News Brief

The South African Government May Decriminalize Sex Work

President Cyril Ramaphosa told a number of organizations that the government is looking into the current laws regulating sex work.

Yesterday, President Cyril Ramaphosa opened a newly build court and signed a declaration on gender-based violence (GBV) in Johannesburg. There, he announced to a number of women and civil organizations who were in attendance that the government was looking into the decriminalization of sex work in South Africa.


Feminists, activists and civil organizations the likes of reproductive rights activist, Dr Tlaleng Mofokeng, the Sex Workers Education and Advocacy Taskforce (SWEAT) and Sonke Gender Justice have all been working towards having sex work decriminalized.

Over the years, sex workers and their allies have campaigned for laws criminalizing sex work in the Sexual Offences Act to be changed. With South Africa having one of the highest prevalence rates of femicide, rape and GBV, efforts to have sex work seen as work are incredibly important seeing that sex workers are a marginalized group that is vulnerable to abuse and exploitation.

READ: The Daily Nightmare of Being a South African Woman Shows No Signs of Ending

According to SowetanLIVE, President Ramaphosa said:

"We will finalize the outstanding legislation such as the prevention and combating [of] hate crime, the hate crime bill and victim support services. We will work with all stakeholders to develop policy around the decriminalization of sex work."

Speaking further on the current legislation as it relates to GBV, President Ramaphosa also added that:

"We commit ourselves in this declaration to commit, to resource, [and to] strengthen the existing gender machinery...Today begins a new era in our determined struggle to rip our society off gender-based violence and femicide."
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Photo Credit: David M. Benett/Dave Benett/Getty Images for Woolmark International Pty Ltd

Mmuso Maxwell Designers on Winning the Karl Lagerfeld Award for Innovation

We met up with Mmuso Potsane and Maxwell Boko, the duo behind South African brand Mmuso Maxwell. We spoke about their upbringing, winning the Karl Lagerfeld Award for Innovation, and more.

After a two year internship with veteran South African designer David Tlale, Mmuso Maxwell was born. The brand, founded by the young duo Mmuso Potsane and Maxwell Boko, has since established a name for themselves in the African fashion industry. With successful works with A-list artists like Beyoncé — on her Black is King album — they continue to set the bar on what it means to be a successful emerging designer brand.

The duo first started to make noise in 2017, when they won the South Africa’s Fashion Week’s Sunglass Hut New Talent Search. Two years later, they came second at the 30 Under 30: The New Stars Arise Fashion Show competition held in Lagos, Nigeria. The duo walked home with $50,000, helping them establish their presence on a global landscape.

Last month, Potsane and Boko won the biggest award of their career: beating out 200 designers throughout the world, they took home the The Karl Lagerfeld Award for Innovation, after presenting a Merino wool collection for their Autumn/Winter 2022 line.

After their big win, OkayAfrica was able to meet up with the duo and chat about their upbringing, winning the Lagerfeld Award, and more.

How would you describe your Mmuso Maxwell brand?

Maxwell Boko: I think that the perfect description of our brand is that it is inspired by African heritage, but, the most important part is that it is mixed with contemporary culture. It’s basically our point of view of our heritage. We’re modern young people who are living with technology and science, and are influenced by those things. So even if it’s still our African heritage, it’s still our own interpretation.

Mmuso Potsane: Our brand is a modern interpretation of who an African woman is. Our brand sees itself as a global brand, and we do not want to limit it to look like an ordinary African brand, but it is positioned to be like a global brand, while maintaining our African roots, interpretations and experiences.

How did the collaboration between the both of you start?

Potsane: We met during the internship from 2015-2017. At the end of the internship, we decided to bring our pieces together to make one collection because we had similar aesthetics. From there, we just decided to continue onwards as a brand.

That’s interesting. You know, the fashion industry can most times be more competition than collaboration. How are you navigating the times you might have contrasting ideas?

Boko: I think that the reason why we joined forces together is because we had similar tastes in general. What has worked for us over the five years is that we’re not dramatic about our approach to things. It’s not “this or nothing." We’re always open to each other's critiques. We also do not question our individual strengths at all.

Potsane: Yeah, we’ve sort of found a way to agree to disagree. We have somehow found a way to come together to have one vision and objection. So for us, if any of us feels strongly about something, we just give it a chance to see how it plays out. If it doesn’t, we find a way to navigate it.

Mmuso Maxwell designers with Saul Nash

Saul Nash, winner of the International Woolmark Prize, and Mmuso Potsane and Maxwell Boko of Mmuso Maxwell, winners of the Karl Lagerfeld Award for Innovation, celebrate with models wearing their designs.

Photo Credit: David M. Benett/Dave Benett/Getty Images for Woolmark International Pty Ltd

How about winning the Woolmark Karl Lagerfeld Innovation Award? How did that happen?

Boko: I mean, we applied, even though I said to Mmuso that Woolmark is something that’ll happen to us, maybe two, three years down the line, and that’s because it’s generally for established designers. I always figured that it’ll happen at a later date for us. So when they reached us to inform us that we were finalists, I thought, “that’s crazy.”

When I saw the other finalists, I thought that there was no chance to win; But as we progressed in the program, I saw why it was the right time for us. It helped us as a brand in terms of making our products. The eight months were very challenging, but the thing that I enjoyed the most was working with local artisans. I think that it’s even one of the reasons we won.

And just on the side, I think it’s very hard for us to see from inside how much of a big deal winning the award is. It’s always our loyal people who help us see and understand it.

How has winning this prize influenced your brand? I mean, how important do you think platforms like this are?

Potsane: I think it’s important because it allows you access to spaces in the industry that are very out of reach for a lot of African brands. It influences and helps us to think more/differently, and just on that level, play by the rules. You’re no longer thinking locally, but internationally. It’s made us more serious about our business and how to run it. People take your work more seriously, so that makes you take it more seriously too.

In terms of funding, it’s something that’s been a struggle. I mean, as a designer, you have to showcase your work and that requires a lot of money for stuff like shows, showrooms, and so on. With the help that we’re getting from the people like Birimian — some sort of investment group for African brands — it helps you ease the stress this induces.

And what are some of the challenges you’ve faced during this? Are there ways you’re now navigating it?

Boko: When we started our brand, there was no initial capital for us to start our brand. But we got a little support, and that made our next challenge be sustaining our coming collections; but recently, our major challenge has been fabric sourcing and production. There are no facilities to produce the quality we aspire to.

Potsane: To navigate these challenges, we really just go with it one step at a time, and also speak with those who can assist with things like this, such as Birimian. In terms of production, we have to come to a compromise to ensure getting the quality we want.

You're a sustainable brand. What are some of the practices you’re doing that makes it sustainable?

Potsane: We utilize local crafts and local artisans. It’s something we’ve always been passionate about since we started our brand. We use homegrown yarns for production, and working with artisans makes us follow the route of slow fashion.

Boko: We’ve always had an affinity for natural fibers since we started. As an African creative, you’re inherently sustainable because we’re not prone to waste. It’s not something we can afford. When we buy fabrics, we buy exactly what we need, and all the things we’ve done so far have been in pre-orders. We do not produce with hopes that someone will buy what we’ve made. All pieces go to our clients.

Are there creatives that inspire the work that you do?

Potsane: The people that inspire our brand, we already currently work with. So people like Tatenda Chidora, a photographer. We also love Tony Gum. She’s an amazing artist. Same as Chloe Andrea and Daniel Obasi. We totally love these people, and are highly inspired by them.

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The 'Silverton Siege' Soundtrack is the Sound of Resistance

Netflix's new film Silverton Siege features a varied and impressive soundtrack that grounds the film with tone and character.

At the end of Silverton Siege, Netflix's new original movie, the gun-toting duo of Calvin (Thabo Rametsi) and Terra (Noxolo Dlamini) walk fearlessly towards the open bank doors for another standoff with the police. They knew their fate was death.

The scene drowns in alarming red lights, then cuts to black with the sound of gunfire. Zamo Mbutho’s "Asimbonanaga" plays next; the song is a mournful acapella invoking the mood of the anti-apartheid struggle in South Africa.


Directed by South African filmmaker Mandla Dube, Silverton Siege features a soundtrack that grounds the film with tone and character. These songs are forged in an African revolutionary consciousness. From Fela Kuti’s Afrobeat anthem "Zombie" to Philip Miller’s "Hamba Kahle Umkhonto." In the case of South Africa, they re-enchant the role songs played in galvanizing people against apartheid.

The Silverton siege was a flashpoint in the movement for Nelson Mandela’s release. In 1980s South Africa, anti-apartheid freedom fighters — Wilfred Madela, Humphrey Makhubu, Stephen Mafoko — aborted their planned sabotage mission at Watloo’s petrol depots and were on the run from the police. They hunkered down at Volkskas Bank in Silverton, Pretoria, where they held 25 civilians hostage.

In the film, Calvin is the de facto leader of the group, negotiating for safe passage out of the bank. The officer in charge, Langerman (Arnold Vosloo), reluctantly agrees to the demand and sends a helicopter manned by a solo driver. It’s a trap, though. Without their knowledge, the pilot Sechaba (Tumisho Masha) is going to deliver the group to the police once he’s been informed of their destination.

Fela’s "Zombie" starts to play when the trio, with a hostage taken along, leave the bank and head for the chopper. What transpires afterwards is the group knowing they have been set up. Sechaba is pulling out a gun when he’s preempted by Calvin. He’s disarmed, struck in the face and forced out of the chopper, then manhandled back to the bank along with the group.

Released in 1976, "Zombie" criticizes the military as tools of oppression by the Nigerian government. It strikes a parallel to the helicopter scene. Sechaba, a Black South African, is an asset of the police. By extension, he’s in service for the white ruling class aiding the capture of the freedom fighters. What’s teachable here is that in the process of fighting oppression, the enemy doesn’t always look like those in power, but could be anyone from the grass-root.

Although they look like the oppressed, these people aren’t committed to revolutionary warfare or liberation. Their orders come from above. The next time we hear another song in the background, it is Chicco Twala’s "I Need Some Money." The scene finds Calvin and Aldo pushing out trolleys stacked with cash in the bank’s main hall. Soundtracking the scene with this song diffuses the tension, inverting the serious stakes with its shangaan-disco liveliness.

"I Need Some Money" was released in 1986, and it was the first hit from the South African artist and producer. What does it mean to need money during this time? The global economic crisis didn’t spare South Africa, with rising inflation, unemployment and weakening of its currency. But Calvin isn’t interested in the money. This is another inversion that occurs. An economic downturn in the country where seeking material provisions would be justified is juxtaposed with the revolutionary mindset of his group.

The trolley is now outside the bank, where Terra and Calvin hold a Black American man at gunpoint. While Langerman tries to reason with them, the American pours fuel all over the trolley on orders from the duo. Engulfed with fire, Johnny Clegg and Juluka’s "Impi" comes on. Calvin walks sideways towards the press with their cameras and shouts, “Free Nelson Mandela!”

This shifts the trajectory of the story. Nelson Mandela was sent to prison in 1964 for treason and opposing the apartheid regime. The clamor for his release in the film is underscored by the sheer stature of Johnny Clegg, who wasn’t just a singer and songwriter but a huge figure in the fight against apartheid.

Silverton Siege woman gun

Photo Credit: Neo Baepi/Netflix

His band, Julukua, was one of his successful racially mixed groups. Off their second album, African Litany, which was released in 1981, Impi is Zulu for ‘’war.’’ His version of "Asimbonanaga" was made with his other band Savuka from their album Third World Child and was dedicated to political prisoners, especially Mandela.

Silverton Siege isn’t a film without a body count. Outside the bank demanding for the release of Mandela, Calvin and the bank supervisor Christine (Elaine Dekker) have put away their differences. Unfortunately, she’s shot by a rooftop sniper from the SWAT team.

"Hamba Khale Umkhonto" permeates this scene where she dies. It’s forlorn and mournful. When Silverton Siege —which was released on Freedom Day last month — ends, the sacrifice of the trio becomes symbolic for what comes later: freedom.


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Photo Credit: Netflix

The Stars of 'Blood Sisters' Talk About Becoming Netflix's Biggest Hit

We sat down with Ini Dima-Okojie and Nancy Isime, the actors who brought life to Sarah and Kemi, to talk about shooting Blood Sisters, acting in Nollywood, what's next, and more.

Earlier this month, Netflix's "first original series" from Nigeria was released. The limited series, Blood Sisters directed by Biyi Bandele and Kenneth Gyang, follows two friends, Sarah (Ini Dima-Okojie) and Kemi (Nancy Isime), as they go on the run after the death of Sarah's fiance, Kola (Deyemi Okanlawon).

The show explores familial dysfunction, murder, the meaning of sisterhood, and how valuable friendships can be, with its central premise around domestic violence, a theme known to many.

Since its release, the four-part crime thriller has received praises, with Variety calling its first episode "explosive" and "hard-pressed to walk away." After its first week of release, the limited series sat at number nine on the list of most-watched TV shows globally, with over 11,070,000 hours of viewing, making it a first for Nigeria. This comes after Netflix’s first Nollywood film of the year —Chief Daddy — faced harsh criticisms from viewers and critics alike.

The success of Blood Sisters shows that cinematography isn’t the only selling point of Nollywood. And for Nollywood content to thrive on Netflix, there should be an investment in all areas, from the storytelling down to the marketing.

For Ini Dima-Okojie starring alongside some of Nollywood's big names — like Kate Henshaw, Ramsey Nouah, and Uche Jombo — was surreal because these are the people she watched growing up. "But when it came to filming, it didn't matter if you've been in the industry for just four years or 30 years," Dima-Okojie said. "All that mattered was everyone was ready to work."

Like Dima-Okojie, Nancy Isime also loved acting alongside them, even though it wasn't her first time working with some of them. "I was there for work and understood that it was bigger than just being Nancy Isime. It was me at work."

We sat down with Ini Dima-Okojie and Nancy Isime, the actors who brought life to Sarah and Kemi, to talk about what it was like behind the scenes, acting in Nollywood, what's next for them, and more.

Blood Sisters | Trailer | Netflix

What's one thing you learned while shooting this series?

Ini Dima-Okojie: One thing I learned for sure is that Nigeria is ready to tell its authentic stories to a global audience. We're not just prepared; we're capable of standing behind any industry. I could feel that from being on set, with the professionalism I encountered. I also learned that it is good to be kind, deliberate, and mindful of what people are going through because what we do has an impact.

Nancy Isime: For me, I learned it's possible to have good production in Nigeria. I've been blessed to be in a couple, and this was one of them. And it's a highlight so far. I also learned about the characters.

Nancy Isime,

Photo Credit: Nancy Isime,

What was it like playing your roles, and how did you get it?

Dima-Okojie: When I got the audition file for Sarah, I went on my knees and told God, "I want this." You can tell from the size alone, and I think that has happened to me only three times in my career because it doesn't often happen as an actor. A week or two after I sent in my audition tape, I got an email telling me to send another tape, but this time, it was for a different character, Timeyin. Altogether, I auditioned for Kemi, Sarah, and Timeyin.

I was so excited playing Sarah. I felt so lucky because, at the end of the day, an actor is only as good as the opportunities they are given. So playing Sarah had me go deep into the character, asking questions and putting myself into her shoes.

Isime: It was wonderful playing my role. I had gotten an email asking to read for Sarah, not for Kemi. So I made my tape and sent it in. Then, I was called in for a private audition and read through with everybody. However, I was called back and was told that Netflix wanted me to play Kemi, and I was like, "What is a Kemi?" Because I never read for her. So I was reluctant to accept because I didn't know who the character was and if she'd have the opportunity to show her acting range. But I took it, and when I read the script, I was like, "Yes, Kemi. Yes, baby, let's do this."

What was your favorite scene to film?

Dima-Okojie: My favorite scene? That's hard. I had so many unforgettable moments. However, I think one monumental period I'd like to pick on is probably when Sarah stood up to her abuser Kola and told him, "No!" because that was very big. She barely speaks up and is so used to being bullied, whether for good or bad, even in her beautiful friendship with Kemi, where she's always being told what to do. But in that scene, she had found the strength and was finally able to speak up, even though she knew what his reaction was going to be.

She spoke up for herself at that moment, and I think it was a huge moment for Sarah. It was a huge moment for people who may have experienced [domestic violence] because if there's one thing I realized from research, it didn't matter where people who are susceptible to abuse are from. Whether they were black or white, old or young, it was a triumph for Sarah and everyone going through any form of abuse.

Isime: I loved every single scene of playing Kemi because, as you noticed, there's no scene she's in that is a usual scene. In fact, no scene in Blood Sisters could have been done away with if you noticed because every scene is putting you on edge the entire time. Coming to set every day, I was like, "we're h-a-p-p-y," because yes, I was happy.

Ini Dima-Okojie wearing white sneakers

Photo Credit: Ini Dima-Okojie

What was the most challenging scene?

Dima-Okojie: For the challenging scene, I'll like to break it into physical and emotional parts. It was very physically challenging for Sarah. From when they decided to go on the run, physically, we were in Makoko, running all over the community, jumping from canoe to canoe. We also went to Epe, where we were barefooted. It was grueling as an actor and a character because this wasn't a fit character. Emotionally, I had to understand everything that Sarah was going through. I had to chip away from who I am as Ini to connect with what she was going through, which can be draining. But thank God I was surrounded by amazing people and directors who eased the process and were there to pick me up anytime I was down.

The series is a global hit on Netflix; how does that make you feel?

Dima-Okojie: Honestly, it's surreal. It makes me emotional half the time because, as a performer, all you want is for people to watch your work and for it to resonate. Being an actor, people see the glitz and the glam, but it's a lot of work. You chip away part of yourself to give a character life, but it's worth it.

Isime: Floating. Floating in a bubble, floating in gratitude. It feels so good. Imagine having 11 million hours of watch time in five days? It's no easy feat. I don't think any African show has been able to do that. So for that to come from Nigeria, and for me to be lead? I don't think I'll ever come down from this high that I'm on.

You are both a part of a new generation of Nollywood actors doing amazing if I say so myself. What is that like?

Dima-Okojie: Generally, I think being an actor in the world today is incredible. Nollywood has gone through much because we were in a time where we didn't have financing and institutionally there's no backing. So being able to be in a world today where everything is global, and I can do something here in Lagos, while people from Japan, Belgium, and Qatar, are sending texts telling me they watched me and loved it, I don't think there's a better time to act than now. It's a fantastic time to be a Nigerian actor.

Isime: It feels good to be recognized for something I'm passionate about and love. I feel blessed because Nollywood is bigger than I am. It goes beyond ego and wanting to be the best because we're all part of something way bigger than us. And I'm so happy to be able to contribute to this industry, leave my prints in the sand of time, and say that yes, there was a time I was not just a Nollywood actor, but every single person can confirm. I mean, it's one thing to say you're an actor, and people start asking, "which film you act?" "this one too na actress?" but you can't say that when it comes to me. And it also feels good to be recognized by the AMVCA, which is a huge organization.

Netflix

Photo Credit: Netflix

Now, let's go behind the scenes: did anything funny, sad, or surprising happen while filming?

Dima-Okojie: There were so many exciting moments, not necessarily sad moments. We filmed for over two months at the height of COVID-19, so you can imagine all the craziness that must have happened.

I remember while filming the dinner scene after we had our COVID-19 test, they told us a cast member had the virus, causing us to reschedule. Another moment was when Ramsey Nouah brought a crocodile for us to eat while filming in Epe, and it was delicious. I honestly had lots of happy moments.

Isime: I feel like all these emotions happen naturally because I was happy every day I was on set. But something interesting that happened was the fact that Ini and I got so into the characters that we took it just beyond acting. We felt every emotion that the characters went through. We had one crying scene together, and I promise you that they cleared the room for us because we had to cry to get it out for a while. Because in reality, when something happens to you and you cry, you don't just cry for a bit. You have to let it out, and that was us. We were Kemi and Sarah and needed time to grieve. To let it out. It was an interesting event, and I had so many times I was tired, mentally and physically.

What's next for you? Any upcoming projects?

Dima-Okojie: There are so many exciting things in the works. First of all, I am getting married. Immediately after that, in June, I am going right back to set for the second season of Smart Money Woman. There are a couple more projects in the work that I'm not allowed to speak about yet, but there are exciting times ahead.

Isime: I love that question, and I also don't love that question because I don't know what's next. I'm just living my purpose, taking one day at a time, and grateful for every part of my journey. If you had told me five years ago that I'd be here, I would say it's a lie because I was probably sure that I knew where I was going. So what's next for me is a beautiful life, more projects, and more fantastic performances.

My show, The Nancy Isime Show, is also doing very well and happens to be one of the most-watched talk shows in the country, so I'm hoping that expands better. I'm also hoping to bring about a few more creations to life.

Music
(YouTube)

The 4 Songs You Need to Hear This Week

Featuring Mavin Records, L.A.X, Moonchild Sanelly, Nissi, Major League and more.

Every week, we highlight the top releases through our best music of the week column. Here's our round-up of the best tracks and music videos that came across our desks.

If you like these music lists, you can also check out our Best Songs of the Month columns following Nigerian, Ghanaian, East African and South African music.

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