Latest news with #Zabalaza
TimesLIVE
3 days ago
- Entertainment
- TimesLIVE
Amanda Black, Yaya Mavundla, Rosie Motene and more talk Women's Day
In light of Women's Month celebrating the strides made by South African women, August 9 has become the most important day to honour these achievements and acknowledge the progress. TimesLIVE Premium tasked five women in various fields to discuss the progress made and whether Women's Day is still a calendar date worth celebrating. For singer and songwriter Amanda Black, the day is no longer celebrated because it is on the calendar. 'Women are the source of life, nurturing and creativity. The womb is a sacred space where our imagination first sparks and where healing takes place. By embracing and celebrating women's lives, we can overcome the negativity that roams among us, including jealousy and hatred, and instead foster a culture of love and support,' she said. She said women need to be celebrated every day, as one month is not enough to dedicate to the strides they have made. The same sentiment is held by Rosie Motene, a pan-Africanist queer writer, activist and life coach, who is a survivor of multiple forms of abuse that she experienced in the media space. She said an important facet of healing from the tribulations of womanhood comes from understanding each violation has its weight, its own timeline and a unique pathway to healing. 'When I resigned from a production [ Zabalaza ] in 2015, I felt that the channel [Mzansi Magic] should be commended for how they handled the situation. They did not try to silence me. Instead, they gave me a platform to tell my truth after both the producer and my then-agent lied about the circumstances — the channel's decision was to respect my voice, rather than cover up the truth. This was a rare and powerful example of accountability in an industry that too often protects perpetrators and punishes whistle-blowers,' she said Motene said it is also important for the media to stop lumping together all people who speak out; not everyone is ready to be called a 'survivor', and not everyone who shares their truth identifies as a victim. She said more women need to stop 'carrying a badge of resilience' as though it is a prize. For Motene, resilience has been weaponised against them and used to justify women's continued suffering. For Motene, a revolution lies in demanding healing. 'Women deserve to rest, to laugh without guilt, to cry without apology and to live without constantly having to prove their worth or justify their pain.' Yaya Mavundla, who is a multi-award-winning activist, described her struggles as a transgender woman in South Africa. Having faced rejection and transphobia, she feels society does not allow transgender people to exist freely, even though they face similar issues. Mavundla said ignorance towards transgender women in South Africa, especially on Women's Day, is still an issue, and it needs those who have a voice and the media to have conversations so society understands that transgender women belong. 'Transgender women are women, they are not men or the other. Therefore, trans women have the right to celebrate Women's Day.' While the march to the Union Buildings in 1956 saw women of different races unite against the oppressive dompas, protest culture has since morphed and has created an apathy around its efficacy in the modern context. For Palesa Musa, an activist who was detained at age 12 for her involvement in the 1976 Soweto uprising, protests are still a valid way to fight oppressive systems, and it's important to continue the same tactics such as closing down shops to ensure women's voices will be heard. 'Women must speak up and take to the streets. We fought for democracy, and we were heard. Yes, police were fighting us, and yes, it wasn't easy, but we tried. Young people must stay in school, study hard because education is key,' she said
The Citizen
11-06-2025
- Entertainment
- The Citizen
Thandiswa Mazwai says she would've accepted invite to national dialogue had Ramaphosa sent it
Thandiswa Mazwai's music often has social and political commentary On Tuesday, President Cyril Ramaphosa announced the date and names of those invited to the national dialogue, where some of the country's pressing issues will be discussed. 'There have been many of these over the years, and I have attended some,' Thandiswa Mazwai tells The Citizen. The renowned singer-songwriter says she wasn't invited by Ramaphosa, but says she would've accepted the invitation had it come. 'There is much to be legislated in our industry and much to be done to protect artist rights, livelihoods and dignity,' shared Thandiswa. ALSO READ: Ready to dazzle: Afro-soul singer Thandiswa Mazwai releases 'Sankofa' album Singing truth to power In the art and creative space, the president invited elders Dr John Kani and author and poet Gcina Mhlope. The dialogue has drawn mixed reactions throughout the country, with the Economic Freedom Fighters (EFF) describing it as a 'meaningless publicity stunt by a limping president who is leading a limping former liberation movement'. Through her music, Mazwai has provided social and political commentary, often targeting those in power. Her song, Kunzima: dark side of the rainbow, is a perfect example of her sharp melodic criticism. 'Fools for leaders, their minds left destitute by greed, no souls to speak of, they cannot be redeemed, fiends for war…' Thandiswa sings on the song. The politically charged song is part of Thandiswa's Sankofa album, which was released just over a year ago. Thandiswa spoke to The Citizen ahead of her performance at the Lyric Theatre at Johannesburg's Gold Reef City, where she will celebrate a year of Sanfoka. 'This show will exclusively cover the music from Belede and Sankofa,' she shares. ALSO READ: 'I cannot believe it's been 20 years' – Thandiswa Mazwai on new album and 20 years of 'Zabalaza' A year of Sankofa Sankofa was released on 10 May 2024. Before its release, Thandiswa had last released a body of work in 2016 with Belede. Despite the long break between her albums, during which the world had changed, Thandiswa said she wasn't nervous about how her music would be received. 'Not at all,' she says. 'Even though I haven't released new music, I have been performing a lot, and the audience has been getting exposed to all the things I experiment with. Especially Jozi audiences, who can sometimes get impromptu rock performances or a set with a DJ.' She says the release of Zabalaza in 2004 taught her that people can grow with her sonically. 'Sankofa is a very layered and lush album, and I know there is an audience for that. It has also been very masterfully put together by all the musicians who were involved.' The word sankofa is derived from the Akan Tribe of Ghana, which can be translated into 'go back and get it'. The essence of the meaning symbolises going back in order to move forward. This was somewhat literal for Thandiswa, as she delved into the International Library of African Music (ILAM) at Rhodes University, an archive of African sounds. The launch of the album at Carnival City's Big Top Arena last year was more than a musical experience; it also offered itself as a safe space for black women in particular. Thandiswa's concerts inevitably become a place of healing, love and a safe space for her core fans – a significant part of that fandom is the queer community. She preceded the performance of her latest single, Kulungil, by sharing a bit about her past traumas − her backdrop was an old photo of a young Thandiswa in the rural Eastern Cape. She even revealed that on the day the photo was taken, she had experienced something traumatic. It was more than just a music show for black women. It was a safe space for them to be. Her performances at last year's Bushfire Festival and the Standard Bank Joy of Jazz were equally appreciated by a more diverse demographic. 'We have really enjoyed playing this music along with the rest of the discography around the world. It's always such a trip watching people sing new music back to you,' says Thandiswa with gratitude. ALSO READ: Collaborative Wouter Kellerman bags Grammy nomination as Thandiswa's 'Sankofa' misses out Awards and such Sankofa lost out on a Grammy nomination and also failed to win at the Metro Awards, where it was nominated in the Best Jazz category. 'I don't usually win awards,' Thandiswa says. 'I'm experimental, and awards require very constant ideas on what constitutes genre. For instance, Sankofa was nominated in the jazz category, but it really isn't jazz. It is a sound all on its own, and it definitely has jazz influences, but it also has deep Xhosa and Senegalese influences.' The Metro Award went to saxophonist and composer Linda Sikhakhane for iLandi, whom Thandiswa congratulated. The Grammy nomination, which saw Mzansi's Wouter Kellerman nominated and eventually win, is a lot trickier, where Academy members vote for entries in two rounds. 'This was our first attempt, and we enjoyed the experience, but I am acutely aware of the fact that we don't need these awards for validation,' she shares. 'So as long as it's all good fun and not a bar to measure our worth, it's all good.' Thandiswa has a wide range of fans, from the youthful ones who were aware of her performance on Tiny Desk and cheered her on, to the more senior ones who aren't able to navigate YouTube. 'It feels good to be seen. It feels good to be appreciated. It feels good to be affirmed and reminded that you are indeed doing what you were called to do.' NOW READ: Thandiswa Mazwai creates a safe space for black women at Carnival City
