IQHAWE MAGAZINE' SECOND ISSUE

IQHAWE

MAGAZINE|ISSUE NO.2

Self expression through hair is Political | p. 16

EMOTIONAL SAFETY Nirvana Nokwe gives a lowdown on Self Care| p. 29

CREATING BLACK Visual Artist Profile | Ayanda Tloti | Zuganov Tembo| p. 53

26 MAY 2019

BLACK HAIR IS POLITICAL

EDITORIN-CHIEF

“I am not a black artist, I am an Artist” Jean-Michel Basquiat In the last few months I have often found myself questioning my social, political, economic and racial standing as dictated by societal structures in relation to the kind of work I produce. Yes, these factors are influential and in a way intertwined with my thought process whenever I create anything, this is inevitable, my positionality has a direct link to my lived experiences, therefore shaping my ideologies and ways of perceiving and understanding the world. Which is essentially what creating art is about.

Be it film, visual art, photography, contemporary art, dance, acting whatever art form you can think of, it all balls down to this simple thing. But they are not who I am and most importantly what I identity as .One's work shouldn't be dictated by the complexities that lay with their lived experiences. They exist as people outside of their skin colour, their sexuality and white supremacist capitalist world they are born into and create their work in. Their work should not be classified by these lived experiences they a not a kind of excellence, they are excellence period! Creatives that are black should not be defined nor classified by means of societal standing, but rather by their work, this second issue of IQHAWE explores the idea of creativity existing in all spheres, without the burden of being defined by your life experiences and the ability to exist as nothing but a creative.

Please do enjoy the read.

I

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ISSUE NO.2 | IQHAWE MAGAZINE

6 Phodii Nomadic

10 Ayanda Tloti Zugano Tembo

21 IQhawe Presents

33 Art Gallaries

46

Take it to Nirvana

61 Beezy Braids

srotubirtnoC IQHAWE TEAM

BRANDS COLLABORATION De-Anne Juanita

PHOTOGRAPHY Anastatia Nkhuna Lesego Kunopi Alice Ramocoedi

Pretty Mangena Motlalepule Lethabo Phora Sikelelwe Vuyeleni

CONTENT

Alice Romocoedi

Nirvana NokweMseleku Karabo Ntlakajeno Khafela

Luciana Malete

ON THE COVER Ayanda Tloti Zugano Tembo

RESEARCH Pretty Renae Mangena

NOMADIC /NƏƱˈMADꞮK/

-A PERSON WHO DOES NOT STAY LONG IN THE SAME PLACE; A WANDERER Photography by Anastasia Nkhuna

L U C I A N A

M A L E T E

Phodii Phodii is a DJ, music producer & a radio mix DJ from Johannesburg, South Africa who plans to leave his footprint in the music industry worldwide. He’s privileged to be one of the youngest African DJs to ever be featured on an Ultra Music Festival South Africa lineup (2019).

"Music is the answer" His sound caters to all lovers of house music while mixing electrifying afro-house/tech sounds & gqom with acapellas of popular hip-hop songs and other classics.

On normal occasions Phodii will play Afro-house/afro-tech with a fusion of tribal and deep house sounds from all around Africa.

He also fuses Afro-house elements with European style tech elements, creating an interesting brew that'll definitely get people up on their feet & intrigued.

PAGE 3 | LONE PLANET

"DO IT WITH PASSION OR NOT AT ALL" -PHODII

In October 2018, Phodii launched his 1st annual One Man Show at the SABC studios that aimed at raising awareness and served as a fundraiser for Breast Cancer research which was a major success & has recently got other brands to invest in the yearly project.

So far he has pleased many crowds in their thousands & has played at some of South Africa's premier venues and events, such as: Ultra Music Festival [South Africa 2019], The Sands, Randlords, Zone 6 Venue, Republic of 94, Great Dane, Carfax, Stones (Melville), The Goodluck Bar, Nasty C Ivyson Tour 2018, Budweiser Presents Da Capo In The City, Genesis All Black, Red Bull South Africa JHB Headquarters, The Gauteng Sansui Summer Cup (2017/2018), Mo Flava NYD Experience .

International acts performed alongside: MARTIN GARRIX , THE CHAINSMOKERS, ABOVE & BEYOND , VINI VICI, INFECTED MUSHROOM , D’BANJ. Local acts performed alongside: BLACK COFFEE , DJ SHIMZA

AYANDA TLOTLI

For me, authentic African representation is when an artist chooses to represent truth through their art.

" I BELIEVE ART IS AS IMPORTANT AS THE SPEECH A PRESIDENT MAKES TO HIS OR HER COUNTRY." IQHAWE: Please tell us a bit about your work, in particular the kind of discourse if any. you would like to spark with your body of work?

AYANDA: My work explores identity. It is very rooted in my identity as a Black woman. It is about my journey of healing.

And the shift from one identity into another. Being a child that did not grow up with the greatest father in the world, I’ve had to forgive him for many things he had done to my mother and I. Before I understood I had to forgive him in order to be a better and happier person, I was in deep pain, I hated my father and I ended up depressed. This identity is one that is contradictory to whom I have found myself to be in Christ. My healing journey became a transitional phase in my life, a shift from one identity to another. My work often features variations of me. I explore the dialogue between these identities and how they engage with the viewer. My work explores how my relationship with Christ has helped me heal from a lot of horrific things that I once considered unforgivable. In our day and age I think forgiveness and healing is often viewed as cliché but I believe healing and forgiveness are necessary for everyone so that one may be reborn.

IQHAWE: Where does inspiration often strike you?

AYANDA: In my private time with God. I’m an introvert at times so I spend 80% of my time in my room talking to God. I get inspiration from my dreams and visions that I jot down in my dreams and vision book. I also get inspiration from experimenting with different materials that allow me to step away from traditional ways of drawing or painting. Experimenting whilst creating an artwork forces me to create work from a position of discomfort and uncertainty. I guess that gives me the adrenaline I need to make art.

IQHAWE MAGAZINE

FINE ARTS

IQHAWE: What are you most proud in your art?

IQHAWE: what do you want people AYANDA: I’m pretty vulnerable through my to take away from your art ? art, its that vulnerability that is hard to reveal in real life that I get to reveal through AYANDA: Inspiration to live life. I my art. I'm proud that I get to share my story know it may sound cliché but life is about my friendship with Christ and how that changed my identity. I love that I don’t something we must live. Its either you live it miserably and hopelessly create what people may call “Christian art” in the traditional way of painting what people or you fight to live it happily despite assume Christ looks like or images of a lamb what life may throw at you. It's or a sky with angels everywhere. Not to say easier said than done to be honest, that there is anything wrong with that but I I’ve been on this forgiveness road am glad that I can represent my relationship for nine years and I’m still pushing with Christ in my way.

forward because it makes me better. It makes my life a happier place to be in. Inspiration in whatever shape or form it may come. I get a lot of people that send me DMs and messages saying my work inspires them as black young women and men. I create the artwork with specific intentions and a specific meaning in mind, however the moment I release it into the public, all are free to interpret it however they like. I just hope whatever it is they get from my work inspires them to be strong, to be better perhaps happier.

Art means non verbally communicating\ challenging \ exploring society, politics, identity or issues one may choose to bring to light.

IQHAWE MAGAZINE

PRIMEMAGAZINE.COM

I hope my art will be received as something that is bigger than “beautiful’’ or ’’interesting”.

-Ayanda_tt

BY MOTLALEPULE PHORA

A IQHAWE: What is the biggest misconception about artists?

AYANDA: That artists are stupid. That artists choose art because they have no other choice or because art is easy. I think studying art in varsity is one of the hardest things a person can choose to do.

Art challenges you to face your fears, it digs up and reveals all the secrets in your life that you’ve worked hard on. That is important because it is from those dark secretive spaces that true art is born. Art forces you to challenge issues you find problematic in your life. For me it was issues with my father, for others its poverty, the government, murder, horrific dreams etc. art in many ways is like being a politician. You have to have something to say to people. It better be something good. So before you take the mic you have to do tedious research on your topic, read and write about theorists. You cannot be ignorant and produce art, you definitely cannot be non educated about whatever you discuss in your art whether it is personal, political or social.

ZUGANO

BY MOTLALPULE PHORA

IQHAWE: what do you want people to take away from your art

lIQHAWE: Please tell us a bit about your work, in particular the kind of discourse if any. you would like to spark with your body of work?

ZUGANO: My work mostly focuses on the interpretation of personal conversations that I have had with the subjects. Sometimes I use the specific subject as a representation of an anecdote I heard from my elders including my father.

My other work which includes the red circle focuses on my interest in the Japanese culture. The styles developed by artist such as Hush , Tristen Eaton , Fidac and Hisashi Otsuka were great inspirations in this approach towards the work.

IQHAWE: Often times we hear the words "authentic African representation" thrown around. What for you constitutes as that, particularly in visual art representation from South African context ZUGANO: I believe it's simply the expression of one's origins. It is upholding traditional and cultural values that we associate our selves with through visual representation. I am not South African or traditional in any sense but i believe this is what constitutes as "authentic African representation"

ZUGANO: The only thing I want my work to achieve is to provoke curiosity. There's something that's really beautiful about vulnerability.

The way a person brightens up when asked to speak about themselves in a causal conversation is something that I have always cherished since childhood. I've always been interested in understanding people , in every conversation I seek to go further than others. I've always wanted to know what drives an individual , what makes them what they are today and I believe the answer lies within their roots , something embedded within their subconscious. People are like a well constructed structure of information and these sets of data governs their walk through life.

PRETTY DEATH!

IQHAWE: What the biggest misconception about artists?  ZUGANO: That all artist starve. I believe this is the greatest misconceptions , especially in this current generation. An artist will only starve if he cares only about his art , an artist must care about the business of art because that is where your well being is taken care of. So not all artist will starve provided that they focus on the business aspects of it.

" Not all artist will starve provided that they focus on the business aspects of it."

IQHAWE: What does art mean to you?

ZUGANO: Art has given me the opportunity to be appreciated for expressing something that would not usually be appreciated if done through word of mouth. So art is pretty much a very important aspect of my life.

IQHAWE MAGAZINE | 2

IQHAWE PRESENTS ARTISTS FROM AFRICA YOU SHOULD KNOW

Cheri Samba/Peju Alatise/ Aboudia / Bruce Onabrakpeya / Gerard Sekoto/Â Dumile Feni/ Wangechi Mutu/Mmakgabo Mmapula Sebidi/Willie Bester Billie Zangewa

CHERI

GERARD

BRUCE

MMAKGOBO

This list of artists, explores past and present contemporary artists, that have been able to use artistic expression to express social, political issues that they have faced in their lived experiences, while using art as a tool to emancipate themselves.

Research by Pretty Renae Mangena

BORIS NZEBO A visual artist who lives and works in Douala, Cameroon.

Zangewe trained in Douala with artists and worked to became one of the pioneers of contemporary art in Cameroon,

ENO

WILLIE BESTER A visual artist born in Montagu, South Afirca, whose work finds itself in contemporary urban art through illustrations of selected objects, one of his best work, is his tribute to Steve Biko offering ttiled – Sing Out!

OWT

MMAKGABO MMAPULA SEBIDI

An artist from Marapyane, near Hammanskraal, who draws  draws her inspiration from the happenings and experiences of daily township life. The suffering and disruption inflicted by apartheid, especially on women, are common themes which are often executed with complementary techniques.

EERHT

DUMILE FENI A South African contemporary visual artist who specialized drawings and paintings that included sculptural elements which often depicted the struggle against Apartheid in South Africa and the experiences of black people during this time.

RUOF

GERARD SEKOTO Sekoto was a South African musician and artist, who was born in

recognised as the pioneer of “urban black art” and social realism. He held his first solo exhibition in 1939. In 1940 the Johannesburg Art Gallery purchased one of his pictures; it was to be the first picture painted by a black artist to enter a museum collection. His work was exhibited in Paris, Stockholm, Venice, Washington, and Senegal.

EVIF

Botshabelo in 1913. Sekoto was

BRUCE ONABRAKPEYA One of the the most influential and celebrated, artists in the world. He is a painter, sculptor and printmaker. His work has been exhibited in Art Galleries all over the world. Onabrakpeya exhibited his work at the Tate Modern in London, The National Gallery of Modern Art,Lagos and the Virtual Musuem of Modern Nigerian Art

XIS

ABOUDIA A contemporary artist based in New York, from the Ivory Coast, his work is heavily, influenced by the civil and street graffiti.

Aboudia finds influence in street of Abidjan and its people. “I was just a witness to the tragedies that were occurring in my country." I just happened to be there at that time�- Aboudia

NEVES

PEJU ALATISE A Nigerian interdisciplinary artist and writer with a background in architecture.

Alatise work centers around the multi faceted experiences of black women. She created sculptures in support for the 234 girls in Nigeria by the Boko Haram terrorist group.Â

THGIE

Her finds a perfect balance between, the sculpture and painting, and using that to create beautiful representations of black women that are reprehensive of their lived experiences.

CHERI SAMBA One of the most celebrated visual artists (painter) from the Democratic Republic of Congo. Samba begun his career after he moved to Kinshasa, where he worked as a sign painter.

He later became an illustrator for a magazine, then went on to own his own studio. Samba then became to gain recognition, which lead to Les Magiciens de la Terre exhibition (Curator: Jean Hubert Martin) at the Centre Georges Pompidou in Paris in 1989, which made him known internationally.

ENIN

WANGECHI MUTU A contemporary artist from Kenya, whose work heavily concerns itself with gender, race, art history, and personal identity. Her work features recurring mysterious leitmotifs such as masked women and snake-like tendrils.

NET

TOP FIVE ART GALLERIES 1.JOHANNESBURG ART GALLERY : 011 788 1113

2.ABSA GALLERY : 011 350 3003 3.WITS ART MUSUEM : 011 717 1365

4.CONSTITUTIONAL HILL HUMAN RIGHTS PRECINCT : 011 381 3100

5.GOODMAN GALLERY : 011 788 1113

HOW TO GET YOUR WORK IN AN ART GALLERY WRITTEN BY MOTLALEPULE PHORA

If you’re just starting out as an exhibiting artist, congratulations! You’ve taken an important step in your artistic growth, and we wish you the best of luck.First: if you want to sell your art, you’re going to need representation, so your goal should be to establish a relationship with a gallery that will take you on and champion your work to potential buyers.

Here’s how; 1. Do your research Get to know the names of the art director, curator, and owner, as well as the rules for submission. Keep note of their rules for artist submissions as well as their deadlines.

Write a letter of Inquiry, include illustrious examples of your work, a description of your artistic approach, and a link to your artist website. Focus on what you can offer to the gallery, rather than what they can offer you.

Many curators like to collect paper

2.Create A Solid Online Presence

Having an online art portfolio is essential when it comes to marketing yourself and targeting art galleries seeking new artists. Having an online

documents on artists before they will show

presence for your work is extremely important.

their work. -Follow up if you haven’t heard

You can invite other local artists, or other artists

back in two weeks. It’s good to hear feedback.

with similar styles, to showcase art on a website

Always be respectful and courteous no matter

in a digital gallery. Make sure to include the

the verdict.

professional contact.

INTROSPECTION Is my art technically good?

Have I developed a recognizable style?

Am I ready to sell myself to a gallery?

Do I have a cohesive body of work ready to display?

Is my art sellable?

Have I had success selling my work in art/craft shows, out of my studio and other non-gallery venues?

Do I have the time to fulfill the supply & demand of a gallery?

Do I have a website or blog that showcases my art and information?

Do I have a professional-looking portfolio, bio, and resume and artist statement?

If the answers are yes, you might be ready to take the next step toward finding the right gallery. If the answer is no—don’t put yourself into a vulnerable position.

IQHAWE MAGAZINE

2. CREATE A SOLID ONLINE PRESENCE

Having an online art portfolio is essential when it comes to marketing yourself and targeting art galleries seeking new artists. Having an online presence for your work is extremely important. You can invite other local artists, or other artists with similar styles, to showcase art on a website in a digital gallery. Make sure to include the professional contact information of each artist on the website.

3. BE ACTIVE IN THE ARTS COMMUNITY Having an online art portfolio is essential when it comes to marketing yourself and targeting art galleries seeking new artists. Having an online presence for your work is extremely important. You can invite other local artists, or other artists with similar styles, to showcase art on a website in a digital gallery. Make sure to include the professional contact information of each artist on the website.

4.UTILIZE LOCAL RESOURCES

· The Department of Arts and Culture is one of the departments of the South African government. It promotes, supports, develops and protects the arts, culture and heritage of South Africa.

· The Arts & Culture Trust (ACT) is South Africa’s premier independent arts and culture funding and development agency.

· VANSA (Visual Arts Network of South Africa

ONE FINAL THING 5.BE AWARE

Beware of Vanity Art Galleries!

It can be really exciting thing to have a gallery reach out to you, but taking them up on their offer may not always be in your best interest. Always do your research on any gallery that reaches out to you. Ask represented artists if they’re happy with their experience with the gallery before signing. Read all the terms and conditions thoroughly.

Be cautious of submission and exhibition fees.

ISSUE 2 IQHAWE MAGAZINE | 2019

IQHAWE CREATIVES BONTLE JUKU PHOTOGRAPHER & VISUAL ARTIST

ISSUE 2 IQHAWE MAGAZINE| 2019

A BONTLE JUKU PORTRAIT Her work was recently featured as part of the exhibition for the 27 boxes photobooth party (featuring Austin Malema).

ISSUE 2 IQHAWE MAGAZINE | 2019

THEARTISTICMIND THE VISUAL ARTIST Bontle Juku AKA Theeartisticmind is a South African visual artist and photographer who lives and works in Centurion. Her work, which is influenced by her love of poetry, explores narratives and sociopolitical discourse surrounding the black body. Through her use of isolated composition, spirituality and emotive imagery in her work she aims to create a different form of representation of black bodies. Her urban minimalist aesthetic is unmistakably her trademark.

IQHAWE: What are your thoughts the South African creative space particularly  in relation to black creatives.

BONTLE: The black South African creative space is extremely rich and I believe we are in an era where black creatives are rising to the occasion and we are taking back control of our stories and representation in media.

However we have yet to build and strengthen the sense of community and collaboration within these spaces although slowly but surely we are moving towards that. I believe that once we develop a culture of building and creating collectively then we have the potential to become an unstoppable force.

BONTLE JUKU Her urban minimalist aesthetic is unmistakably her trademark.

"MY WORK HIGHLIGHTS THE MULTIFACETED NATURE OF BLACK EXISTENCE" BONTLE JUKU

IQHAWE: Why is your work important, and what kind of discourse if any do you want to spark with the work you create?

BONTLE: In a male dominated industry, I create work that I hope can begin shifting the paradigm towards an industry that is no longer male-saturated and inclusive of black women creatives. In my work, I aim to explore the existence of black bodies and how they navigate through non-black spaces of art and the intersectionality of black womanhood.Â

PAGE FIVE | CREATIVE OF THE MONTH

TAKE IT TO NIRVANA ISSUE 2 | IQHAWE MAGAZINE

EMOTIONAL SAFETY

By Nirvana NokweMseleku

Often times, what we associate with safety and security is physical space.

How funny we respond when we are harmed more in the non physical than we are in the spaces that facilitate us?

I was talking to a friend of mine, a brilliant one, Iʼd requested an ear and somehow found myself feeling like a punctured tyre after having had the half finished conversation. It was brutally and beautifully scientific - with quite seemingly logical solutions being offered, those that not only undermined my position but placed and intellectualized life so simplistically, or in this case, my situation.

I had a revelation earlier in the day about genius - it is, intuitive. Often times we assume that genius is something to be acknowledged and praised because Einstein.

We feel as though genius only exists in the realms of social acknowledgment for it to be valid, for our brains and all weʼve worked to know to be seen “ah ha! My brain connects things & knows! And this is what YOU need.

What society has needed. This. For I have figured it out.”

TAKE IT TO NIRVANA

And yes, there are definitely spaces for the sharing of knowledge in that very direct, statistical, 1+1 = 2 tone. But, to know when to apply oneʼs knowledge internally without bulldozing over the necessity of the moment with our ‘fixer/messiah complexʼ syndromes, is the height of intelligence.

Malcolm Gladwell brings to the fore this concept of two types of intelligences: Analytical and practical intelligence. One denoting IQ and academia, and the other denoting the ability to read into situations and people and then applying the necessary tact to them. And this is where safety comes in. In order for a space to be safe, what does it need?

Tact. Strategy. Gentleness. Boundaries.

Strength. Agility. Space. A balance of silence and sound when the sound carries in it the seeds of silence rooted in gentleness.

IQHAWE MAGAZINE

Emotions are indicators they tell us things, they grab our attention.

“Hey, I need to leave” can translate to dread or uneasiness. “I feel violated” can translate into anger, and “I feel loved” can translate to the validation, chemistry and care of ‘Iʼ.

Emotional safety is the validation, consideration and care of our indicators without the air of condemnation within oneself and/or another.

In symbiosis, there needs to be space for safety in honesty. Repression often times does more damage than keeping the peace.

Some friends of mine were iterating the peacefulness of Lesotho but also its extreme objective violence. They then proceeded to say that there has been a history of protest and levels of genocide as consequence of that protest which then led me to realize that peace is often euphemisms for suppression and oppression.

IQHAWE | 46

“KEEP THE PEACE”, “DONʼT ROCK THE BOAT” ARE PHRASED USED TO MAKE LIGHT OF SUPPRESSION AND THE ENABLING OF OPPRESSION WITHIN INTERPERSONAL AND INTRAPERSONAL SYMBIOSIS

How does one get the truth?

Provide safety. And not our blanket ideas if safety, not spaces and interactions of face value activism, but real safety even within yourself. Safety, acceptance and non abrasive detachment are interlinked. The detachment I speak of is detachment from fears, ambitious thinking and desirous means of wanting to make others act or respond to us in particular kinds of ways. Composure. The I Ching often counsels against losing oneʼs composure as means of affecting a situation to our favor. Sure, aggressive and ambitious action can get us

IQHAWE MAGAZINE

temporary results, but for longevity of peace and beautiful connections - no.

AFFIRMATIONS TOOLKIT: I approve of myself. .

It is safe within me. .

I am allowed to leave. .

My experiences are valid.

To conclude: Emotional manipulation is violent.

There is nothing more sexy than the acceptance of no.

When relating to others, examine the social changes, not just yourself. Necessity is more important than performance. We get it, we ʼ re smart, we ʼ re powerful and in control - we know this, the constant declaration of our sense of self blocks us from experiencing beautiful and expansive connections.

To bully oneself is the greatest irresponsibility.

We know how everything from within seeks expression with outer. Be kind, be gentle to yourself and watch how you enable with ease kindness and gentleness for others.

For personalized affirmation healing tapes for reprogramming our cognitive responses to achieve goals, build self esteem and heal dna through frequency work, you can contact me: nirvananokwe@gmail.com #InBloomHealing #TakeItToNirvana

THE POLITICS SURROUNDING HAIR REPRESENTATION

BLACK HAIR WRITTEN BY MATLHODI MATHIBELA

"“If your hair is relaxed, white people are relaxed. If your hair is nappy, they are not happy.”

“You’re dammed if you do, you're dammed if you don’t,” For many years black hair has been a controversial issue to how black women wear their hair.

From silky straight hair, to nappy hair, afro’s and dreadlocks. Having good hair has been one of the important traits to the black women society. In the documentary produced and narrated by Chris Rock called “Good Hair”, the comedian Paul Mooney states it plainly: “If your hair is relaxed, white people are relaxed. If your hair is nappy, they are not happy.”

As a black women “You’re dammed if you do, you're dammed if you don’t,” said Ingrid Banks.

Having black hair has its perks and it also has it’s downfalls. Most black women get their hair relaxed at a tender age either by their parents or relatives, so sometimes changing the status quo as an adult can be difficult. But what the large society of black women have been taught is that it has a wholesome of downfalls. For many black women representation of their own hair is seen as a derogatory. Without any chemical imbalance in their scalps they feel as though they are not enough. The hair politics dates back to when our mother’s mother used hot steel comb to straighten their hair when they were young. And it was seen as good hair. The hair that everyone wanted to have and went extra miles to have too.

Creative concept by Pretty Mangena

The desire and fear for black women to express themselves as nonconformists when it comes to the hair they choose to have has come a long way, it has also become a journey worth taking."

The fascination with the texture of black hair is not new.

More especially if it’s natural hair, the chemical free hair it seems more desirable and a lot of people want to touch and feel it. More black women are opening up to owning their natural hair and they are doing it in style. Many black women will tell you that the process of growing natural hair or in fact the process of getting their hair to where it is at, that it’s a personal journey. Black women wear their as they wear their clothes, and it is with pride and dignity. If they’re comfortable around their hair they are the happiest beings on earth. It has also played a part cultural acceptance in today's society.

When we take a look at Breezy Braids her hairstyles represent those ancient hairstyles during slavery and as well as tackling hairstyles like “Ben and Betty” hairstyles that we grew up with.

Black hair representation has come a long way and now it’s even more louder and braver. Her hairstyles are provocative and they demand to be discussed and admired. Gone are the days where black women need confirmation form anyone but themselves to whether or not.The desire and fear for black women to express themselves as nonconformists when it comes to the hair they choose to have has come along way. For many it has also become a journey worth taking.

BEEZY

WRITTEN BY Sikelelwa Vuyeleni

SENTUAL

Twist it Braid it Curl it.

Crown it

I C O N I C

THE CROWN

Meet Beezybraids

expression through hair

BONOLO 'BEZZYBRAIDS' GABAZA

Turning heads Bonolo Gabaza is a creative that expresses herself through hair, she is best known as Beezy and runs Beezybraids. Bonolo is a hairstylist, hair influencer and art content creator. She specializes mostly in braids but she also explores herself through styling shoots, decorating hair- making it look African and pretty. Bonolo expresses herself best in creating the most beautiful authentic braids, those hands create magic (don’t say we didn’t hook you up). Beezy has found passion in making other women feel beautiful and find beauty in their natural hair. She enjoys using beads in her braid work as this gives the hair a lot of character and encourages black women to embrace their hair in its most natural state, as this is not only beautiful but celebrates our identity and heritage as well.

She does see improvement though, as there’s been more women embracing their natural hair and using braids as protective hairstyles- she encourages this.

Bonolo is also quite proud with how brands have also been celebrating black hair and using braids to create statements. Bonolo uses whatever tool is at her disposal to create work that is phenomenal, that breaks boundaries beyond her immediate space, which has brought her collaborations with some of the biggest brands and entities such a Darling SA, Con-Hill, Nike, ORS and Earth. Bonolo loves pushing boundaries and creating styles never done before, so if you love exploring with hair, Beezybraids is the plug! You can follow her on IG @Beezybraids.

“I love my hair because it’s a reflection of my soul dense, it’s kinky, it’s soft, it’s textured, it’s difficult, it’s easy and it’s fun. That’s why I love my hair.”

-Tracee Ellis Ross

“I LOVE MY HAIR BECAUSE IT’S A REFLECTION OF MY SOUL BEEZYBRAIDSGABAZA

TRANQULITY NTLAKAJENO KARABO MARIA KHAFELA STAGE NAME URAYLA

I started writing at the age of 17, during my maths Olympiad test.

At first it was a way to keep my hands moving because I've always loved having to scribble things on paper, but I later realized that it was an action of healing and self-discovery. Most of my poems are written from past experiences, and what I'd like to see happening in the future. They are a way of provoking my fears and learning how to love myself and those around me.

EGAYOV • 4 EGAP

18-year old and based in Lombardy West (Johannesburg). I am a visual poetry writer, and aspiring poetry performer and cinematographer. I am a lover of visual and motion art, primarily photography and film. I am a versatile music lover and and a Non-binary (androgynous) bisexual.

MAY 2019| IQHAWE MAGAZINE

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