Events

Okayafrica Electrafrique NYC With Captain Planet (Album Release!), Oscar P & Underdog

Okayafrica Electrafrique returns to NYC, Friday, October 17th, with Captain Planet (album release!), Oscar P, and DJ Underdog.


Okayafrica teamed up with Nairobi's Electrafrique this year to present New York City's new monthly dance party. Okayafrica Electrafrique returns to the 303 at Louie & Chan Friday, October 17th, (in collaboration with I'll House You and Bastard Jazz) for Captain Planet's album release party with DJs Oscar P and Underdog. Entry is FREE before 10pm with RSVP. Stream Captain Planet's new Africa In Your Earbuds tape below to get ready:

>>>RSVP For FREE Entry Before 10PM

DJ LINEUP:

Bicoastal ‘gumbo funk’ producer Captain Planet's sophomore album Esperanto Slang (out 10/7 via Bastard Jazz) is the follow-up to his outstanding Mystery Trip Vol. 1 mixtape from 2012. Esperanto Slang presents an eclectic collection of beats and dance-infused collaborations with artists from across the globe, including Sudanese songstress Alsarah, Antibalas‘ Chico Mann and several others. The diverse productions on the 11-track album blend a wide range of styles from “NY hip-hop, UK bass and Turkish psychedelic, to Nigerian afrobeat and Amazonian funk.” Listen to the summertime anthem “In The Gray” and the Brazilian samba funk "Tudo De Bom" off Esperanto Slang.

Oscar P is recognized as an innovator and force in New York's DJ scene. His musical style fuses influences from not only NYC, but also Chicago, Detroit and Johannesburg. He is the leading force behind Afro Rebel Music, which is Open Bar Music's spin-off label dedicated to South African deep house.

DJ Underdog is one of the apostles of Washington DC's Afro-futuristic scene, and of course resident behind the decks at our monthly #OKAYAFRICADC party. His “Afrobeat For Your Soul” monthly acquired legendary status. For more from Underdog download his excellent Africa In Your Earbuds mixtape.

Friday, October 17th

9pm-4am

Louie and Chan

303 Broome St., NYC

FREE w/ RSVP before 10pm

Door: $10

Electrafrique's DJ Cortega has put together an hourlong warmup mix, featuring new music from Boddhi Satva, Wunmi, Fantasma, DJ Spoko and more. Stream and download below.

DJ Cortega's ELECTRAFRIQUE OCTOBER 2014 Tracklist:

Wad Alnuba (Captain Planet Remix) - Alsarah & The Nubatones

Burnt Friedman Meets Zinja Hlungwani - Burnt Friedman

Cicada - Captain Planet

Minha Infancia - DJ Znobia

Makutu (Semba) - DJ Dias Rodrigues & Eddy Tussa, Kenny Buss

Arbé de Cadjau (Meistro Sol Power Rework) - Nhu De Ped'bia

Obame (Radio Mix) - Afrobuddh & Kakatsitsi Drummers

Woa Ka Wo Ho - Anas

Woman of Substance (Awuwan Itiaba) - Ibibio Sound System

Flawless (Boddhi Satva Ancestral Soul Remix) - Beyonce

Niani (Jose Marquez Mix) - Sassouma Kouyaté

Pula (Rain) - Spoek Mathambo

The Mountain (Remix) - Mujava, Spoko, Spoek Mathambo

Rudeness - DJ Clock & DJ Mlungu

More Pain - DJ Spoko

Sefty Belt - Fantasma ft. Josiahwise Is the Serpentwithfeet

Djinew Nakan (Boddhi Satva Ancestral Soul Remix) - Issa Bagayogo

Mizobiya (Remix) - Dayto & DJ Ivan90 ft. Wes

African Salsa (Original Mix) - Black Motion

Lopeleketé - Os Banah ft. Maya Zuda

Fit Body (Jmage Mix) - Wunmi

Interview
Image: Courtesy TIFF

Jenna Cato Bass is Capturing the Horrors of an Unhealed Nation

The film marks the South African director's third debut and stride towards making a name for herself in the international film circuit.

Ever since premiering her debut film, Love the One You Love, which won the Best Feature Film at the Jozi Festival in 2015, Jenna Cato Bass has been a name to watch on the international film festival circuit. Her 2017 feature, High Fantasy, was the first of her films to land on the Toronto International Film Festival (TIFF) lineup, followed by Flatland in 2019. Her latest offering, Mlungu Wam (Good Madam), debuted at TIFF in September of 2021 — marking her third time at the esteemed Canadian film event.

Often provocative, always thought-provoking, Bass' films have come to establish her as a director who looks at South Africa's youth, the lives they're living and the future that awaits them, with a nuanced, open-minded lens. For the first time in her career, Bass uses the genre of horror to dig into an enduring mark of the country's past — that of the fraught, complex relationship between madam and domestic worker, in Mlungu Wam (Good Madam). Set in Cape Town, the film follows the unusual, disturbing things that start happening when a young woman moves back in with her estranged mother, who is the longtime caretaker for a rich, white household.

Bass also co-wrote the film Tug of War (Vuta N'Kuvute), which became Tanzania's first film to be selected for TIFF this year, and she co-wrote Rafiki, which was Kenya's first film at TIFF in 2018.

She spoke to OkayAfrica about playing in a new genre and her hopes for African cinema.

Still from Bass's film Mlungu Wam Image: Courtesy TIFF


This story revolves around the relationship between a domestic worker and her 'madam.' What made you want to make a film about this subject?

When I make films, I like the concept to revolve around something that we all have in common - because, despite the many fractures in our society, these shared places exist. And in South Africa, we felt that everyone - in some way or another - has been deeply affected by domestic work and domestic workers, who are a keystone in our society's structure. Additionally, the 'maid' and 'madam' relationship is the ultimate symbol of race relations in South Africa - as well as how they haven't changed significantly, despite almost thirty years of democracy. So a domestic worker was the perfect character around which to centre a South African horror.

The genre of horror works really well to explore this subject and tell this story — when did you know it would be the genre you'd want to use?

The early stages of developing a film aren't always linear for me. I'll be thinking about a genre I'm interested in, and then parallel to that I'll have an idea for a story or a character, and later on, will realize that these pieces all fit together. In this case, I'd been wanting to make a horror film for ages, but hadn't found the right story… until I had the idea for Mlungu Wam, and I realized I was finally ready to try this genre.

What challenges did you face in making a horror?

It was my first time working in this genre, and it was intimidating because there's no saving you if you fail. We were also working on a very, very limited budget, so it wasn't possible to show as much as we'd like to - but then again, this story was all about the subjective and the unseen, so I did as much research and planning as we could, and just had to trust it would work.

Where did you film, and did that have any impact on the process at all?

We filmed in a house in Cape Town, in a gated community in the Southern Suburbs. The house and the environment had a major impact on the film - especially because we were also quarantining there for the full 7 weeks of rehearsal and shooting. The house was our set and our accommodation, so it was very intense, very claustrophobic, and very triggering for many of our team members.

How did you and co-writer Babalwa Baartman work on the story? You've included cast members in the writing process in your previous work — did you do that here too?

Mlungu Wam was made along similar lines to my first two films, Love The One You Love and High Fantasy, where we started with an outline, cast actors, then workshopped the characters collaboratively before completing the story breakdown and using improv for the dialogue. Babalwa and I had worked together using this method on a short film we made in 2019 called Sizohlala. She really understands the process, and it was a really rewarding experience exploring the story with her and our cast.

How did Kristina Ceyton, who produced the excellent acclaimed horrors The Babadook and The Nightingale, through Causeway Films, come to be involved in this film?

I had met Sam Jennings, who is also a producer with Causeway Films, several years ago at a festival. We really connected and kept in touch over the years, sharing our work, and hoping there'd be a chance to collaborate. So when we were developing Mlungu Wam, I pitched her and Kristina the concept and they were immediately supportive. It has been a massive pleasure working with them both.

Your films are known to venture into themes of identity and healing from the past — how does this film speak to that?

Mlungu Wam is definitely about this too - it's a story about three generations of women (actually four, if you include Tsidi's grandmother, who is an unseen character in the film), how they are haunted by the past and eventually refuse to remain chained any longer. Their healing is collective, linked to each other, and wouldn't be possible for them alone as individuals.

Still from Bass's film Mlungu Wam Image: Courtesy TIFF


You've been at TIFF before - how has your experience of it been this year, with it being a hybrid of virtual and in-person?

Things have been quieter and a bit harder to navigate, but the TIFF staff have done incredible work getting the festival off the ground, despite endless challenges. It has felt very surreal to be here, and a privilege - and inspiring too, that we can still get together to celebrate films, even though our world is in such a mess. We had over 200 (socially distanced) people at our last screening, and that was an amazing feeling.

Yours is one of few African films on this year's line-up - is there anything you'd like to see happen to try improve that?

Regarding African cinema, TIFF has a real range of films this year, across several sections. Compared to many other festivals, they seem really invested in supporting cinema from the continent. Of course, this could be better, but it's also an example to other festivals who claim there aren't enough African films, that this is clearly not the case.

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Tanzanian Filmmaker Amil Shivji is Making History with a Story of Love and Resistance

As the first Tanzanian film to be chosen for TIFF, Shiviji's film is sure to get the African country a seat at the table.