The IQhawe Magazine Premier Issue- The Dawn of a New Era

ISSUE ONE

IQHAWE THE DAWN OF A NEW ERA.

EDITOR'S LETTER

What was once called black finds itself nowadays along a much broader spectrum of intentions. This premier issue includes a number of stories that focus, in one way or another on representation. We invite you (as our readers) to the first issue of IQHAWE MAGAZINE. At the end, we would like to acknowledge everyone who supported us while working on our first issue.

Heres to the dawn of IQHAWE. Pretty Renae Mangena Editor-In-Chief

SINCERELY.

Photography: Rethabile T'seiso Phakasi Mamarumo Marokane Writers: Luciana Malete Sikelelwa Vuyeleni Pretty Renae Mangena Art Direction: Alice Mathlodi Ramocoedi Make up & Styling: Lethabo Mothlalepule Phora Special Thanks to: Bridge Books Constitution Hill

@iqhawemagazine

06 06. Meet the team 11. Game Changers 25. Nina Simone: Four Women 28. IQHAWE top 5

IQHAWE ISSUE

01 35 . YIthi Laba 39Con-Hill Human Rights Fest:Â 41. Con-Hill Human Rights Fest: Filmmakers

39

MEET THE

IQHAWE TEAM

THE WOMEN BEHIND THE MAGAZINE

ALICE MATHLODI RAMOCOEDI Co Editor & Art director

SIKELELWA VUYELENI Co & Copy Editor

LETHABO MOTLALEPULE PHORA Co & Associate Editor

LUCIANA MALETE Vice Editor

01

“THE VOICE OF A BLACK WOMAN SHOULD ALWAYS BE HERSELF" -MALEBO SEPHODI

02

IN AWE OF BLACK GIRL MAGIC

FILMMAKER "GENTLE MAGIC"

" I TRY TO MAKE SURE THAT I AM NOT PANDERING TO THE SAME NARRATIVE, I AM ART."

-LERATO MBANGENI

FILMMAKER "UBUHLE"

"I WOULD LIKE FOR BLACK WOMEN TO BE GIVEN AN OPPORTUNITY TO BEING WOMEN FIRST." -MBALI MASHABA

F I L M M A K E R " I N K O N D L O " " Its one thing to come to a certain country and tell someone else's story, and its another when you're from that country and telling that story yourself "

NOMGQIBELO TYUMRE

Q. WHO IS THE FIRST BLACK PUBLIC FEMALE FIGURE THAT COMES TO MIND FROM YOUR CHILDHOOD?

A: MY FIRST BLACK FEMALE FIGURE IS MY LATE GRANDMOTHER LIZZY CLARA CELE, SHE HAS BEEN MY ANCHOR, MY GUIDANCE AND MY SUPPORTER ALTHOUGH SHE DIDN’T UNDERSTAND WHAT I WAS DOING IN MY CAREER. SHE THOUGHT I WAS A JOURNALIST AND SHE SUPPORTED ME EITHER WAY. SHE HAS ALWAYS BEEN A STRONG FIGURE IN MY LIFE. SHE RAISED ME, SHE WAS MY BEST FRIEND AND SHE WOULD ALWAYS BRING EVERYONE TOGETHER EVEN THOUGH I DID NOT KNOW HOW. SHE WILL BE USED AS REFERENCE WHEN I HAVE KIDS ONE DAY. Q. WHAT KIND OF SUPPORT DID YOU RECEIVE THROUGH YOUR PROJECT? A: THE JOURNEY OF MY PROJECT WAS STRESSFUL FROM PRE-PRODUCTION TO POST PRODUCTION, BUT MY PARENTS SUPPORTED ME THROUGHOUT. MY DAD WOULD DROP ME OFF AT LOCATIONS AND MY MOM WOULD ALWAYS ASK HOW FAR I AM AND HOW THINGS WERE GOING WITH THE PROJECT. MY PARENTS BACKED ME UP WHEN FAMILY MEMBERS WERE AGAINST MY CRAFT AND THAT KIND OF SUPPORT TO ME IS AMAZING. I WOULD NOT TRADE IT FOR ANYTHING

MBALI MASHABA Q.WHO IS THE FIRST BLACK FEMALE PUBLIC FIGURE FROM YOUR CHILDHOOD?

A: IT HAS TO BE LELETI KHUMALO; SHE ALSO PLAYED AS AN ACTRESS IN ONE OF MY FAVOURITE FILMS; YESTERDAY. SHE IS THE FIRST BLACK FEMALE TO EVER EMBODY WHAT IT IS TO BE A WOMAN IN DIFFERENT WAYS AND DIFFERENT TIMES APART FROM OUR EVERYDAY STORIES LIKE OUR GENERATIONS. LELETI RAN SO THAT A LOT OF BLACK WOMEN COULD WALK.

Q.THE KIND OF REPRESENTATION THAT YOU CREATE REVOLVES AROUND BLACK FEMALE BODIES,WHY WAS THIS IMPORTANT TO YOU FROM A CREATIVE POINT OF VIEW AND A PERSONAL ONE?

A: IT WAS IMPORTANT FOR ME TO CREATE CONTENT AROUND BLACK FEMALE BODIES BECAUSE I HAD NOT SEEN BLACK WOMEN ON SCREEN IN DIFFERENT WAYS, AND A LOT OF WOMEN ARE COMING TO THE FORE-FRONT IN NARRATIVES.WE HAVE LOCKDOWN WITH A MAJORITY OF FEMALE CAST AND BACK IN THE DAYS WE HAD, SOCIETY. THIS GIVES ME A SENSE OF I AM BEING SEEN AND I SEE MYSELF IN THESE CHARACTERS AND IT’S A FEELING THAT I DON’T THINK A LOT OF PEOPLE GET ACCESS TO, BECAUSE THERE IS OVER SATURATION OF A TYPE OF REPRESENTATION AND I DON’T THINK WE SEE A LOT OF WOMEN IN VERSATILE ROLES. TO ME IT HAS BEEN A KIND OF OBLIGATION IN MY WORK TO TRY AND REPRESENT DIFFERENT TYPES OF WOMEN.

Q.WHO IS YOUR ALL-TIME FAVOURITE FEMALE DIRECTOR AND WHY DO YOU LOVE THEIR WORK?

A: ISSA RAE CHANGED THE GAME, THE PATRIARCHIES ARE SHAKING (LAUGHS). FOR THE FIRST TIME IN A LONG TIME WE WERE ABLE TO SEE FACETS OF OURSELVES THAT WERE NOT SO POLITICISED AND THAT IS THE REASON WE LOVED IT . THIS QUESTION BREAKS MY HEART BECAUSE I CAN’T THINK OF MANY FEMALE DIRECTORS EVEN WITHIN THIS COUNTRY.

Q: BLACK FEMALE REPRESENTATION HAS ALWAYS BEEN POLITICAL, IT HAS ALWAYS BEEN CREATED TO MAKE SOME SORT OF COMMENTARY ABOUT WOMEN FOR THE LONGEST TIME BE IT CONSCIOUSLY OR UNCONSCIOUSLY. WHAT ARE YOUR THOUGHTS ON THIS AND WHAT DO YOU THINK NEEDS TO BE DONE?

A: THE PERSONAL IS POLITICAL, I FEEL LIKE YOU CAN’T SEPARATE THE TWO. OUR HAIR HAS ALWAYS BEEN POLITICAL, OUR LITERAL BODY, AND SKIN. NOT RACIALLY OR BLACK WHITE BUT ALSO IN TERMS OF COLOURISM. EVERYTHING ABOUT THIS LITTLE CONTAINER THAT WE HAVE THAT IS OUR BODY WILL ALWAYS BE POLITICISED. WHAT I THINK NEEDS TO CHANGE IS PEOPLE THINKING THAT BLACK WOMEN ARE CONFUSED ABOUT WHAT THEY WANT. WHAT I WOULD LIKE FOR US TO DO AS WOMEN IS TO BE GIVEN AN OPPORTUNITY TO BE A WOMAN FIRST AND BE REPRESENTED AS SUCH.

LERATO MBANGENI Q.The kind of representation that you create revolves around the black female body, why is this important to from a creative point view and a personal view?

A: The kind of representation that I create is around my black female body and the experiences of it and the shared experiences with the people who have similar experiences in life. As a creative I draw my work, thoughts and ideas from my personal lived experiences and also from the people around me who are black women most of time. It was important for me to create those stories or tell those stories because they are my stories. So I am telling those stories myself.

Q. Now that there are more platforms for the people of colour do you believe that they are enough, and what are your contributions on that?

A: Most of the information received growing up was not black created, so now I feel really happy because I consume so much content that comes from black people from the movies that I watch, the music that I listen to, the books i am reading as well as the visuals I am seeing.There is always room for more and the alternative.

I have creative HD, where I can’t focus on one creative channel or one creative stream so I

don’t consider it as a contribution to the body of work that black people are putting out there but I definitely know that as a black women I am doing my part as to representing myself.

Q.What kind of work do you want to produce?

A:Â Producing more work that is not grounded to activism, political documentary space.I am ready to produce work just to be, to work on something weird , beautiful , funny because we do not have one way of narrative or one space of creating and being able to open that space as a black female creative. Our films and stories do not have to fall into one space or narrative.

IQHAWE TOP 5

FILMS WITH AMAZING BLACK FEMALE REPRESENTATION

BY PRETTY RENAE MANGENA

Black female representation in cinema.

Black female representation in cinema often surrounds socio-political dynamics, that transcend beyond the screen, but we are able to find five African films, three of which are by black female directors that depict black female representation with the kind of urgency that most have failed to do.

DIRECTOR : MMABATHO MONTSHO "JOKO YA HAO" 2018

PREMIERED THE AFRICA RISING INTERNATI ONAL FILM FESTIVAL Film synopsis:Â The films follows the life of a defiant female lay preacher who takes a stand to fight her church as her community becoming a symbol of resistance against the apartheid regime.

DIRECTOR : RUNGANO NYONI 2017 "I AM NOT A WITCH"

BAFTA Award for Outstanding Debut by a British Writer, Director or Producer Film synopsis: Following a banal incident in her local village, 8-year old girl Shula is accused of witchcraft. After a short trial she is found guilty, taken into state custody and exiled to a witch camp. At the camp she takes part in an initiation ceremony where she is shown the rules surrounding her new life as a witch. Like the other residents, Shula is tied to a ribbon which is attached to a coil that perches on a large truck. She is told that should she ever cut the ribbon, she'll be cursed and transformed into a goat.

DIRECTOR :Â Ntshavheni wa Luruli "ELELWANI " 2014

Africa Movie Academy Award for Best Production Design Film synopsis: Elelwani and her boyfriend are in love and have plans to spend the rest of their lives together. They are both educated and live urban lives with aspirations to travel abroad.

After her university graduation Elelwani returns to her family in the rural countryside to introduce her boyfriend and announce her future plans. But the weight of tradition bears heavily on her family and they refuse to accept her union. The father wants his daughter to become the wife of the local king despite his daughter's insistent refusal. What unfolds is a secret hidden by the royal family from the community and Elelwani is destined to uncover these mysteries and deceptions.

DIRECTOR

:PALESA

SHONGWE "NOMALANGA

AND

THE

WITCH" 2014

BEST SOUTH AFRICAN SHORT FILM AT THE DURBAN INTERNATIO NAL FESTIVAL Film synopsis: A newly wed woman, uNomalanga, who is also new to a small village in South Africa, attempts to befriend her notorious neighbor, while also  finding an unexpected predicament in the friendship.

DIRECTOR : OLIVER SCHMITZ LIFE, ABOVE ALL 2011

GOLDEN HORN AWARD FOR BEST ACHIEVEME NT IN SCRIPT IN A FEATURE FILM Film synopsis: Follows the life of 12 years old girl named Chanda who learns of a rumor that spreads like wildfire through her small, dust-ridden village near Johannesburg. It destroys her family and forces her mother to flee. Sensing that the gossip stems from prejudice and superstition, Chanda leaves home and school in search of her mother and the truth. Life, Above All is an emotional and universal drama about a young girl (stunningly performed by first-time-actress Khomotso Manyaka) who fights the fear and shame that have poisoned her community.

NINA SIMONE: FOUR WOMEN

not for everyone

Written by

LUCIANA MALETE

In an era of ‘yaass queen’,’femfitising’ and all its feminine This would be assumed to have performances, resonated with a South African how much can we learn about femininity (specifically black) when everything-including culture-is stripped away?

Entering the Market Theatre with a new take with a strong script and soulful music selection was just the first of many challenges for the Nina Simone: Four Women play had.

Nina Simone pioneered a frankness about race, politics, sex and gender identity. The song “Four Women” by the artist draws from the aftermath of the 1963’s 16th Street Baptist Church bombing and the loss of four young girls. The play channels Nina’s most popular civil protest music ,a contemporary story with a clear beginning. This constructed reality centres around four women of colour living amongst a diaspora of black women realities during America’s heightened political upheavals

audience with our heartache from apartheid .However this struggled to translate itself into a relevant context that is complemented by performance. Failure was not by featuring a singular location of the Baptist church and multiple story arcs of the four women present in the church yet the actual performance. Generic expectations of a musical there would need to be a credible link between the cast and the message of the plays script. The general type-casting appeared as a marketable make up rather than of those who could have represented their characters genuinely. In this, they have failed to give their audience a better understanding of South African women and our nuances in relation to African American women. Even in that attempt , the idea to cast a ‘Nina Simone’ that does not replicate but embody her essence was rather of a melodramatic performance.

However, it is the beginning of a conversation and not the end of it. How we choose to represent women rather than the choice itself to represent them.We do not need a feminism that is trendy, we need a feminism that's transformative. The overall turn out of the play shows an interest that the audience had in taking up the challenge. That engagement is how that process impacts and inspires contemporary, culture, society and art.

THE "YITHI

LABA"

EXHIBITION HOSTED BY THE MARKET THEATRE

Written by Pretty Renae Mangena

“When Black Bodies are on stage, Black perspectives must be reflected. This is not simply a matter of artistic interpretation’; race and sex play a pivotal role in determining who holds the power to shape representation.”

-TONYA PINKINS

"YITHI LABA" In 1838, Louis Daguerre, took a picture of the Boulevard Temple in Paris, and just outside one of the buildings stood a human figure, which was captured in the frame.This was later marked as the first ever camera photograph to capture human life. So therefore , it is safe to assume that this also marked as the origin of the ideologies that came with photographic and cinematic of representation. Which, over the years has been subject to multiple academic discourses. This idea that, representation makes a person is subject to the photographer/filmmaker’s subjectivity and the audience’s gaze which creates social-political dynamics beyond it being just a picture.. What extends the discourse even further is, then who has the urgency to represent who? and what do certain representations mean for certain marginalized groups in society. In South Africa in particular, a country that has seldom given black women the urgency to their own representation particularly in relation to historical photographic representations. Instead what we have is black female representation told form a male perspective.

Pretty Renae Mangena editor-in-chief

And in particular, the perspective of a white male being at the driving force of the kind of narratives about black women you see represented and the discourses that circulate surrounding that representation. That later influences their lived experiences. Which also drives the urgency in the kinds of social, political and economic dilemmas facing black women be it in film, photography, art as well as theatre. So when I heard about the all women collective exhibition titled “Ithi Laba” (This is us) taking place at the Market Photo Laboratory, which would feature work from world renounced “visual activist” Prof. Zanele Muholi together with other phenomenal, photographers Ruth Motau, Berni Seaile, Neo Ntsoma and Lindeka Qampi curated by Lerato Dumse and Zakara Raitt.

=

An entire exhibition featuring women of color photographers which is curated by a black woman. What!? Needless to say that I was beyond excited about it. So when the exhibition finally opened on the 28th of February, and when I walked into the exhibition space and saw a room full of black women, that were there to see the exhibition, but more than that, they were there to see themselves represented by their own. I nearly fell down and died, having experience this in my life time is honestly a dream come true.

.The “Ithi laba” exhibition is a long overdue call to action PRETTY RENAE MANGENA

The diversity in representation made the exhibition not only subject to queer or gender politics, but extended the discourse into a broader context including interracial relationships within the queer community, the different dynamics that come into play in such spaces brought about by Muholi’s stills, the economic positionality occupied by black women in this country, represented by Lindeka Qimbi’s pieces while Roth Motau’s work touched on religion in black communities, its role it’s influence and means of control over one’s identity by simply capturing a church sermon. The “Ithi laba” (this is us) exhibition just like its name a long overdue call to action to say this is us and we as women of color are more than capable of telling our own narratives and having dominion over them, just like Tonya Pinkins puts it “When Black Bodies are on stage, Black perspectives must be reflected. This is not simply a matter of artistic interpretation’; race and sex play a pivotal role in determining who holds the power to shape representation.”

con-hill human rights festival:

FILMS

"using representation to tackle  social misrepresentations about black people" Pretty Renae Mangena & Sikelelwa Vuyeleni

AS CREATIVES LIVING IN SOUTH AFRICA 25 years after the abolishment of apartheid. We understand the sacrifices that were made by those  that came before us, we aware of the privilege that comes with being able to practice our craft. We are also aware of the fact that their sacrifices have granted us the opportunity to be able to tell our own stories using whatever tool at our disposal to critically challenge social and political ills that still face us today.

So when we got the opportunity to screen documentary films by young black filmmakers at the 2nd annual Constitution Hill, Human Rights Festival which ran from the 21st till the 24th of March. Our main objective was to showcase work by young black creatives who are using representation to tackle social misrepresentations about black people. While highlighting the fact that even though there has been a transition in social, politics and economic structures in the country there are still a lot of issues surrounding the lived experiences of black people and other minority groups living in the country.

We also wanted to use the opportunity to pay homage to the women that had spent time incarcerated at the women’s jail which is where we got to screen the films.

Furthermore, to use the platform to celebrate blackness and the multilayered identities that exist in the spaces we dwell in as young millennials living in the country today. And in doing so giving black creatives the platform to be at the driving force of defining black representation.

The common thread among the films was the overall urgency in the representation of black people by black filmmakers The first film being a flm called “Nomasonto” directed

by Neo Twala,which aims make a commentary on the different notions surrounding the thrift culture and how one dresses and visually represents themselves is closely linked to identity.

" THE DRIVING FORCE OF DEFINING BLACK REPRESENTATION"

While “Conversations about Home “ directed by Anastasia Nkhuna investigates the notion of being away from one's home country, how this influences your livelihood experiences, particularly living in a country such as South Africa. And “A revolutionary Act”directed

by Tsogo Kupa investigates the idea of culture and the intersectionality it has with what society considers taboo and therefore tries to find the root level of the problem which is evidently present particularly in the context of homosexuality. And "Ubuhle" directed by Pretty Renae Mangena and Mbali Mashaba aims to instigate a conversation about beauty standards and the ideologies that have defined these in and around black communities, particularly in modern day South Africa, and how they are often linked to history and politics of survival.

Which is also closely linked to “A Gentle Magic”directed

by Lerato Mbangeni which investigates the extent in which colourism infiltrates into society, and the extent of skin bleaching reaches in those spaces. But enough about what we have to say, and hear it from the filmmakers themselves about their work below.

Anastatia Nkhuna

Director of "Conversations About Home"

THE CONSTITUTION HILL HUMAN RIGHTS FESTIVAL RECAP: The Question and Answer

1. As filmmakers representation is important but who has the agency to represent who?

- When making a documentary film the agency lies in the individual telling their story they have the ability to act independently and make their free choices and voice themselves the way they want given the topic being discussed the role of the filmmaker is to ensure they are represented truthfully and authentically.

2. What was the drive behind making this film? What was your main objective or rather what commentary did you want to make?

-The film was merely going to be a submission for our 2nd year documentary final exam equivalent. The drive behind the documentary was very personal we wanted to do something different that isn’t always found in mainstream media. We wanted to tell a real-life narrative and represent the large fragment of migrant domestic workers who have similar narratives. It was also inspired by a conversation Rafael had with one of our interviewee Lucy Mpofu who works for his family and one that Kirsten had with Portia Sibanda who is also in our film and both of these conversation were about home and why they left to look for work and what they miss about home. It lead to us creating this film to take on a different immigration narrative.

3. Often times we hear the words "authentic African representation" thrown around. What for you constitutes as that, particularly in film from a South African context?

-Authentic African representation in a South African context is representation that inspires those without voices to speak and be heard. It exposes stories that were previously labelled as unable to capture audience or be televised. It is representation that is relatable to many and importantly one that is accessible.

4. What would you like your audience to take away, now that they have watched your film?

-I would like the audience to leave the film with a feeling of understanding and compassion for immigrants who leave their homes in search of better economic conditions and for many other reasons. Importantly I want them to advocate for change in the mindset of others who hold xenophobic views. We all have a place we call home and a conversation about home is something we can all talk about whether it is pleasant or not.

"Authentic African representation in a South African context is representation that inspires those without voices to speak and be heard"

Tsogo Kupa

Filmmaker "A revolutionary Act"

THE CONSTITUTION HILL HUMAN RIGHTS FESTIVAL RECAP: The Question and Answer

"BLACK HOMOSEXUAL LOVE, WHEN IT IS LOUD, PROUD AND HAPPY, CAN BE ITS OWN FOR OR REVOLUTION."

Q.And where does your film find its place within that discourse?

A.Within the contentious discourse of the film, I think "The Revolutionary Act" tries to find a middle-ground. Even though we position the film in the voice of Queer people, we also attempt to sympathize with those who opposed the film due to their cultural beliefs and backgrounds. We believed that the opposition wasn’t at least completely wrong and tried to shed some light on where they were coming from but also showing the harmful impacts of their decisions against Queer people.

Q.What was the drive behind making this film? What was your main objective or rather what commentary did you want to make?

We felt the story was important to tell not only to try and create a comprehensive analysis of what was going on surrounding Inxeba, but to also show what Homosexuality in South Africa means in a contemporary climate.

Q. Often times we hear the words "authentic African representation" thrown around. What for you constitutes as that, particularly in film from a South African context?

Personally, I don't think any singular body of art can encapsulate a whole African, or even Southern African experience. Our film can't even say it's uniquely representing the totality of the LGBTQ+ experience in South Africa.

What I think films can do, is try and find their small microcosm and try their best in uplifting their voices and doing them justice on screen. We chose not to have our personal voices as filmmakers be present in the film and chose to focus on those who had personal experiences and stakes in 'Inxeba'. We also had to grapple with what common depictions of Queer struggles are portrayed in cinema at large and therefore we tried to steer away, as much as we could, from 'Queer tragedy' which in short just means representing

Queer people as people constantly afflicted and depressed by heteronormativity. We also wanted to prioritize Queer joy over homophobia.

The Queer people in our film are happy, and mostly seen as happy. As our title sequence let’s the audience know, Black homosexual love, when it is loud, proud and happy, can be its own for or revolution. So we tried our best to have that come across the documentary even despite the controversy the film tackles.

Q. What would you like your audience to take away, now that they have watched your film?

A.The one take-away from the film, I hope, is a growing awareness of Queer people's existence and struggles in South Africa, which is not only decades strong, but one that isn't bound to disappear anytime soon. And that despite all that happens to Queer people, they’ll always find a way, by fire, by force, to show everyone, that they’re here, they exist, they’re valid and above all, they will always survive.

Neo Twala

Filmmaker , director of “Nomasonto�

Q. Judging from the representation that we saw in your film, Nomasonto, do you think it is important for you to represent black women in your film?

A: It think it's very important to represent black women and black people in general on our tv screens and in other industries too. Seeing Connie Ferguson, Basetsana Kumalo, Shonda Rhimes and Issa Rae, to name a few, in the motion picture industry gave me assurance that it can be done and I'm grateful for them.

This is the time for black people to write about themselves and to write for themselves.

"WE ARE ALLOWED TO TELL OUR STORIES."

W

hat was the drive behind making this film? What was your main objective or rather what commentary did you want to make? Â A: When conceptualizing this film with Sizwe Mbiza and Miya Twala, we wanted to pay homage to the thrifting culture we grew up on and Johannesburg, how these two aspects harnessed our love and admiration for fashion. We didn't necessarily start by wanting to make a statement, rather to tell a story that we felt was authentic to us and where we come from. Â Q.What would you like your audience to take away, now that they have watched your film?

A: I would like our audience to leave with a sense of appreciation for the narrative and the representation. I'd like them to leave knowing that original South African stories by South Africans are possible. We are allowed to tell our stories.

We were not only representing black people but we were representing Johannesburg and exploring one of the beauties of it.

We took something as simple as a young girl thanking her father (and Johannesburg) for teaching her the thrifting culture and we made it personal. A lot of feedback that we received was about how this film felt like home. I have a friend living in China and she said it made her miss home and I think it's because it captured a culture that many of us are a part of, especially growing up black in Johannesburg.

Q.Often times we hear the words "authentic African representation" thrown around. What for you constitutes as that, particularly in film from a South African context?

A: What constitutes "authentic African representation" in the South African motion picture context for me is our visual language, which speaks to how we use different mediums such as music and cinematography.

Another point is our narrative.

Our past, present and future are unique to us as a country and I believe that makes makes our films and television content authentically South African. They represent South African people and a South African style. There's Hollywood, Nollywood and Bollywood for example and each of them have a unique way of telling stories because of where they originate from. South Africa is the same. We have our own visual language and we use mediums how we see fit for our narratives.

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