claps. The leader of the song was frightened by what the song was becoming. It was not just a song, it was squeezing out the Africanness in everyone. It was increasingly becoming uncontrollable but emotive. Whistling and ululating came into the picture.

The leader of the song became even worried. The group was told to just sit there, make no movements and be quiet. He tried tone it down, like a good driver of a vehicle, he managed until the group turned into a mode of silence.

 Expecting a new song, they looked at the leader and he did not seem keen to drive the group again. "Ah Bob Marley! You take us this high and leave us hanging like this?" One gentleman from the group exclaimed. "Ingoma emnand i'yaphindwa - masiye Bob Marley," another reminded. The rhythmic claps started without a melody. Seeking approval from the superior, "Bob Marley" looked at the group's superior who nodded in approval. "Mama we mama we maaa!" The song with a huge backing erupted.

MADIBA'S OCEAN OF STARS!

I anticipated a pool of artists but to my surprise – it was not a “pool” but an ocean of artists. When I pushed the backstage door, I maintained a blank stare as the room was gleaming with some of Mzansi’s best stars. Like stars revolving around the orbit, they were moving around the room reading their scripts. Some like the legendary Sipho “Hotstix” Mabuse were testing their horns. Coming to think of it, this deep ocean was dug by Madiba. 

They were all present to honour him. Pushing the hands of the clock forward and skipping some of this momentous occasion… There was my first encounter with Simphiwe Dana. The atmosphere was seasoned with a voice of unity. As she set her feet on the stage, the crowd started cheering. A friend of mine seated next to me screamed. I understood that it was an encounter with one of her favourite African women. I had listened to her music, the likes of Ndiredi and other songs from the album One Love Movement - Bantu Biko Street. But I had never been to any of her live shows.

I had a firm grip on my camera attempting to get a good picture. Took a close up and attempted to sync her with the background to tell a comprehensive story. Let me not bore you with this adage: “A pictures is worth a thousand words.” It has been said over and over! Anyway, I pulled back to my seat and took pictures from there. There atmosphere was getting heated and the crowd singing rigorously to the songs. With her “time craft,” she also took us to Sophiatown as she sang one of Miriam Makeba’s songs (Malaika). People were on their feet singing along. I wondered what was going through her mind to such a reaction. Dana beautifully hit the right notes of that song effortless. My mind wandered for a while as I sunk in my thoughts. Is this the crop that the likes of Miriam Makeba made way for? Simphiwe gave us a glimpse of the 60s.

That moment I wished I was not a [slightly] born-free to witness these kind of moments with her [mam Miriam]. Maybe interview her about her international gig, her upcoming album or something. Thanks to YouTube, we can revisit some of those moments in her absence.  

I love candid photographs!

I just love candid photographs!

In those moments, that is when you get those raw and genuine smiles and those meaningful gestures which reiterates a point. They tell an authentic story. Its those moments when one won an award or a soccer player has scored a match winning goal. When they figure out that the ball did not go astray or deflected by the opponent, when they figure that the ball was far from the goalkeeper's reach and that the ball hit the back of the net - they just lose it, it is these kind of moments I like! Speaking of these moments reminds me of one of football greats, Roger Milla. After scoring that awesome goal, you know where to find him! Yes, there at the corner flag doing his unique goal celebration dance.

#TBT Siyabonga Twala and Nomzamo Mbatha at Number 1's inauguration in Pretoria.

#TBT Zenande addressing University of Pretoria students during the Chek-i Coast campaign.

Youngsters playing soccer during the launch of facilities in Mabopane, north of Tshwane.

Minister of Higher Education Blade Nzimande with Minister of Health Aaron Motsoaledi sharing a snippet from a book.

Scene from a play by Mpumelelo Paul Grootboom titled "Protest."

Since it is a Tuesday, I decided to throw a young HashTag #ThrowBackTuesday #TBT. You how this  #HashTagWhatWhatGenerations rolls. These are some of the photographs I captured during rehearsals and live performances. The photos include renowned iscathamiya group Ladysmith Black Mambazo, John Kani & Suzaan Helberg, Bucie and American poet Janette..Ikz.

#TBT: Ladysmith Black Mambazo performing at the South African State Theatre. The Show titled Amambazo told the story of how the award-winning scathamiya group came to being.

John Kani and Suzaan Helberg during rehearsals in Tshwane ahead of a show. 

#TBT: Bucie performing at the Union Buildings during an event. Can you guess which song she was performing? Take a guess! Alright, it seems obvious right? Well, get over it.

#TBT: Renowned poet Janette..Ikz performing in South Africa during the One Africa Tour.

Sdumo raising iNumber

Sdumo Mtshali: Photo: Supplied by Mad Moth Communications

He understood the power of storytelling at a young age after seeing a film inspired his father to become a voice of change in his community.

Since then, Sdumo Mtshali who shuns from being labeled an “actor” but a “storyteller” has never overlooked the power of his craft.

His name resonate to many following his achievements which include winning the Class Act competition and a role in the recent movie titled iNumber Number which was screened at an international film festival.

“My father was a huge collector of films and there is a specific film called Lean on me (lead role played by Morgan Freeman). The story was about a teacher trying to change a school from corruption and drugs… My father was a school teacher and that film pushed him to become a principal and change his school,” 2010 winner of SABC1 reality competition, Class Act, recalled from a series of childhood memories.

He pointed out that his father taught at a township school almost the same as the one in the film.

“He shaped it (the school), he had his own problems with this school but I saw the power that storytelling had in wanting to change a voice or make someone better,” he drew similarities as he explained.

In his bid to tell stories, Sdumo is featured as an undercover cop named Chili in the film that is making waves locally and internationally.

The film is about a pair of cops battling corrupt colleagues as well as a gang of amoured-car thieves.

The two cops, Chili and Shoes (played by Presley Cheneyagae) have been partners in the police force for eight years.

After they make a risky arrest, their corrupt superior refuses to give them a reward they are due. Enraged, Chili realises that honesty does not pay. He then infiltrates a gang of thieves who specialise in robbing cash vans.

The film has comic moments that bring relief from the ruthless thuggery. It had its world premiere at the Toronto Film Festival in September last year (2013) and will be released in America soon.

“As a heist movie, the film has an intricate plot and Sdumo delivers on every level,” the film’s Producer Harriet Gavshon commends.

For this film, Sdumo says he spent some time with undercover cops to understand from their point of view.

“I felt that I had the responsibility for the police force, to really give up the best that I could from the information they gave me from spending time with them and finding out about their own temptations. They face temptations and the film is about those things, you know. Temptation, what do you do? Life is about choices,” he said.

The film was screened at the Cannes International Film Festival which commenced on May 14 and runs until May 25.

Speaking about the film screened in France, he says: “that is beautiful, that is just stunning that they are appreciating who we are in South Africa.”

He adds that he wish South Africans could start appreciating themselves.

“…It is easier to complain, and say “why can’t we do it the way they do it overseas”? No, we can do it our way and we’ve proved that we’ve done it better our way. Now the film is showing at the Cannes Film Festival, it keeps growing, its going to be remade in America, it keeps going because we did it our way and it is time to be proud of that as South Africans,” he passionately says.  

The films rights to be remade have been bought and Sdumo says that indicates a lot.

“We have a lot of stories, what we must do now is to tell the stories and grow the industry,” he says.

Following its opening weekend (25 April), the film written and directed by Donovan Marsh has earned 19% more than the popular 2008 gangster movie ‘Jerusalema’, and has this far earned 4% more than the 2011 heist movie ‘How to Steal 2 Million’. It has also earned 81% of the box office takings raked in by Oscar winner ‘Tsotsi’ on its opening weekend in 2005.

Chief Executive Officer (CEO) of Indigenous Film Distribution, Helen Kuun says this is an excellent achievement for a film on its opening weekend.

Sdumo’s storytelling journey dates back to his pre-teenage days when he played part in a play called “Robin Hood - Men in tights.”

Sdumo who starred as Sibusiso Ndlovu on South African award winning telenovela, Isibaya, says he started watching more theatre shows.

“I started going to the Playhouse, I had a very good teacher, her name was Mrs Beard. I remember her very well. She used to push me a lot, watch theatre shows, invite me to shows – we called them iyiketch, (township sketch) and we used to perform them at school,” he recalled.

He still remembers the first time he saw Bheki Mkhwane, Samson Ndlovu on Isibaya, perform.

“I saw him perform in theatre with another partner of his who happens to be a huge mentor of mine, his name was Ellies Pearson. I watched them do a play titled The boy called rubbish,” he said as he tried to link those early days with the present.

Years later after graduating for Speech and Drama at the Durban University of Technology (DUT), he found himself working with them in theatre and on Isibaya.

“History has a way of playing tricks on you, God is like that, I guess he was reminding me where I come from. It is important to know that,” he says laughingly.

Recalling the moment when he was announced the winner of the Reality show in 2010, he says it took him a while to register the moment. 

“I was excited! There was so much excitement, so much exuberance that day. I feel to this day that I have flash backs,” he says as he tries to vividly paint a picture of what was going on through his mind.

“I can’t really remember it properly but so many things were happening so fast, you are pulled this side, you are hugged this side, there is kissing this side. People want to talk to you, congratulate you; tell you that they are proud of you and at the same time, the dawning freak! This really happened?” he described.

“I am very humbled and grateful for a moment like that, not many people receive that, especially in front of millions of people…

“When I did it, I wasn’t just doing it for me, I did it for my family, people who supported me in this. Even back in the theatre days, my mom had to pay for my rent. That moment involved so many things, so many sacrifices….

“My brother passed, he never saw that moment, so that belonged to him as well,” he painted a picture.

Sdumo landed a role on SABC1’s drama series’ Intersexions and Tempy Phushas and had a recurring role on eTv’s weekday popular drama Rhythm City.

When cameras are not rolling, Sdumo reads and do motivational talks with popular television personalities, Akhumzi Jezile and Pallance Dladla.

He says he does not want to inspire only aspirant actors but everybody because acting is not the only thing that exists in this world.

He pointed out that he wants to inspire people to become leaders and understand why and how factors of reaching for one’s dreams.

Sdumo is working on other projects that are still in the pipelines, for now, we have to sit back and wait for this talented artist to awe us.

By Letlhogonolo Mashego 

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*NB This is one of my articles from the archive hence never mind the mention of years.