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#SAMA22: The Nominees For The 2016 South African Music Awards (SAMAs)

The full list of nominees for the 2016 South African Music Awards (SAMAs)

Petite Noir is nominated for Best Alternative Album for La Vie Est Belle / Life Is Beautiful
The South African Music Awards (SAMAs) announced their 2016 nominees today in Soweto. Petite Noir and Moonchild Sanelly are both up for Best Alternative Album. Emtee, Riky Rick and Nathi are up for four awards each. Black Coffee also fared pretty well with three nominations.

The 22nd edition of the SAMAs goes down June 4th at the Durban International Convention Centre. You can watch them live on SABC1. Tickets to the awards show go on sale to the public tomorrow (Friday, April 22) at 12:00. Check out the announcement video below and keep scrolling for the full list of this year’s nominees.


Album of the Year

Francois van Coke - Francois van Coke

Emtee - Avery

Nathi - Buyelekhaya

Tresor - VII

Black Coffee - Pieces of Me

Duo or Group of the Year

Desmond & the Tutus - Enjoy Yourself

Witness the Funk - Finding Nomusa

Marcus Wyatt & the ZAR Jazz Orchestra - One Night in the Sun

Junior Taurus &Cotton Candy - Lady Zamar

Big Nuz - For the Fans

Female Artist of the Year

Judith Sephuma - One Word

Zahara - Country Girl

Fifi Cooper - 20Fifi

Karen Zoid - Drown Out the Noise

Zonke - Work of Heart

Male Artist of the Year

Nathi - Buyelekhaya

Black Coffee - Pieces of Me

Riky Rick - Family Values

Emtee - Avery

Francois van Coke - Francois van Coke

Newcomer of the Year

Riky Rick - Family Values

Emtee - Avery

Tresor - VII

Fifi Cooper - 20Fifi

Nathi - Buyelekhaya

Best Rock Album

Desmond & the Tutus - Enjoy Yourself

Francois van Coke - Francois van Coke

Shortstraw - Youthless

Karen Zoid - Drown Out the Noise

Saarkie – Reisiger

Best Pop Album

Tresor - VII

Lakota Silva - Pop: The Mix Tape

Loki Rothman - The Way Back

Can Skylark - Overdrive

Vincent Bones - Shaded Soul

Best Pop Album (Afrikaans)

Karlien van Jaarsveld - My Hartjie

Brendan Peyper - Stop, Wag, Bly Nog ’n Bietjie

Vaughan Gardiner - Sit Vanaand op Herhaal

Pierre Rossouw - In my Bloed

Suzanne - Vuurbestand

Best Adult Contemporary Album

Judith Sephuma - One Word

Watershed - Watch the Rain

Karen Zoid & Various - Republiek van Zoid Afrika Vol. 2

Kahn - Salt

Josie Field & Laurie Levine - Tigerlily

Best Kontemporêre Musiek Album

Elvis Blue - Êrens in die Middel van Nêrens

Andriëtte - Pêrel vir ’n Kroon

Neil Somers - Hierdie Hande

Bok van Blerk - Sing Afrikaner Sing

Stiaan Reynierse - Sonde

Best African Adult Album

Dizu Plaatjies & Friends - Ubuntu – The Common String

Kabomo - Sekusile

Thiwe - Soul Therapy

L’wei Netshivhale - Mudzimu washu

Jessica Mbangeni - Busisiwe – Tribute to the African Heroines

Best Alternative Album

Petite Noir - La Vie Est Belle/Life is Beautiful

Sannie Fox - Serpente Masjien

The Plastics - In Threes

Moonchild Sanelly - Rabulapha!

Die Heuwels Fantasties - Ja. Nee. Lekker (Deluxe)

Best R&B/Soul/Reggae Album

Nathi - Buyelekhaya

Zonke - Work of Heart

Olwethu - Imbewu

Zahara - Country Girl

The Muffinz - Do What You Love

Best Rap Album

Emtee - Avery

Kid X - 3 Quarter Pace

Da L.E.S - North God

Riky Rick - Family Values

Zakwe – Impande

Best Kwaito Album

Big Nuz - For the Fans

Dbn Nyts - Believe

Kabelo Mabalane - Immortal Vol. 3

Dj Bongz - Game Changer

Mzansi - North Coast Vibe

Best Dance Album

Black Coffee - Pieces of Me

Mi Casa - Home Sweet Home

Mobi Dixon - Tribal Soul Special Edition

DJ Merlon - Original Copy

Junior Taurus & Lady Zamar - Cotton Candy

Best Traditional Faith Music Album

TYGC Family - The Journey Begins

Worship House - Project 12 Praise Live

Worship House - True Worship 2015

Dumi Mkokstad - Ukhona Uthixo

Women in Praise - Various Artists

Best Contemporary Faith Music Album

Ntokozo Mbambo - Spirit and Life

Mark Counihan - To the Brave Ones

Mahalia Buchanan - Redeemed to Worship

24 Skies - Endless Anthem

Benjamin Dube - Sanctified in His Presence

Best Maskandi Album

Imithente - Ichakijana

Thokozani Langa - Khuzeka Mshana

Shwi no Mtekhala - Bazali Bami

Buselaphi - Gabi Gabi

Phuzekhemisi - Woze Durban

Best Jazz Album

Marcus Wyatt & the ZAR Jazz Orchestra - One Night in the Sun

Nduduzo Makhathini - Listening to the Ground

Benjamin Jephta Quintet - Homecoming

Amandla Freedom Ensemble - Bhekisiwe

Bokani Dyer - World Music

Best Classical and/or Instrumental Album

Wouter Kellerman - Love Language

Guy Buttery - Guy Buttery

Deep South - Heartland

Cape Consort - Christoph & Sebastian

KwaZulu-Natal Philharmonic Orchestra - Mintirho ya SJ KhosaOrchestra

Best Live Audiovisual Recording

Jimmy Dludlu - Live at Emperors Palace

Krone - Krone 2

Ntokozo Mbambo - Spirit and Life

Neyi & Omega - Friends in Praise

Benjamin Dube - Sanctified in His Presence

Best Collaboration

Dbn Nyts ft. Zinhle Ngidi & Trademark - Shumaya

Shekinah x Kyle Deutsch - Back to the Beach

AKA ft. Redsan, Burna Boy & Stoneboy - All Eyes on Me

Major League DJz ft. Cassper Nyovest, Okmalumkoolkat, Riky Rick & Carpo - Sylza Tsotsi

Khuli Chana ft. Patoranking - No Lie

Best Music Video of the Year

Jack Parow & Freshly Ground - Army of One

Riky Rick ft. Cassper Nyovest & Anatii - Fuseg

Al Bairre & PH Fat - Caviar Dreams

iFani - Ayadelela

Monark - Negatives Deluxe

Best Produced Album of the Year

Zahara - Country Girl

Mi Casa - Home Sweet Home

Sannie Fox - Serpente Masjien

Mark Counihan - To the Brave Ones

Zonke - Work of Heart

Best Engineered Album of the Year

Black Coffee - Pieces of Me

Brendan Peyper - Stop, Wag, Bly Nog ’n Bietjie

Zonke - Work of Heart

Mi Casa - Home Sweet Home

Marcus Wyatt & the ZAR Jazz Orchestra - One Night in the Sun

Best Remix of the Year

DJ Sliqe - Do Like I Do Remix

AKA - Baddest Remix

Mobi Dixon - My Sugar

Mobi Dixon - Never Let Me Go Remix

The Fraternity - Bheka Mina Ngedwa Amplified

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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