Arts + Culture

Interview: Cape Town Creatives 'naas' Drop Botswana Beat-Genius Video + Fun Toy EP

Okayafrica speaks with Cape Town-based creative powerhouse media company naas and its co-founders Thor Rixon and Ian McNair.


A hydra of a creative force, South African media company naas is a multidisciplinary group of individuals intent on exploiting the many benefits of collaboration. The brainchild of Cape Town based uber-creatives Ian McNair, Thor Rixon, Matt Rightford and Imraan Christian, naas will cater to any a creative need — whether it be in the medium of cinematography, music production, furniture and clothing design, sound engineering and radio shows — pristinely prepped and packaged with a cheeky and fresh attitude like no other. This past week has been one of their busiest, with some smashing new releases, including well loved Botswana beat-genius O’ltak’s first ever music video entitled "Stars (Lemonade)," and Daniel Breiter aka Fun Toy’s self-titled debut EP. Okayafrica got in touch with co-founders Rixon and McNair, along with Breiter to talk music, selling one’s soul to the media, and some of naas’ other fun new toys.

Shiba for OKA: Greets! So let’s get acquainted. What, who, where and why is naas?

naas: naas is a Cape Town-based creative collaborative agency. Instead of being inward-looking on our own skills and passions, we look outward and involve different people on each project we do. We would be nothing without Patrick Visser, Tourmaline Berg, Angela Weickl or any of the other amazing creative souls that we’ve worked with on any of our projects. We consist of naasFILMS, naasMUSIC, naasEVENTS, naasDESIGN, naasPHOTOGRAPHY, naasMONDAYS and naasCOLLABS (for now…). We started the collaborative because we saw the beautiful, rich and important work being done by the people we were surrounded by and there was no space for everyone to be freelance (which is a costly and risky exercise) as well as belong to a greater family/organisation (which can amount to selling your soul to make somebody else rich).

OKA: From all the disciplines you guys dabble in, what would you say separates naas from any other creative company?

naas: What separates us is the ‘why.' We feel collectively, that the only way to be relevant or to do anything important is to support the people we work with and create a culture of working together to build the different creative industries we engage in. We believe in building a platform that people can contribute to and benefit from. The reason we want to do this is to be a positive contribution to the growth of Cape Town’s current rising interaction with the world. We’re at an important time where authentic Cape Townian creative output is being noticed and celebrated worldwide.

OKA: Clearly you all have been very busy of late; let’s start off with O'ltak’s "Stars." It’s playful, dynamic, and the track is killer, as many have come to expect from him. What inspired the use of the objects in the video? Can you walk us through the process of creating it?

naas: In the spirit of collaboration, Thor, as head of naasFILMS, approached two talented and exciting individuals, Kent Andreasen and Johnno Mellish, to create a music video for O’ltak, a seriously skilled and cutting edge producer from Botswana. After the three of them spitballed a whole bunch of ideas, it came to the point where they wanted to demonstrate that inanimate objects can interact with each other in fun and intriguing ways. The only human elements present in the video are highly dehumanised objects, like the painted hand and the girl bouncing around the frame like a Windows 95 screensaver. For the VFX, the team approached Ben Rausch to put his glorious touch on the video. He was more than happy to be involved and, in our opinion, really made the project become richer and multidimensional.

OKA: The Fun Toy EP has also just dropped under naasMUSIC. Tell us what it was like working with Daniel.

naas: Daniel has never sat in one position for more than 6 minutes, as far as we can tell. He’s nuts, but that’s what we like about him. His EP is some ground-breaking production, or as Dank put it, ‘This shit is future.’ We like to release artists who show some kind of boundary-pushing, such as Throwing Shade’s ‘lovestep’ style of re-imagining of R&B themes, or Life Magic’s beyond-his-years production style, or RVWR’s straight-up-and-down TRVP genius, or even our very own Thor Rixon’s collaborative part-album, Shared Folder, which features many of Cape Town’s shining young lights of music.

OKA: Shining young lights, you say?

naas: Definitely. In terms of what has impressed us in the last year, we have been particularly taken by electronic artists who have chosen to perform their productions live and also those who have tried to push the boundaries of rhythm and sampled melodies, such as Dank, O’ltak, Fun Toy, Card On Spokes, and most impressively, SLABOFMISUSE.

OKA: Daniel has released numerous tracks over time but never something he could pull together with pride as one solid contribution-- until now. Fun Toy EP is a collection of delicious tracks that are warm and refreshing, and each track is accompanied by JNN KPN’s paper art with an individual image for each track.

DB: I wanted to create something that would say "This is Fun Toy, and this what I do." I tried to hold back from producing a bit over the last few months. I didn’t want to just create out of habit. I wanted to write something with intent, and a more meaning than 'Just another song'. Now that I that I’ve said that, I feel more comfortable exploring stranger, different directions, and creating with more purpose... Jnn Kpn is a good friend of mine (and great DJ). She's a full time graphic designer, and had done some work I loved in the past. So we got together on the Saturday before my release, and spent the night thinking up scenarios to throw the hamster in, and went for it. It was super quick and fun. She's got amazing sensibilities. It was a pleasure. I really dig "Triangulength" and "To Rebuild a Home." I really love the emotive quality of both of them, which is really what I'm all about. Pretty, emotive music. If I can manage that, I’m happy. Thats kinda what I love about sampling and remixing. The original song was important to you in some way, and invoked some sort of feeling in you. I love taking that feeling, and placing it in a new, different context. Ross Finck (Dank) also really brought the tracks to life with his mastering, and wouldn’t feel the same without his touch. As for what the original actually means to me, I really just think it's a beautiful song. Simple and deeply emotive.

Keep up to date with naas’ dealings on facebooktwitter, and tumblr.

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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