Interview: Laura Gamse, Director of The Creators

We were given the opportunity to talk with producer and editor of The Creators, Laura Gamse to find out about the film.

The Documentary, The Creators, focuses on the different types of culture — such as break dancing and inspirational music — that boomed out of apartheid in South Africa. We were given the opportunity to talk with producer and editor of The Creators, Laura Gamse to find out more on the movement. For information on upcoming screenings in Johannesburg go here.

Okayafrica: What goals did you have in mind when you conceptualized The Creators?

Laura Gamse: The Creators was initially focused on artistic activism in South Africa. I wanted to explore whether the arts sustained a level of public consciousness that was stifled through the Bantu education system, or apartheid's forced mis-education of the South African black and coloured (mixed-race) people. This view became complicated because some of the artists in The Creators didn't identify with the activist label, especially after the very overt political activism South Africa became known for during the 1990s. Some artists told me that the worst crime apartheid committed was creating a society in which it was not alright to address anything besides social inequity with art; others felt that art was one of the main tools that could be used to unify a nation divided by apartheid's segregation tactics.

The graffiti artist Faith47's son, Cashril+, tells a story at the beginning of the documentary about a man who hunts a werewolf every day for 20 years, only to wake up in his own trap. Cashril+ was 11 at the time we filmed him, and he had a dream of this story. The metaphor of a hunter unknowingly hunting himself - or the darker aspects he embodies as a werewolf each night - could be mapped onto so many realities within South Africa (colonialism, apartheid and the creative process, for starters) that it sets the stage for the documentary in a way which acknowledges the many psychologically and physically contrasting realities portrayed in the film. In the end, the film still shows many activist artists, but the focus is on the layered realities these artists live in and actively create, and their impact on the future of South African society.

OKA: Many people view apartheid as a dark time where creativity seemed to stop. Can you further explain the importance of music and art throughout the apartheid era?

Laura Gamse: There are a few songs those people should listen to which would sort them out right quick ;). We've all seen debates between people from opposite extremes of the political or socio-economic spectrum. They rarely resolve differences, eh? It's more likely that each party becomes more deeply ingrained in their own ethos. In my view, music and art lubricate what can otherwise be abrasive confrontations between opposing parties. In apartheid-era South Africa, an extreme minority of South Africans dictated the racist policies which oppressed the majority, and systematized segregation and mis-education kept most white people oblivious to the harm which was being inflicted on their fellow South Africans. Music like the Xhosa/Zulu protest song "Senzeni Na?" ("What have we done?") and theatre like Adam Small’s Kanna hy ko Huistoe crossed the boundaries which humans were barred by law from transgressing (in the case of Small's play, that he was barred from attending the performance because of his mixed-race identity).

The music and protest art during apartheid played a major role in establishing the humanity of those within the township to those who never brushed shoulders with them (both whites in South Africa and the international community), leading to the protests and economic sanctions which eventually fueled the transition to democracy. In modern South Africa, many artists and musicians act as the "culture-keepers", preserving the history of South Africa pre-apartheid and pre-colonization. These history lessons were removed from school under the Bantu Education Act of the 1950s, so without music, art and the oral tradition, they might be lost.

OKA: What is the most important/interesting scene to you in the film?

Laura Gamse:One of my favorite sequences is the montage of forced-segregation footage accompanied by the apartheid minister Hendrik Verwoerd's voice describing apartheid as a policy of "good neighborliness". Vusi Mahlasela's song "Kuzobenjani Na?" ("How would it be?") plays next over scenes of South Africans running from the bullets and tear gas of the apartheid police. In "Kuzobenjani Na?", Vusi is imagining how it would be tomorrow if he and his lover were married, "separated only by death" -- so the sequence juxtaposes two men from opposite extremes of South Africa (one the architect of apartheid, the other oppressed by its policies) hopefully imagining two beautiful futures, neither of which will materialize as a result of the reality of apartheid-driven violence and dehumanization.

It sounds complicated but the actual sequence goes by so quickly, few audiences (and probably only those who speak Zulu) catch it. You can watch it in the middle of the historical section of the film. Ironically, the apartheid footage is owned by some nameless figures who ran apartheid state television, and the footage is prohibitively expensive to buy for an independent film like The Creators. And though Vusi himself and his manager agreed to include "Kuzobenjani Na?" in the documentary, Sony Music recently sent me a demand that I discontinue its use in the film (and send them a profits statement, of course. Luckily we have no profits!). So this scene probably won't live to see distribution.

OKA: What is the most unexpected thing people will discover about the township through your film?

Laura Gamse:Hopefully audiences will discover incredible music and art that they didn't know existed, coming from what some might consider the least likely of circumstances.

OKA: Did apartheid stunt, or evolve the arts in South Africa?

Laura Gamse:I would say that the arts evolved during and as a result of apartheid. I don't know if there is anything that can cause art to regress (though I know some regimes have given artists solitary confinement as an attempt to stifle creativity). Had apartheid not existed, the arts in South Africa would have evolved in a different manner. The most apparent difference might have been instrumental musicians (choir music was vivified by apartheid, you could say, because musicians in poverty can't afford instruments but everyone has a voice). We'll never know what sort of art and music (and technology and inventions) would have come out of a South Africa without apartheid. I guess we're exploring that now.

OKA: How does the legacy of apartheid influence today's younger musicians? Like Spoek Mathambo, featured in your film.

Laura Gamse:In so many ways, it's not possible to generalize. You can see Spoek riff on the stereotypes in stuff like his H.I.V.I.P. mixtapes with Sweat.X. Spoek answers this question directly in The Creators, so let me not put too many words in his mouth. Some approach the issues directly like Emile YX?: ("We completed black schooling, or should I call it black fooling? The cherry on the cake was giving us token black ruling.") and others choose to ignore or talk around them (like Watkin Tudor Jones, better known nowadays as half of Die Antwoord). Some kids who would otherwise be prodigies don't own instruments or art supplies. Others with no talent inherited extravagant amounts of wealth and have thriving careers.

OKA: The film has won many awards and has received positive attention, where do you hope to take it next?

Laura Gamse:We've just been picked up in Europe by EastWest distribution, which is exciting. Still looking for North American distribution. My favorite screenings are in schools and universities. I'd like to get more of those going on, in the townships and prisons, community screenings in places where you might not expect to see the film. This Sunday we're screening at Madiba restaurant in Brooklyn - I'd love to do more events like that.


Introducing OkayAfrica's 100 Women 2020 List

Celebrating African Women Laying the Groundwork for the Future

It would not be hyperbole to consider the individuals we're honoring for OkayAfrica's 100 Women 2020 list as architects of the future.

This is to say that these women are building infrastructure, both literally and metaphorically, for future generations in Africa and in the Diaspora. And they are doing so intentionally, reaching back, laterally, and forward to bridge gaps and make sure the steps they built—and not without hard work, mines of microaggressions, and challenges—are sturdy enough for the next ascent.

In short, the women on this year's list are laying the groundwork for other women to follow. It's what late author and American novelist Toni Morrison would call your "real job."

"I tell my students, 'When you get these jobs that you have been so brilliantly trained for, just remember that your real job is that if you are free, you need to free somebody else. If you have some power, then your job is to empower somebody else."

And that's what inspired us in the curation of this year's list. Our honorees use various mediums to get the job done—DJ's, fashion designers, historians, anthropologists, and even venture capitalists—but each with the mission to clear the road ahead for generations to come. Incredible African women like Eden Ghebreselassie, a marketing lead at ESPN who created a non-profit to fight energy poverty in Eritrea; or Baratang Miya, who is quite literally building technology clubs for disadvantaged youth in South Africa.

There are the builds that aren't physically tangible—movements that inspire women to show up confidently in their skin, like Enam Asiama's quest to normalize plus-sized bodies and Frédérique (Freddie) Harrel's push for Black and African women to embrace the kink and curl of their hair.

And then there are those who use their words to build power, to take control of the narrative, and to usher in true inclusion and equity. Journalists, (sisters Nikki and Lola Ogunnaike), a novelist (Oyinkan Braithwaite), a media maven (Yolisa Phahle), and a number of historians (Nana Oforiatta Ayim, Leïla Sy) to name a few.

In a time of uncertainty in the world, there's assuredness in the mission to bring up our people. We know this moment of global challenge won't last. It is why we are moving forward to share this labor of love with you, our trusted and loyal audience. We hope that this list serves as a beacon for you during this moment—insurance that future generations will be alright. And we have our honorees to thank for securing that future.


The annual OkayAfrica 100 Women List is our effort to acknowledge and uplift African women, not only as a resource that has and will continue to enrich the world we live in, but as a group that deserves to be recognized, reinforced and treasured on a global scale. In the spirit of building infrastructure, this year's list will go beyond the month of March (Women's History Month in America) and close in September during Women's Month in South Africa.

100 women 2020

Burna Boy 'African Giant' money cover art by Sajjad.

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We comb through the Nigerian star's hit-filled discography to select 20 essential songs from the African Giant.

Since bursting onto the scene in 2012 with his chart-topping single, "Like to Party," and the subsequent release of his debut album, L.I.F.E - Leaving an Impact for eternity, Burna Boy has continued to prove time and again that he is a force to be reckoned with.

The African Giant has, over the years, built a remarkable musical identity around the ardent blend of dancehall, hip-hop, reggae, R&B, and afropop to create a game-changing genre he calls afro-fusion. The result has been top tier singles, phenomenal collaborations, and global stardom—with several accolades under his belt which include a Grammy nomination and African Giant earning a spot on many publications' best albums of 2019.

We thought to delve into his hit-filled discography to bring you The 20 Essential Burna Boy Songs.

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Image courtesy of Lula Ali Ismaïl

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If you're having a tough time recalling the last movie you watched from Djibouti, it's likely because you have never watched one before. With an almost non-existent film industry in the country, Lula Ali Ismaïl, tells a beautiful coming of age story of three young female Djiboutian teenagers at the cusp of womanhood. Dhalinyaro offers a never-before-seen view of Djibouti City as a stunning, dynamic city that blends modernity and tradition—a city in which the youth, like all youth everywhere, struggle to decide what their futures will look like. It's a beautiful story of friendship, family, dreams and love from a female filmmaker who wants to tell a "universal story of youth," but set in the country she loves—Djibouti.

The story revolves around the lives of three young friends from different socio-economic backgrounds, with completely varied attitudes towards life, but bound by a deep friendship. There is Asma, the conservative academic genius who dreams of going to medical school and hails from a modest family. Hibo, a rebellious, liberal, spoiled girl from a very wealthy family who learns to be a better friend as the film evolves and finally Deka. Deka is the binding force in the friendship, a brilliant though sometimes naïve teen who finds herself torn between her divorced mother's ambitions to give her a better life having saved up all her life for her to go to university abroad, and her own conviction that she wants to study and succeed in her own country.

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Stogie T Enlists Nasty C, Boity, Nadia Nakai and More, for ‘The Empire of Sheep’ Deluxe Edition

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Stogie T just shared a deluxe version of his 2019 EP The Empire of Sheep titled EP The Empire of Sheep (Deluxe Unmasked). The project comes with three new songs. "All You Do Is Talk" features fellow South African rappers Nasty C, Boity and Nadia Nakai. New York lyricist appears on "Bad Luck" while one of Stogie T's favorite collaborators Ziyon appears on "The Making."

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