logo
Carl Wastie's braaibroodjie to help you back the boys in style

Carl Wastie's braaibroodjie to help you back the boys in style

The Herald16 hours ago
Leisure A fun and boujee cheat on a South African favourite fit for your next braai or night watching the Springboks 14 August 2025
Radio and TV presenter, Carl Wastie.
Image: Supplied
Radio and TV personality Carl Wastie is backing the boys with a boujee take on a South African favourite.
While many might be looking forward to beers, ' gees ' and top watching spots, homebodies and hosts with the most will be covered with this delectable favourite with some mouthwatering ribs. Carl Wastie's lamb ribbetjie braaibroodjie:
Free-range lamb ribs (optional size)
Olive oil
Salt
Pepper
250g celery
1 carrot
1 onion
1 tbsp cumin, smoked paprika
Tomato paste (optional size)
1 beef stock cube
Hot honey (optional amount)
Light beer of choice
Broodjie
Cheese (Boerenkaas preferred)
1 tomato
Pickled onion
Sriracha or tzatziki for dipping
Prep your braai as needed. Grab the free-range lamb ribs and ensure they are room temperature, coat them in a bit of olive oil and season with Salt and Pepper. Go to the hot braai and sear them until you get a beautiful caramelisation all round each ribbetjie (don't cook them all the way through), and now for the fun cheat. Drop them in a pressure cooker where you've sautéed celery, carrot and onion with some cumin, smoked paprika, tomato paste, beef stock and hot honey that will make a sauce. Use a light beer to just about cover the ribs in the pressure cooker. Pressure cook for 30 minutes, depressurise and remove the ribs from the cooker and allow them to cool on a rack while you reduce the cooking stock after straining it. Once it's sticky, set aside and grab your broodjies . I recommend you use some local Boerenkaas and get grating with a thin slice of tomato at the ready. Drop the cheese between the broodjie and the single tomato slice and get it on the Braai to toast till golden brown. Now, get back to your ribs, get them charred on the braai while basting them often with the sauce you made earlier. Once caramelised and hot, this is where it becomes fun ... Pull apart your braaibroodjie slowly, watching that cheese pull and put a ribbetjie inside the broodjie , add a little pickled onion and your choice of sriracha or even tzatziki. Then pull the bone out of the ribbetjie slowly, clutching the bread slightly. Enjoy!
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Local artists welcome sharing stage with SA stars at Jazz on the Lake
Local artists welcome sharing stage with SA stars at Jazz on the Lake

The Herald

time11 hours ago

  • The Herald

Local artists welcome sharing stage with SA stars at Jazz on the Lake

News Sold-out inaugural event fills gap in the market, says MBDA's Qaba Premium By Simtembile Mgidi - 14 August 2025 Nelson Mandela Bay music lovers are in for a soul-stirring Saturday of smooth vibes as some of SA's biggest stars share the stage with local talent at the sold-out inaugural Jazz on the Lake concert. Jazz on the Lake has given local artists cause for celebration, offering them the chance to share the stage with stars such as Ami Faku, Vusi Nova, Thandiswa Mazwai, Simphiwe Dana, Zonke Dikana, Betusile Mcinga, Nathi Mankayi, Berita, Thandeka Nontobeko Ngema (MaWhoo), Ringo Madlingozi and Mafikizolo, among others. ...

The garden that eats Frantz Fanon
The garden that eats Frantz Fanon

Mail & Guardian

time14 hours ago

  • Mail & Guardian

The garden that eats Frantz Fanon

Consuming passion: Nolan Oswald Dennis's installation garden for Fanon, in which earthworms turn a book by 20th-century political philosopher Frantz Fanon into soil. Photos: Anthea Pokroy Ferreirasdorp, in the Joburg inner city, is not for the faint hearted, but approaching Nolan Oswald Dennis's studio, the chaos peeled away. The security guard offered a subtle smile as he swung the gate open, gesturing towards the central block. As I entered the large sunlit space, eyes flickered up from slick screens, which, like the walls, were neatly scattered with works in progress or works that might have been. Dennis led me into a separate studio with even more stillness and even more light, where I had to lean in just to catch his words with my well-worn ears. Nolan Oswald Dennis began his career as a student of architecture at the University of the Witwatersrand but grew critical of its narrow focus on fixed structures. 'I became an artist through working with other people,' he says, finding the art world offered 'more space to think and to work in meaningful ways'. Puncturing the art space were makers such as Rangoato Hlasane of Keleketla! Library and Jamal Nxedlana of CUSS Group. 'There was a sense of urgency,' he says as he recalls Johannesburg's interdisciplinary hive between 2010 and 2016. Dennis's trajectory was shaped by his 2012–13 collaboration Social Landscape Project: Transition and Show Us Our Land with Molemo Moiloa at Market Photo Workshop. In 2015, he co-founded the creative agency NTU with Bogosi Sekhukhuni and Tabita Rezaire and, early on, Dennis began to learn about the art world's flawed value systems. He recalls Sekhukhuni's words, 'He said, 'These people don't understand how important what I'm doing is.' And I couldn't understand at first — he didn't say 'good' or 'impressive', he said 'important'.' In 2016, Dennis had a solo exhibition at Goodman Gallery, which earned him the FNB Art Prize. After studying at the Massachusetts Institute of Technology in the US from 2018 to 2020, he returned to Joburg. By then, his work was internationally renowned, appearing in major biennales, including Berlin, Dakar, Liverpool and Shanghai, plus the Front International Cleveland Triennial in the US. Now represented by Goodman, he's also exhibited at the Swiss Institute (New York) and Gasworks (London), won the 2023 Sesc_Videobrasil Jury Prize and had a monograph published with Zeitz MOCAA and Koenig. I returned to the question of importance, asking Dennis about what mattered during those early 'Joburg hustle days', compared to now, when he is ostensibly the golden boy of the art world. I mention the recent FNB Art Prize ceremony, where Thato Toeba was crowned artist of the year and Dennis's name was dropped in multiple speeches. 'Importance on its own terms is not necessarily the measure because, sometimes, being important or valued in institutional spaces can mean you're useful to them, which isn't necessarily where you want to find your value.' Herein lies my fascination with this artist's radical unravelling of what's important. Dennis's garden for fanon, first shown in conditions (2021) at Goodman Gallery, animates the very notion of importance. Glass globes are filled with soil and earthworms that slowly consume Franz Fanon's The Wretched of the Earth, transforming its pages into nutrient-rich earth. The installation balances scientific precision with organic chaos as shifting light bathes the piece in a ritual glow — an unlikely alchemy that breathes and grows. While it began in 2021, which marked 60 years since The Wretched of the Earth was written, Dennis's garden for fanon has been exhibited numerous times, now part of the Re:Fuse-Ability exhibition at University of Johannesburg's FADA Gallery, until 6 September. Dennis admits the limitations, noting how his own relationship with Fanon was far from academic. While he acknowledges the show as 'a place where people can meet with the work', he critiques how institutions 'tend to prioritise objects', when 'it should be about engagement, not just display'. According to him, the institutional treatment of Fanon is 'so analytical, so academic', while his own intervention asks: 'Where's the earth in this text?' His piece clocks the gap between academic and organic knowledge systems as he insists, 'I learned Fanon through other people. For me, it was never about the text itself, it was about what the text does. 'The first time I encountered Fanon was in a collection of books my grandmother gave me. I had to ask people, talk to people to understand the book. It was never just about sitting with the text.' Conditions: Award-winning South African artist Nolan Oswald Dennis. Photo: Jesse Barnes I resist collapsing too neatly into Dennis's critique of the art world, an institution that, for better or worse, has held space for us both. Instead, I follow what he calls a 'game of meaning', where play and precision hold equal weight. His work dances between legibility and refusal, spectacle and sincerity. 'The art world thrives on making people conventional, legible,' he warns, 'but for me, everything, to some extent, arrives with humour.' Beneath the wit is intention: 'two material languages'— clinical glass and homely clay — never reconciled, always in tension. Dennis recalls familiar critiques: 'Why is your work so white? Why is it so cold? Why are you trying to be a scientist?' These reveal discomfort with hybridity. He admits, 'It's a colonial form, that laboratory aesthetic … These questions are a bit cringe but I get where they're coming from.' When he brings in 'African' aesthetics, some see tradition or tourism, others ritual or spirituality. For Dennis, these aren't fixed but overlapping 'libraries' of meaning. He embraces this friction as generative: 'That tension is a hypothesis … I'm interested in those intersections.' Dennis' invocation of Fanon is neither nostalgic nor critical: 'We want to love Fanon by resisting all the shit done to his legacy.' I press him about exactly how he resists and he answers, 'Taking seriously the things that I love … and trying to align my work with those things.' I probed further, asking specifically about love, a question that appeared to produce a degree of reciprocal pleasure. His current literary love, a sci-fi series by Jeff VanderMeer, starting with Annihilation (2014), now followed by Absolution (2025), the fourth book in the 'trilogy'. As our chat came to its natural end, we lingered on love, geeking out about having been brought up in KwaZulu-Natal. 'It's crazy, so much weird stuff comes out of that space,' he says with a hearty grin. We bonded over our somewhat predictable predilection towards the gqom genre, and with a balmic chuckle, he accurately professed, 'It's good stuff.' Just before he was whisked away, I pried out one last tidbit: Lately, he's been interested in rocks, recently touring the UJ Mining Simulation, haunted by its humidity, heat and hammering. Hold onto your helmets.

Carl Wastie's braaibroodjie to help you back the boys in style
Carl Wastie's braaibroodjie to help you back the boys in style

The Herald

time16 hours ago

  • The Herald

Carl Wastie's braaibroodjie to help you back the boys in style

Leisure A fun and boujee cheat on a South African favourite fit for your next braai or night watching the Springboks 14 August 2025 Radio and TV presenter, Carl Wastie. Image: Supplied Radio and TV personality Carl Wastie is backing the boys with a boujee take on a South African favourite. While many might be looking forward to beers, ' gees ' and top watching spots, homebodies and hosts with the most will be covered with this delectable favourite with some mouthwatering ribs. Carl Wastie's lamb ribbetjie braaibroodjie: Free-range lamb ribs (optional size) Olive oil Salt Pepper 250g celery 1 carrot 1 onion 1 tbsp cumin, smoked paprika Tomato paste (optional size) 1 beef stock cube Hot honey (optional amount) Light beer of choice Broodjie Cheese (Boerenkaas preferred) 1 tomato Pickled onion Sriracha or tzatziki for dipping Prep your braai as needed. Grab the free-range lamb ribs and ensure they are room temperature, coat them in a bit of olive oil and season with Salt and Pepper. Go to the hot braai and sear them until you get a beautiful caramelisation all round each ribbetjie (don't cook them all the way through), and now for the fun cheat. Drop them in a pressure cooker where you've sautéed celery, carrot and onion with some cumin, smoked paprika, tomato paste, beef stock and hot honey that will make a sauce. Use a light beer to just about cover the ribs in the pressure cooker. Pressure cook for 30 minutes, depressurise and remove the ribs from the cooker and allow them to cool on a rack while you reduce the cooking stock after straining it. Once it's sticky, set aside and grab your broodjies . I recommend you use some local Boerenkaas and get grating with a thin slice of tomato at the ready. Drop the cheese between the broodjie and the single tomato slice and get it on the Braai to toast till golden brown. Now, get back to your ribs, get them charred on the braai while basting them often with the sauce you made earlier. Once caramelised and hot, this is where it becomes fun ... Pull apart your braaibroodjie slowly, watching that cheese pull and put a ribbetjie inside the broodjie , add a little pickled onion and your choice of sriracha or even tzatziki. Then pull the bone out of the ribbetjie slowly, clutching the bread slightly. Enjoy!

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store