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Countering the exclusivity and inaccessibility of art, First Thursdays is a free cultural exploration of art galleries, live music events and reclamation of the city. Last night academy recruits, alumni and community members infiltrated Braamfontein to attend Umuzi’s very first pop up exhibition at the popular First Thursdays art walks.

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Curated by american based photographer Moyo Oyelola and Umuzi creative directors Nthabiseng Lethoko and Odendaal Esterhuyse, the thought provoking exhibition presented an opportunity for new and old Umuzi community  members to come together over a glass of wine and thought provoking art.

Forming part of a host of exhibitions and activities for the first First Thursday of the year, Umuzi recruits exhibited a series of multimedia installations and artworks around the themes of spiritual deprivation, gentrification and addiction.

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Following a successful showcase in December, the second showing of Lost in the World boasted a surprise performance by writer, multimedia recruit and all round creative Ramoloti Kganakga. Dressed as a vagabond, Kganaka tackled issues of gentrification and other forms of systematic oppression in a commanding spoken word piece. Caught off guard, audience members were challenged to interrogate their own prejudice towards marginalised people.

Despite a downpour of rain,the night was a great success that saw new and old community members network, share ideas and socialise in the name of art.

We would like to thank  Southpoint Central for helping us host a spectacular first First Thursday exhibition and look forward to working together and making creativity more accessible.

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On the 9th of December 2016, Umuzi Academy hosted a year end exhibition titled Lost In the World.

Curated by american based photographer Moyo Oyelola and Umuzi creative directors Nthabiseng Lethoko and Odendaal Esterhuyse, Umuzi recruits created work that reflected the themes of spiritual deprivation, gentrification and addiction.

From conceptualising, producing and having their work printed and displayed, the exhibition was the first time many of the recruits had organised an exhibition, something they will surely be accustomed to in the future.

Boasting an edible social experiment and selfie station the multimedia exhibition was interactive and encouraged audience members to make their own impressions on some of the artwork.

 

 

We spoke to one of the participating multimedia recruits, Jabulile Hlanze’s whose artwork revolved around the theme of nature as a conduit of spirituality, she spoke to us about her creative process and her experience partaking in the exhibition.

What theme were you doing and why did it resonate with you? 

The overall exhibition was titled “Lost In The World”, which explored the idea of a lack of direction we all may experience. Under the theme ‘Spirituality’ – I explored the way I take in and experience the concept of spirituality. It resonated with me because spiritual presence is something that is important to me.

Rooted In SpiritRooted In SpiritRooted In SpiritCan you explain your piece to us, the name, your intentions with it and what you had hoped people would get from it.

My piece was titled Rooted in Spirit. Not only do trees provide oxygen and shade but they bring comfort as well. Whenever I need to connect and balance my energy, witnessing a person (or beings) and being under a tree to connect with self helps to rejuvenate my soul, it allows me a moment to engage with the present moment – even in the simplest of surroundings.

In the madness of the everyday, spirituality tends to be the last thought that is fully acknowledged so I hoped people would be able to take a moment and absorb the different textures, conclude what would resonate with them within the piece and grant a moment to appreciate the spiritual calmness that trees bring.

What was your creative process in putting together the piece. 

Looking at the space that was offered, I wanted to create a mixed media art piece (which is something I’ve never done except in print exhibitions) that would offer the printed image room to expand into a tangible experience. Entering the space the viewer would walk on the African mat ‘incansi’ which lead to the printed art piece framed by actual grass cuttings which were placed inside a circle of different color candles that were lit. Hanging above the grass was, ‘isimbhatho, a traditional church regalia used and worn when prayer.

How was your experience of the whole exhibition?

It was interesting to note and experience the way other people express their spirituality and addictions. It was also interesting to consciously note the different expressions of gentrification and areas going through such transactions.

The thought-provoking exhibition was rounded off with tunes, dance moves and laughter as current recruits, alumni and industry friends bid the year farewell.

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Why the matric pass rate is important

What do South Africa’s poor education outcomes mean for all of us?

Education is something that many of us take for granted. Unfortunately it isn’t for the majority of South Africans. Our education system has very poor outcomes. Few who start school leave with a good education. It’s sad to see so much wasted potential, but how does it really affect us as a society?

We know that the overall level of education in a country is an important determinant of its prosperity. I don’t just benefit from my own education, but from the education of those around me. It’s possible for most of us to empathise with individuals who fail or drop out. They often end up in dead-end jobs, or worse, unemployed. We can imagine how tough life is for them and their families. But it’s difficult to get a sense of what this means for the country overall. It’s harder to imagine, so here’s a little story to help.

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Imagine you are among a class of 20 entering grade one. This class is special. It represents all the grade ones starting school in South Africa in a particular year. In your mind, keep imagining this class of 20 throughout the example, sitting behind their little desks. I’ll keep you posted on the actual numbers in brackets (there were 1,208,993 little people who started grade one in 2016, according to the Department of Basic Education).

Now fast forward to grade twelve. Unfortunately, only 58% of those entering grade one made it this far (704,533). Fortunately, you are one of only 12 in the class who started the final year of school, and one of 9 who actually wrote the final, matric exams (roughly 520,000).

It’s you and your 9 peers who eagerly anticipate their final school results. We could be in for a surprise, but based on previous years’ performances, the cards will fall something like this:

  • 7 of you will pass (roughly 400,000)
  • 2 will fail (roughly 125,000)

Of the 7 who pass, there’s a range of achievement:

  • 2 will do well enough to qualify for admission to a bachelor’s programme, at a university (roughly 150,000)
  • 3 will qualify for admission to a diploma (roughly 165,000)
  • 1 will qualify for admission to a Higher Certificate (roughly 85,000)

You’ve made it out of school and been accepted into a university. Now it’s time to focus on your degree.

Unfortunately, the culling doesn’t end here. After the first year, of the 7 of you in higher education, half drop out due to financial strain, or simply not being able to cut it as school inadequately prepared them for further study. These dropouts are in a state almost worse than those who failed matric. They have the additional burden of student debt for their failed year of higher education.

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3 of you manage to stick it out and graduate. You’re the lucky 15% from the starting class of 20 who graduate. And you’re the only 1, the 5%, who managed to get a university bachelor’s degree. You’re the successful outcome from the education system.

Now some good news, although South Africa’s youth unemployment rate is very high, graduate unemployment is low. Nearly everyone with a degree gets a job (75% in July – September 2016, according to Stats SA’s Quarterly Labour Force). So you find a job and start work. Let’s say your 2 other grade one classmates, who graduated with diplomas or higher certificates, also manage to get jobs, which makes 3 of you, in total, entering the workforce.

Let’s imagine that, on average, the 3 of you get jobs paying R10,000 per month. That’s not bad for an entry-level salary. You’ll pay minimal tax on this (R675 per month). But you’re young, full of potential, and soon to be promoted. Everything will work out, right?

What does a public education cost?

You’re one of the lucky ones who succeeded in and benefited from the education system. But what did your education cost the government, and the taxpayer?

  • Primary school: seven years at just over R10,000 per year is almost R75,000
  • Secondary school: five years at just under R15,000 per year is just over R70,000
  • Higher education: three years at just under R75,000 per year is just over R220,000

Thus, in total, you are looking at a cost of around R365,000 to educate one learner from grade one to grade twelve, plus three years of higher education. That’s the government’s share. Fees come on top of this.

How long would it take you to repay the government’s cost of your education via income tax?

Payback

Public education is heavily subsidised by government through tax revenue. The justification is that if the state helps to educate you, you’ll be in a better position to earn a decent living, contribute to tax, and pay for more government services like education in the future. It’s not so much payback as it is paying-forward. Now that you have a job, it’s time to pay it forward.

Given your good starting salary, and let’s assume healthy promotion prospects (20% annual increase for the first five years, 10% after that, all above inflation), it would take about 10 years of income tax, at current rates, to payback just the cost of your own education. That’s a pretty long time.

Only things are far worse. You’re not just paying back your own education. This is where the overall outcomes of the education system come into play. Only 3 of your grade one classmates are formally employed and paying tax, the other 17 aren’t doing so well.

Half of them are unemployed, barely scraping by, and definitely not paying tax. If anything, they’re receiving support from the government through child grants, public health care costs, etc.

Of the other half, let’s assume none of them are earning much over the taxable threshold and their promotion prospects aren’t good.

So here’s the rub, as there are only 3 of you making significant income tax contributions, you’re going to have to foot the bill. The 3 of you have to pay, not just for your own education, but for the entire next generation’s. That’s fifteen years of education for 20 kids, wait, let’s make that 21, the population has grown since you started school.

How long will that take?

The total government cost of education we calculated was R365,000 for one learner, multiplied by 21 gets to R7,665,000. Divided by the 3 successful taxpayers in our example, means each of you must make an income tax contribution of R2,555,000!

Even with these very generous assumptions for salary increases, it will take over 20 years paying income tax, at current rates, to fund the costs of education. That’s just to pay for education, not to mention all the other costs your tax has to cover.

Our failing education system, with its poor education outcomes, is a fiscal time bomb. If we don’t improve the system so that more people complete school, graduate from university, get jobs, and contribute to income tax, we’re screwed. Those of us who somehow succeeded in the current system aren’t going to be able to afford to educate the next generation, or look after the many people the education system has already failed, unless education outcomes are drastically improved.

 

 

For a specific example of how to improve higher education outcomes, read on here.

Notes

Main sources:

  1.     Stats SA, Financial statistics of consolidated general government 2014/2015
  2.     Department of Basic Education, Education Statistics in South Africa 2014
  3.     Department of Basic Education, 2016 School Realities
  4.   Stats SA, Quarterly Labour Force Survey, October 2016
  5.     Old Mutual Income Tax Calculator, 2016

I made many simplifications, including:

  1.     Treating public and private education equally.
  2.     Ignoring inflation: it sounds like a big thing to ignore, but since I didn’t account for it on the salary growth or education costs, it won’t make a big difference.

Most of the calculations and links to the sources can be found here.

[https://docs.google.com/spreadsheets/d/1KhzxsnwE3Wh6GVm3vak4mET4Ukwf__0KVdndULTbHM4/edit?usp=sharing]

 

It’s a new day, a new year and no better time to Make It as a creative. In our latest campaign, Make It, we focus on the physicality and craftsmanship of creativity as well as the personal achievement of “making it” in the creative industry.

Making it as a creative in South Africa is no easy feat as many young creatives find themselves discouraged by a number of factors such as accessibility to resources and affordable creative education. Yet, despite these challenges the South African creative industry has never been in more need of young, black creatives than it is now.

But how do young creatives who have no access to information, equipment and finances make it in such a specialised industry? By accessing the necessary skills and resources required to enter the industry through affordable creative education.

The creative industry is full of opportunities and our department managers have compiled some amazing content to help upcoming creatives learn more about the creative industry and how their skills and talent can be turned into a sustainable career. From copywriting, and graphic design to digital marketing and multimedia we’ve got the lowdown on what it takes to Make It as a creative professional.

Try our “What Kind of Creative Are You?” quiz and find out how your creative flair can be turned into a creative career.

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When Umuzi decided to host its first InstaMeet and the Cohort 4 Digital Marketing Team became the group that was officially entrusted with the brief, I don’t remember once feeling burdened with the responsibility but mostly excited to be taking determined baby steps towards making company history.

Almost immediately the team interpreted the global theme into a spirited commemoration of Food, specifically focusing on how food continues to bring us together, helping us celebrate special moments and show our loved ones that we are always thinking of them.

Umuzi was determined on putting its own personal imprint to the whole event, so we derived a hashtag that was inspired by the different kinds of foods that would aid all foodies in reminiscing the countless memories of very significant times in their lives.

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The event planning consisted of innumerable meetings, purposefully driving us to our predetermined goals, there were as many frustrations in the two weeks of preparations as there were major victories. The biggest success of them all being the day of the amazing event.

The event began with our invited guests arriving, registering and being given tokens that allowed them to freely fill up their empty goodie bags with ten things from our Spaza Shop; a deliberate replica that mimicked the same invention as those we still find everyday on pavements and street corners. The only difference with our Spaza Shop is that it was stocked with items that would reawaken childhood memories, everything from Apple Munches, Drink O Pops, Fizzers, Bibos, Nik Naks and more. The reactions to our creation were all so worth it, each item inspiring our foodies to share a sentimental story relating to what they chose.

The Umuzi InstaMeet consisted of different visits to three locations; a starter at Thabo’s Chesa Nyama that was made up of Kebab Sticks and Mealies; a meal that was intended to embrace diverse memories as well as comprise of a unique and modern touch. This is where we spent most of our time, jovially enthralled in casual bursts of conversation and laughter.

The main course was enjoyed at the Downstairs Diner, where our meal options ranged between Dombolo & Beef Stew and Pap & Tripe. For some, the decision was quite difficult to make, I was pleased to observe that most of our guests refused to choose and asked to have their plates filled with both of the meat options.

As the sun began to set, we made our last walk of the day, all the way into Maboneng to Coco Bella for our dessert. The idea behind this one was motivated by the coloured ice cream cones we all ate as children. We had to unfortunately alternate that option for the sweet cones they offered, but nothing was lost as we giddily licked on the dripping caramel and enjoyed our vanilla flavoured ice cream.

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The whole weekend consisted of creating new memories, unlocking and reliving memories that we hadn’t even realized had long been tucked away. Even the Umuzi Recruits that weren’t with us on the day were encouraged to share their most nostalgic food memories on our InstaMeet hashtag #DownFoodieLane, so they could join the global event by letting everyone know what they were eating. Our Instagram Influencers also did a great job of posting very beautiful pictures of the event under the same hashtag.

If you missed the event and the chance to participate, please search the hashtag #DownFoodieLane on Instagram to better understand what our day was made of. It is said after all that seeing for yourself always leads to unquestionable belief.

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Written by: Sinawo Bukani

Images by: Sipho Biyam

Celebrating a body that is often othered, Nomathemba Mkhize illustrates the plus size body in her series Boomba Queen. Seeking also to embrace herself as a “boomba”, Noma is challenging the everyday stereotypes that big women aren’t good looking, sexy, smart, or even important. More than anything its about self love and celebrating the marvel and maginificence that is  the “boombas” of the world.
sexxy babe
“We are the outcasts
The misfits. The miser’s of the all famous status quo
The hidden and under praised.
The overly meatiness, I’m not sure what this means. Please help?
Izidudla zendawo, who try to shine under their own stage
because the public is “too small” for us!
We are the ones they never try to compete with, because
they see no competition.
Of course, with all this thickness, one shouldn’t try and compete
What people do not understand, is that our thunder thighs,
make pants look good.
With our curves, derriere and butts… we make naked feel good!”
Plus size me
slay

More than just apparel, dresses for women have become somewhat symbolic and representative of the different life stages women go through. Most women wear school dresses as young girls, a wedding dress, a maternity dress, in other cultures or religion, a women even wears a dress that covers her entire body to symbolise the sacredness of her body and sometimes a mourning dress to symbolise the death of her husband. These dresses then become a language in which society can identify or classify a certain woman who wears either one of these dresses.

Susan Bordo describes the female body as the “docile” body that has become the language of the ideals and norms of a particular society. In other words what women wear or how they behave is a direct result from the ideals of her surroundings, the body tells one of the culture or society from which they belong to; the body has become the platform to express those ideals. The dresses in this series of photos speak about the ancient menstrual dresses that women used to wear to let everyone know what was happening to them. Women would be excused from their daily chores for seven days, however, years down the line this tradition has allowed men to stigmatise women during their menstruation. Shame and disgust are now tied together with menstruation.

 

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Words and photographs by: Boitumelo Mazibuko

The complexity of being “born free” or “a democracy baby” in an unjust, unequal South Africa means that every day is a constant juggle between gratitude and frustration. On one hand you’re aware and in awe of the sacrifices and bloodshed that made todays freedom possible, while on the other hand the knowing that there is still so much more to be done breeds frustration. Frustration with our government, our expectations of “A Better Life for All” and even a frustration with our ideas of what it means to be young and black in a democratic South Africa.

For most young people politics were a thing of prime time news, academia, elders and parliamentary chambers, or so it seemed. In recent months (perhaps even years) the #hashtag generation (Arab Spring, #BlackLivesMatter, #FeesMustFall, #RhodesMustFall) has proven that by all means necessary, young people while mobilize and they will be heard.

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No amount of Madiba Magic or collection of our parent’s contribution to the liberation struggle will excuse us from doing the work of today. More and more young people are beginning to realise that politics are not debates and decisions made by a few elite for the vast majority. Politics are personal, they are about your life and they are about the here and the now.

While the legacy of liberation slippers through the fingers of certain parties and younger, rumbustious ones gain momentum, the struggle of parties to engage young people in politics is probably a lot harder today than it was say 40 years ago in 1976. Who deserves our votes? Who is truly fighting for us and our future? Now that Mandela is gone, who steps in? Where is the leader that mirrors us? that commands our admiration?

Following the commemoration of 40 years since the Soweto Uprisings and in prelude to Mandela Day Umuzi asks young people what their thoughts are regarding Mandela Day, upcoming municipal elections and the state of politics 22 yeears into South Africa’s democracy and so we present; #dipolotiki: the politics of politcs, coming to a screen near Monday 18th July 2016.

Blessed with an abundance of talent in the form of videographers, graphic designers, photographers and writers Umuzi Academy is a creative hub where the standard for excellence is nothing but hot sh!t and to applaud and encourage our recruits for their work, Umuzi launched the Creative of the Month (#COM) competition.

Open to past and current Umuzi Academy recruits, submissions for the first Creative of the Month competition streamed in fast. Ranging from cityscapes, to powerful social commentary and even some humorous videos, the inaugural submissions made it very clear that deciding on a winner would not be an easy task.

Following an intense judging session, two winners were selected, Lungile Mofokeng and Lutendo Malatji. Lungile (or “Steez” as he is affectionately known to the Umuzi familia) reigns as this month’s Alumni winner for his community project Bicycle Stokvel, whilst Lutendo Malatji won the Current Recruit title for his photographic, fashion project Skapadiya.

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Bicycle Stokvel

 

Skapadiya

Skapadiya

 

 

Till next time…hot shi!t k’phela.

To find out more about Bicyle Stokvel visit their Facebook page: http://bit.ly/29NQAmu

To find out more about Skapadiya, vist Lutendo’s Behance: http://bit.ly/29G64ub

The youngest member of Velocity Afrika, filmmaker and director of  Hangman , Zwelethu Radebe came through to the Umuzi studio to give a masterclass on his journey as film maker and story teller.

Perseverance, endurance and the hunger to prove yourself sit on the top of the list of what passion looks like for Zwelethu, that said, the ultimate and most important aspect of it all is telling authentic and relevant stories.

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Zwelethu’s love for film-making started from a young age when he would watch and study films and that drove him. He would go to the library and download scripts and work with those to develop his love for the industry. He got through school using the funding he received from film-making competitions.

“There is always something to say or another way for you to do something; limiting yourself because of funding, equipment or situation is allowing yourself failure before you even start,” he cautioned. Zweli never waited for things to come to him, and that pushed him even further. That where his uniqueness lies.

His mantra, and constant driving force is the desire to tell stories and the “importance of the African story.” He looks at situation from all angles and considers just what it means for our country and the local film industry. Zweli sites Nollywood, and how big they are becoming- bigger than Hollywood even – just by creating stories with what they have and however they can. “You can never have enough stories for a lifetime,” and that is where our power lies.

The projects he’s worked on include television ads and promos, most notably Mzansi Magic’s The Road, one for Ster-Kinekor and a more recent project called The Hangman; a movie documenting the story of self-discovery in South Africa during apartheid, which he is releasing later this year.

Take what people say you can’t do as a personal challenge, and don’t be dictated by your failures, is the biggest lesson I have taken from the talk given by Zweli and that in a way has calmed the storm of self-doubt in probably everyone’s head.

Written by: Karabo Seloane

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