Screenshot of Missoni Resort 2011 collection on the style.com site.
Missoni Resort 2011 Collection. Mod fashion with a nod to “tribal” (Ndebele) style.
(via the always interesting katebomz tumblr)
Icon: Former model Iman Abdulmajid is set to receive the Council of Fashion Designers of America 2010 Fashion Icon award. Although Iman made her mark in the “frivolous” world of good looks, the impact of her presence there and on the wider world of the African/black visual image is undeniable.
Refugee: In above puff piece, former refugee Iman makes a great point about what women displaced by the Congo conflict need. No, not charity but help to end the war (as funded by conflict minerals from that region), so that they can re-build their communities. Not sure if the whole fair-trade cellphones concept will take off, though.
Thanks to a post on Kate Bomz’ lovely tumblrlog I happily obliterated a recent Friday evening discovering the culture of the Swenkas of South Africa. Swenkas?:
The swenkas are a small group of Zulu working men which formed in South Africa following the abolishment of Apartheid.
These well-dressed men are proud and considered to serve as an inspiration to others. On Saturday nights, these men leave their work clothes behind and don highly fashionable quality suits to impress a judge, who is a randomly picked. Traditionally, the prize for the most stylish suit is cash, but on special occasions such as Christmas, the winner may receive a goat or a cow. This traditional fashion show still happens today, but it is unclear as to precisely when it was instigated. The men follow certain set values of Swanking, such as physical cleanliness, sobriety and above all self-respect.
It is not clear what the precise roots of the swenka culture are. There is the acapella Iscathamiya music, where the performers, inspired by African-American ragtime/jazz fashions took a sense of formality and elegance. Also like migrants everywhere else the workers needed to buy swanky outfits for their return home to show those they had left behind that they had made it in the big city, regardless of what the daily reality was (is) of life in the mines, the construction sites, and white homes where they worked. Regular competition seems to have raised it all into an art form and a subculture.
The three video clips below highlight the various threads that make up Swenka.
Mini-feature on the Zulu ISICATHAMIYA choir competitions in Johannesburg
“artsworld” feature on Iscathamiya choral and Swenka fashion competitions in Johannesburg
Trailer for 2004 documentary “The Swenkas” by Danish director Jeppe Ronde. Synopsis here
Screen shot from Vice magazine site featuring the Swenkas. © M. Shoul
See also: Vice magazine: Swanky Swenkas Snip from article from Adolphus Mbuyisa on swenking:
I am one of the organizers of the Joburg swenkas. I don’t know how many suits I own, maybe 20 or 30. If I see a suit I like, I simply must have it. I also have lots of shoes, ties, and shirts. It is important for everything to match if you want to win a competition.
….
I live in a room in Soweto. My family is very supportive of me and my clothes. They don’t mind that I spend so much money on suits—they are proud of me and they like it when I look smart.
Screen shot from designer Paul Smith’s web site
Speaking of Swankiness, See Also: Underscoring the power of the imagination in subcultures like the Swenkas and sapeurs, fashion designer Paul Smith has a new fashion line for spring/summer 2010 called “Mainline” influenced by Congo Brazzaville’s sapeurs:
See Also: Through all this I can’t help but think of Hugh Masekela’s song “Coal Train” (aka “Stimela”) about a train carrying men from the hinterlands of southern Africa (all of Africa these days?) who uproot themselves from their homes, lands and loves in the pursuit of dreams of wealth and comfort. The dreams that crash into the reality of migrant life and that are rekindled in Swenka fashion and Iscathamiya music/performance.
Hugh Masekela: “Coal Train Live”
Screenshot from models.com site. © A. Jolly
PHOTOGRAPHY: Dimanche a Bamako by Aitken Jolly One of the legacies of Malick Sidibe’s work getting accepted by the elite art/culture crowd methinks is that it has encouraged fashion/editorial image makers to explore using African models, fabrics, etc. beyond the “safari, wild animals, raw nature” concepts that have previously dominated interpretations of Africa. This is a good thing.
See also: bold constructions by Viviane Sassen “Photographer i like” Sassen is most interestingly incorporating African themes into her fashion/editorial/personal work.
Go see: Speaking of, if you are in the New York area, check out Viviane Sassen’s exhibition of images at the Danziger Projects in Chelsea. The work centers on images she has taken in eastern Africa including from her “Flamboya” series.
Danziger Projects. Photo by your humble servant
Screen shot from Chris Saunders’ web site. © C. Saunders
PHOTOGRAPHY: Chris Saunders: fashion. Features images of the Smarteez of Soweto. See also: Lolo Veleko: “Beauty is in the eye of the beholder” for an earlier survey of the Smarteez.
PHOTOGRAPHY: Book Review: Malick Sidibe vs Dash Snow. On the occasion of the recent release of Malick Sidibe’s latest book, art photography critique site Conscientious juxtaposes two things that should not go together. Jörg M. Colberg posits that art should transport/transform; it is the unalloyed joy and humanity in Sidibe’s images that are core of the images appeal. Conversely, Dash Snow’s VICE magazine-style party polaroids of the tortured/alienated artist NYC do not. Providence allowing, one day I will own this Malick Sidibe print.
Screenshot from NY Times site of carnaval portraits. © R. Reis
PHOTOGRAPHY: Carnaval: Surreal Selves. In 1987 famed Brazilian documentary photographer Rogerio Reis took portraits of “counter-carnaval” participants on the back streets of Rio de Janeiro. What he found were people who for one day were trying to escape the social/cultural strictures they lived under the rest of the year. It makes me think of the lyrics of Antonio Carlos Jobim’s “A Felicidade”.
A felicidade do pobre parece
A grande ilusão do carnaval
A gente trabalha o ano inteiro
Por um momento de sonho
Pra fazer a fantasia
De rei ou de pirata ou jardineira
Pra tudo se acabar na quarta feira
translated…
The happiness of a poor man is like
The grand illusion of Carnaval
People work the whole year long
For one moment’s dream
To play the part of
A king or a pirate or a gardener
And all of that is ended on [Ash] Wednesday
FASHION: Photos from 2009 Swahili Fashion Week held in Dar-es-Salaam, Tanzania this past November.
Screenshot from Swahili Fashion Week site
FASHION: Suno New York. Clothing line designed and developed in New York City’s Garment District and sewn in Kenya. Previous collections have been inspired by khanga cloth from the Kenya coast.
Screenshot from SunoNY site
FASHION: Jamhuri Wear: Nairobi Style. Speaking of NYC and Kenya, the incomparable Nomadic Wax recently featured Jamhuri Wear’s Jeffrey Kimathi whose street wear designs are inspired by both both places.
FILM: Yinka Shonibare: Threads of Art. Speaking of khangas, I was recently in Washington DC and saw the Smithsonian Institute’s National Museum of African Art HUGE installation of Yinka Shonibare’s sculptures, photographs and video. If you are in the DC area, go see, it is well worth the visit. Narration is a little grad-school dissertation-y but does a good job of putting Shonibare’s work in cultural and political context for me after experiencing the art.
“Yinka Shonibare: Threads of Art”, Short Film by Ali Standish
Image of Peter Beard on the shores of Lake Turkana, 1965. From Guardian web site.
Controversial diarist, artist, photographer, writer, conservation activitist Peter Beard links my two worlds in New York City and Kenya. I always thought he was a Kenyan, a Kenya Cowboy to be sure but Kenyan none the less. Growing up, I remember his photography and the publicity it generated around wildlife conservation. The picture of him on the shores of Lake Rudolph (Lake Turkana to the kids) with half of his body in the mouth of a crocodile has always been part of my visual landscape.
In truth Peter Beard was born in these United States. He first developed an interest in Africa through visits to the Museum of Natural History in NYC. After graduating from Yale, he moved to Kenya working on game conservation, as documented in his book “The End of the Game“. The book featured the carcasses of mostly elephants that were dying in Tsavo from a combination of drought and overpopulation brought on by population pressures. Here in the US, Beard hung out with the art/social elite of NYC. Beard’s US base in Montauk (far east Long Island) was the place folks like Andy Warhol, Julian Schnabel, Richard Avedon, and Jackie Kennedy spent time. He also counted luminaries like Mick and Bianca Jagger, as well as Francis Bacon among his circle of friends.
Excerpts from “Peter Beard: Scrapbooks from Africa and Beyond”
Beard’s mixed media diaries and installations make use of a lot of the ephemera of Kenya’s past and present. From coins, to images of Presidents Kenyatta and Moi, from old photos of colonial Kenya to current images of the land, people and animals of Kenya, there is so much that that is part of my visual and cultural landscape. That his work was inspired by artists like Andy Warhol and Francis Bacon, and his fashion images were featured in Vogue and Vanity Fair, places him squarely in the art scene in the New York of the 60s and 70s.
What one cannot deny about the work of Beard is that he appreciates the raw beauty of Kenya and incorporates it in his art. He can see the beauty of a Turkana woman untouched by modernity and say that it is the same beauty as that of a Vogue model. That bold viewpoint, informed by his life-long love of nature and natural history, challenges the connotation of Africa as that “dark” and primitive place and links the notion of beauty in Westernized, modernized, removed-from-nature New York with that of Africa (and all nature in general).
Beard, after all, is the man who introduced the world to one Iman Abdulmajid, claiming he had discovered her while she was herding camels in the Northern Frontier District (North Eastern Province to the kids). Iman’s arrival on the beauty scene of the early 1970’s completely and irrevocably upended the notion of African beauty in the world of fashion, which is pretty revolutionary come to think of it.
Paradoxically, apart from the Maasai and Turkana who live in the wild (in nature), the rest of us modern Africans are “doomed” for our wanton reproduction and desire for progress. In the debate over the battle of man vs nature in the competition for resources, Beard falls firmly on the side of nature. This quote from the film “Peter Beard: Scrapbooks from Africa and Beyond” in the mid-90s seems to imply that diseases like AIDS are nature’s retribution for our profligacy:
“Coming to Kenya is coming to unspoiled, and unscrewed up by human beings (at least in the 50’s), … a frontier that extends right back in time to the Stone Age. Human beings are not going to stop, they don’t know when to stop. The only thing that can stop them are these diseases that everyone is spending all their money to fight. We are sucking the juices out of the earth to fight the diseases that nature wants us to have because we are too greedy and we have taken over too much.”
This is a position that is hard to abide considering that as post-colonial Africans we are free to screw up our environment (or not), without the moralizing of people whose ancestors destroyed their environment and big chunks of other peoples’ to boot. It is the romantic, outmoded “Out of Africa”-era fetishistic attraction to Africa the primordial and the repulsion at Africa the modern with its complex, intractable problems that makes it hard to have unalloyed admiration for Peter Beard’s art, as much as he has contributed ecologically, culturally and visually. However, I suspect that is the essence of the man, who while decrying the superficial nature of modernity, has no problem doing fashion shoots for magazines that embrace that same superficiality. The world is full of contradictions.
Trailer for the Waris Dirie biographical film “Desert Flower”
FILM: Desert Flower. Waris Dirie’s book of her escape from Somalia, rise to supermodel superstar-dom and later fight against female genital mutilation gets the Hollywood treatment. Ethiopian Liya Kebede stars.
Screenshot from Suresh Natarjan’s portfolio site on the Behance Network
PHOTOGRAPHY: Suresh Natarajan: Tanishq Aarka. India meets Africa.
“The BLK JKS homecoming slideshow” audio slide show from the Mail & Guardian site.
Music: BLK JKS are back in the States to tour in support of the debut album “After Robots” out now. Rolling Stone has called them “Africa’s best new band” and artists to watch in 2009. Here is a sampler track from their new album:
Photographers I Like: Speaking of BLK JKS, you’ve probably seen a tall gentleman on/back stage at their shows taking pics of the performances. Said gentleman would be Kwesi Abbensetts, an art photographer who beautifully captures the creative vibe of Brooklyn. He posts his work on the photoblog “Spaceship George“.
Screenshot from “Oroma” a photo essay on Mike Schreiber’s site. © M. Schreiber
Photography, more: Mike Schreiber, Oroma Speaking of photographers, here as some cool images of Oroma Elewa the editor and creative force of nature behind the magazine/site pop’africana (which site I have been criminally silent about). Mike Schreiber is another Brooklyn-based photographer with great work, check out his esays on M.I.A. as well as other music portraits he has shot on his site.
Promise of Africa Collective at New York Fashion Week
FASHION: Speaking of fashion, herewith highlights from the Arise: Promise of Africa Collective Spring/Summer 2010 show at the recently completed New York Fashion Week. It featured togs by David Tlale, Eric Raisine, Tiffany Amber and Jewel by Lisa.
Images © errolphotography
Sometimes the haircut can say a lot about the person. The cloud of
hair around someone’s head seems to be not only a hair style but a
type of manifest of a person’s “self”.Recently I have decided to set up an ongoing photo project portraiting
Afro-headed people.
I placed an ad on the Internet and some of the people who responded
were invited to stand in front of my camera. The following portraits
display their individuality, style and character.
Errol on his portrait series: “Do you have an afro?”
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