Sonequa Martin-Green’s role in the new Star Trek series ‘Discovery’ ushers in a new heroine for a new generation. That is if you ignore long enough the framing narrative to the grand narrative of this iconic space opera.
Sonequa Martin-Green sad exit from the #TheWalkingDead as Sasha Williams to be casted as Lieutenant Commander Michael Burnham in Star Trek: Discovery proves that when one door closes another one opens and sometime that door is filled with better opportunities. She holds her ground as number one to Michelle Yeoh cast as Philippa Georgiou Captain of the USS Shenzhou as the new narrative opens for the new Star Trek. Martin-Green’s convincing performance leaves no traces of Sasha Williams and she looks like she might just take the devoted trekkies where they have always wanted to go …beyond imagination (which can be translated as ‘to boldly go when no one has gone before’).
#MyRating > 3dEFPoints/5 (for now based on the first episode which proposes a myriad of possibilities for a new story)
Image source: https://www.dailydot.com/parsec/star-trek-discovery-cast-timeline-trailer/
© mmutleak 2017
Mmutleak: #SABC’s dance drama #Tjovitjo is a grand proposal in the annals of modern narratives. Perhaps even a brave shot from the troubled #SABC. Unfortunate it is hurried unnecessarily •(3dDEFPoints/5)•
» Zyma Amien’s solo exhibition at the Pretoria Art Museum, ‘Real’ lives and “Ordinary” objects: Partisan art-making strategies with garment workers of the Western Cape – Continuation is part of the SASOL New Signatures Art Competition’s previous winner for 2016 continues the journey from where the winning work Paying Homage left off. The exhibition is a grand gesture of what the artist was preoccupied with then in a discursive journey that has also fed into her Masters studies. Presently she goes on an all out assault discourse tackling the reality of the garment factory worker. This is the exclusive interview I conducted with her on the morning of 31 August 2017•
Zyma Amien’s solo exhibition at the Pretoria Art Museum, ‘Real’ lives and “Ordinary” objects: Partisan art-making strategies with garment workers of the Western Cape – Continuation is part of SASOL New Signatures Art Competition 2016 overall winner’s solo exhibition and accompanies the main 2017 art competition exhibition. A competition which historically speaking this year takes a step in an uncharted territory in South Africa with regard to this year’s winner Lebohang Khanye. Of course art by its internal nature of conception is very individualist and subjective. And as I have always said somewhere in my many conversations with both of those within the circle of this industry and those at the peripheral – it is an unfair affair from the context of competition as the artist is a product of social circumstances. The artist has to battle with social circumstances of their birth and art education in order to emerge amongst the best in a hostile industry that can proclaim you a contemporary artist at this instance only to replace you with another artist a few month later if not weeks or days. However Kganye’s win of this year’s edition of SASOL New Signatures has its merit. Talk of the charm of using a medium that was already there but pushing it further in an attempt to see what can be achieved with it. Encapsulate it with a personal anecdote and what you have is a balanced piece with both content and form intact. Although video as an art form in this country has not really taken off with the mainstream art supporting society its presence is being significantly felt here and there for its performative mode. Like the late Dot Vermeulen before her, we are about to find out where Lebohang Kganye will take video installation come 2018 this time of the year.
Continue reading “Intraparadox: Zyman Amien’s “Real” lives and “Ordinary” objects”
» Lebohang Kganye is the overall winner of SASOL New Signatures Art Competition 2017. Her video installation ‘Ke Sa Le Teng’ is meticulously done. Taking its cure from pop up book construction and erecting a visual discourse from family photographs it weaves a narrative around the journey that artist’s family traversed from the rural to the urban area in an animation format that is both nostalgic and progressive at the same time. Like all grand gestures in art I leave you room to opinionate. I had the privilege of talking to her on the morning of 31 August 2017. Here is our intrabyteparadox talk•
© Mmutle Arthur Kgokong 2017
» On the 23 of May 2016 I sat down with Taiwo Ohu against the background of his exhibition at the Pretoria Art Museum at that time. He spoke to me about his training, the challenges that face in the crises of lack of traditional art making material and his then upcoming exhibition which was meant to erect international good relations between South Africa and Nigeria•
Today all genders are equal however it is the foundation upon which each gender/identity(s), if you will, is nurtured that is of primary importance otherwise the picture will continue to ferment with cold violence. It starts with attaching value to boys and girls equally when they make their entry into this world. By attaching value to men and women equally without neglecting either one of them continuously. It starts here. Notice that I am not bitterly neglecting anyone behind.
»» The warning signals of the neglect of our boys has never been whistle clear as it is today. It is easy to blame someone but all this cold violence against women that we are witnessing begs a simple question. How do we raise our boys in comparison to girls? Have we evolved what it means to be a man in our contemporary society the same way we have evolved the idea of a woman as an identity and are continuing to do so in our effort to socially redress the role of women and parity thereof? No. Boys are neglected and are expected to grow into men who will love and protect our sisters, daughters and mothers as well as brother and fathers ««
Continue reading “Plight of a little man”
Swazigold, reflected in title track A Song For Khethiwe, sees Makhene extending the vision we witnessed in The Ascension Of The Enlightened. It is a challenging experience to those with specific musical expectations. But what is remarkable about this it is the space that each musician receives in the invitation that Makhene has extended to the musicians featured here.
» Tlale Makhene’s new album has hit the sound sphere. I had a chance of listening to it. Verdict? lets just say I was transported…
Outlines the musicianship that will take you through this offering.
Piano leads, Makhene’s percussion is pervasive as the melodious chorus of Max Hoba builds. Nathi Shongwe’s Keys raises the curtains. Wait for the guitar of Erik Paliani to chip in and the Tenor Saxophone of Ayo Solanke to exchange with it and what you’ve got is a promise of things to come in Swazigold.
- Mahamba To Chilomoni
This track settles us within the album. Sabu Satsha is audible at the opening supporting the lyrics. But as the song takes it second turn Nathi Shongwe reintroduce the medoc vocals led by Max Hoba. Makhene is there entranced and on fire as one of the female vocalist goes into a Busi Mhlongo mode.
This is a horn base track thanks to the antics of Ayo Solanke on Tenor and Soprano Saxophone. With Max Hoba leading the meditative vocals. Makhene percussion and Satsha’s drums interjects periodically.
Shongwe and the vocalists pays homage to the King with Makhene creating a background canvas upon which all is invited to play. Ayo Solanke’s horn chips in further down this track. Not aggressively so as not to upset this balanced orchestra.
Continue reading “SWAZIGOLD, Tlale Makhene”