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Babes Wodumo Has Responded to Her Appearing in the Music Video Referencing Her Alleged Abuse

"Mind your own business" says the gqom artist.

The Babes Wodumo-Mampintsha saga continues to leave many South Africans bewildered. After Babes appeared in the "Khona Ingane Lay'ndlini" music video with Mampintsha and DJ Tira which dropped last week Friday, many have been left scratching their heads.

Although she initially remained quiet about the music video, Babes finally responded to a follower on social media and basically told them to mind their own business.


South Africans are currently divided in terms of their feelings towards Babes Wodumo. Some are angry and have completely written her off along with her alleged abuser Mampintsha. Some are still sitting on the fence while others remain sympathetic of her situation.

READ: Here's the Latest on South African Artist Babes Wodumo's Assault Case

One of Babes' Twitter followers expressed her concern at how other abused South African women would be treated in future in light of the artist's confusing actions. In what appears to now have been deleted, she tweeted the following:

"In a country and world with such a high rate of gender-based violence, you are using your platform as a disservice to all the young women and elder victims of abuse. As a public figure, you have the responsibility as a role model. You are doing no justice to the calls you sent out earlier this year - calls many responded to and were triggered by. What you have done is confusing and mocks many people who supported you as a survivor of abuse."

South Africa's femicide rate and gender-based violence is alarming and women still face tremendous hurdles in terms of obtaining justice.

However, according to SowetanLIVE, Babes evidently did not appreciate the remark and responded in isiZulu saying, "Ey sis naka izindaba zakho... uphume ezindabeni zabant ababili..." which roughly translates to "sis, mind your own business and stay out of matters that concern two people."

As some South Africans have pointed out in the past, abuse is a cycle and abused women find themselves returning to their abusers time and again. What may seem irrational to those peering in from the outside, is not necessarily the same way the individual being abused may see it.

The controversial track caused a social media storm when it reached the number one spot on iTunes a few days ago.

One Twitter user, made the following unnerving statement:




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Photo (c) John Liebenberg

'Stolen Moments' Uncovers the Namibian Music That Apartheid Tried to Erase

The photo exhibition, showing at the Brunei Gallery in London, highlights artists from Namibia's underground scene between 1950-1980, a time of immense musical suppression prior to its independence.

Before its independence in 1990, a whole generation of Namibians were made to believe that their county had no real musical legacy. Popular productions by Namibian artists from previous eras were systematically concealed from the masses for nearly 30 years, under the apartheid regime—which extended to the country from South Africa following German colonization—depriving many Namibians of the opportunity to connect with their own musical heritage.

"Stolen Moments: Namibian Music Untold," a new exhibit currently showing at London's Brunei Museum at SOAS University of London, seeks to revive the musical Namibian musical traditions that the apartheid regime attempted to erase.

"Imagine you had never known about the musical riches of your country," said the exhibit's curator Aino Moongo in a statement of purpose on SOAS' site. "Your ears had been used to nothing but the dull sounds of country's former occupants and the blaring church and propaganda songs that were sold to you as your country's musical legacy. Until all at once, a magnitude of unknown sounds, melodies and songs appear. This sound, that roots your culture to the musical influences of jazz, blues and pop from around the world, is unique, yet familiar. It revives memories of bygone days, recites the history of your homeland and enables you for the first time to experience the emotions, joys and pains of your ancestors."

Photo (c) Dieter Hinrichs

The 'Stolen Moments" project began in 2010 in an effort to champion Namibia's unsung musical innovators. For the collection, Moongo and Assistant Curator, Siegrun Salmanian—along with a group of international scholars, artists, photographers and filmmakers—curated a large-scale photo exhibit that also features a 120-minute video projection, focusing on the dance styles of the era, along with listening stations, a sound installation that features "100-hours of interviews with musicians and contemporary witnesses," and displays of record covers and memorabilia from the period between 1950-1980.

The musicians highlighted, produced work that spanned a number of genres—a marker of the country's vast and eclectic underground scene. Artists like the saxophonist Leyden Naftali who led a band inspired by the sounds of ragtime, and the psychedelic rock and funk of the Ugly Creatures are explored through the exhibition, which also centers bands and artists such as The Dead Wood, The Rocking Kwela Boys, Children of Pluto and more.

"There are many reasons why you've never heard this music before," Moongo continues. "It was censored, suppressed, prohibited and made almost impossible to listen to. Its creators are either long gone or have given up on music making, by reasons of adversity, death and despair. And yet this beautiful music exists with a liveliness, as if it had never stopped playing. It is still in the minds of the few who can remember, with the ones who played it, and on those rare recordings that have survived in archives and record collections scattered around the globe. Allow me to share these stolen moments with you."

Photo (c) Dieter Hinrichs


Photo (c) John Liebenberg

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"Stolen Moments" is now showing at the Brunei Gallery in London and runs through Sept 21.

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