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New Era Newspaper Thursday March 29, 2018

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Thursday, March 29 2018 | NEW ERA 22 entertainment LIFESTYLE FEATURE Photos: Donna Collins Homemade vintage craft… Vendor Mary Murembe displaying in the open showroom in Swakopmund where wood crafted ‘street furniture’ is part of the town’s attraction, her family’s craftwork. • Donna Collins Home makers who are getting in touch with their creative side, and need to replace those shabby pieces of old furniture without breaking the bank - should really consider the selection of ‘street furniture’ that is on display in most towns today. ‘Street furniture’ otherwise known as home crafted wood decor, presents the public with an exciting and affordable alternative as a means of sprucing up your current living style, whilst at the same time supporting the livelihood of people who need it the most. Furniture craftspeople are an industrious group of folks who usually hail from the Caprivi, Zimbabwe and other areas outside of the cities, where wood carving skills are being handed down from generation to generation. The far end of the parking area at Game in Windhoek offers a wide selection of such furniture on display, as well as Swakopmund where the municipality allocated a large open paved area running between Home Corp and Food Lovers Market. These pieces of furniture are all laid out for passers-by to see, ranging from attractive bed side tables, coffee tables, cabinets, bed head boards, bar stools, dining tables, dog houses to mention some. This initiative by the municipality who has provided these vendors with lock up storage facilities, is to encourage the public to support and buy hand craft merchandise. When comparing the price of two bed side tables with cute pull out woven drawers costing around N0 each, against a similar sets being sold at high end furniture departments for over N 300 a-piece, leaves little argument the better bet. One such seller is Mary Murembe who has been selling her family street furniture in Namibia for the past 15 years, and is from Harare. Her husband honed his furniture making craft from his father, which has passed on through generations, back then using more elaborate indigenous woods of their mother land. Pine is the wood of choice they mostly work with for the smaller pieces, and unlike major furniture manufacturers, these people have to make do with makeshift ‘kambashu’ style workshops in the township areas where they live. Pieces of wood are measured and cut by hand, carefully pieced together and styled, which are then either painted white or stained very dark brown. The use of woven reeds into baskets for drawers, or attractive inlays to offset a TV cabinet, is a feature that these Zimbabwean folk tell you is their “trade mark.” “We are proud to be displaying our furniture to the public, and if we don’t have something you want, we can make it specially for you,” says Mary, adding that they have also taught many Namibians how to make ‘street’ furniture. “We would like it if more people bought handmade furniture from us street manufacturers, as every piece sold goes back into buying more material, and a livelihood to support our families in such hard times.” FASHION Virgil Abloh is Louis Vuitton’s new men’s artistic director • Nicole Phelps Louis Vuitton has announced that Virgil Abloh is the new artistic director of men’s collections, replacing Kim Jones, who exited after the Fall 2018 collection in January. This is a watershed moment for both the 164-year-old French luxury brand and the Off- African-American to head up design at an LVMH-owned house. Paris Fashion Week may be a melting pot—people often note how few actual Frenchmen and -women lead French brands—but in the end it’s not all that diverse. Outside of Balmain, for which Olivier Rousteing works, and Kenzo, the LVMH label where Carol Lim and Humberto Leon took over artistic direction in 2011, people of colour remain woefully underrepresented. The situation is not much different in Milan. Though his appointment is history making, this isn’t the linked to LVMH. In the wake of Riccardo Tisci’s departure from Givenchy in early 2017, Abloh, who is 37, was said to have held discussions with the French fashion house. LVMH denied the rumors, and the job ultimately went to Clare Waight Keller, formerly of Chloé, but Abloh made his ambitions clear in a comment to Women’s Wear Daily at the time: “My trajectory is to update and provide something new in the fashion industry by way of creating a project and using it as a case study on how to update a luxury house.” Denials or no, that must have registered with LVMH executives. Louis Vuitton is the conglomerate’s main moneymaker, producing nearly one quarter of its overall revenue in 2017. Certainly, the LVMH brass has also taken notice of Off- White’s phenomenal success, especially over the course of the last year. Tallying up their biggest hits of 2017, Net-a- Porter,, and Ssense buying directors all spoke to Vogue about big increases for Abloh’s label. “The kids, they idolise him; he’s such a reference for them,” Ssense’s Brigitte Chartrand said. Indeed, Abloh’s personal Instagram following of 1.5 million dwarfs Jones’s 344K, though Off-White’s 3 million has miles to go to reach Vuitton’s 22.3 million. The differences in their social media numbers aside, both designers have devoted followings. That’s partly the nature of their work. In his seven years at Vuitton, Jones turned the men’s division into one of the fastest growing segments of the company by tapping into streetwear trends, most spectacularly via his collaboration with Supreme last year. Streetwear is very much the foundation of Abloh’s Off- White, and he’s just about the has going, boasting current and future projects with brands from Nike to Sunglass Hut to Ikea. Travel is another thing they have in common. Jones is famous for having visited Japan 70 times in Going places… Virgil Abloh, Louis Vuitton new artistic director of men’s collections. the course of a decade, and Abloh seems to be always on the road Gulf Stream while he’s at it. “Having followed with great interest Virgil’s ascent since he worked with me at Fendi in 2006, I am thrilled to see how his innate creativity and disruptive approach have made him so relevant, not just in the world of fashion but in popular culture today,” says Michael Burke, Louis Vuitton’s chairman and CEO, in a statement. “His sensibility toward luxury and savoir faire will be instrumental in taking Louis Vuitton’s menswear into the future.” Abloh, for his part, says, “It is an honour for me to accept and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times.” He will continue to design Off-White. We’ll know what his Louis Vuitton will look like when he makes his debut at the menswear shows in June. Africa. com

Thursday, March 29 2018 | NEW ERA Easter fun for kids entertainment 23 29 Painted eggs Easter is the time of year to turn simple boiled eggs into something special for kids. After boiling the number of eggs that you want, allow them to cool off. Use a paint set that is designed for kids, it should have multiple colours to select from and simple paint brushes. or magazine pages to avoid any damage to your carpet or tiles. To make this activity easier for your kids, print out some images of painted eggs from the internet to give them a guide or paint along with them to offer assistance. Paper basket For this creative craft, you’ll need some colour paper, a ruler, pencil, scissors and glue. Draw straight lines of about 3cm width apart on colour paper and cut out the strips. Now give the cutout strips to your kids and show them how to assemble them into a basket. other strips horizontally over and under. MOVIES • Glenn Kenny T’Challa, also known as the Black Panther, the title character of the blockbuster to land a spaceship (or something like it) in downtown Oakland, Calif. Is the Place,” the musician Sun Ra and his band descend into Oakland from their new home planet, seeking African- Americans to join them, “to see,” as he puts it, “what they can do with a planet all their own, without any white people on it.” In “Black Panther,” T’Challa establishes a tech exchange enterprise in Oakland; in “Space Is the Place,” Sun Ra opens the Outer Space Employment Agency. When “Black Panther,” directed by Ryan Coogler, opened in late January, there was a brief and counterproductive online discussion as to whether true black superhero movie. More interesting have been the subsequent discussions of the theme of Afrofuturism. The term, coined in a 1993 essay by the cultural critic Mark Dery, is writers and thinkers; through my own critical lens, I tend to see is as an aesthetic that illuminates African culture’s intertwining with the cosmic (in both the technological and metaphysical senses). Relative to “Black Panther,” the movie’s mythology of Wakanda, a technologically advanced African country “hiding in plain sight,” presenting itself to the world as largely faceless, is an Afrofuturist concept to be sure. Afrofuturism is more prominent in music and the graphic arts than it is in cinema, but there are movies out there that illuminate the notion in different ways. Here are a few that can be watched on streaming video. “Space Is the Place,” which can be viewed in its 81-minute cut on YouTube (a 61-minute cut, which omits some odd sexploitation-movie elements, had been available to stream on the arts site UbuWeb, but the video link would not respond when I checked) was conceived as a concert picture by John Coney, a PBS director, but Sun Ra had something different in mind when he wrote the Smith; it begins with the Sun Ra Arkestra chanting “It’s after the end of the world.” The movie time-travels back to the 1940s, and Sun Ra’s origins as a boogiewoogie and stride piano player. It allegorically pits the enlightened orchestra leader against a Machiavellian “Overseer;” the two play cards in an obscure battle for black humanity. The crux of Sun Ra’s philosophy emerges in a scene in which he and his emissaries, dressed in garb that evokes confront a group of skeptical teenagers in an Oakland youth center. “I do not come to you as a reality, but as a myth,” he says. “Because that’s what black people are. Myths. I am a dream that the black man dreams long ago. I’m actually a present sent to you by your ancestors.” The use of the present tense in describing a black man who “dreams long ago” is no accident. In Afrofuturism, time is frequently looped. The Art Ensemble of Chicago, a with the Association for the Advancement of Creative Leave about 8cm of all four outer edges untwined, until you have a crisscross square shaped base. Now fold up the sides and use more paper strips to intertwine up and around the sides, applying glue to hold the basket in shape. Lastly, take a single paper strip and glue it from one side of the top to the other to create a handle. Fill up the basket with painted eggs or candy. Treasure hunt This is a fun game to play when you have a couple of kids or some family members with kids over at your place for the Easter break. Buy a bunch of chocolate marshmallow eggs and sticky note papers. Write down simple clues to various hidden places around your home or backyard. Place the chocolate treats in the hiding spots with sticky notes attached leading to the next hiding spot. Encourage the kids to work together and over. You can also use the same treasure hunt game with other Easter treats of your choice, or you can have a grand prize at the end of the treasure hunt. Magaye Niang, left, and Mareme Niang in “Touki Bouki” (1973) by the Senegalese Djibril Diop Mambéty. CreditCriterion Collection Exploring Afrofuturism in Film, Where Sci-Fi and Mythology Blur Musicians (a group that tended to distance itself from Sun Ra because of differences in praxis) made its motto “Great Black Music: Ancient to Future.” In the Wakanda of “Black Panther,” incredible medical and construction technology exists hand in hand with ancient practices like the “Challenge Day” battle ritual shown early in the movie. Similarly, although it deals exclusively with a circa- 13th-century African myth, “Yeelen,” or “Brightness,” Souleymane Cissé, can be considered in the context of Afrofuturism, particularly because Mr. Cissé, a director from Mali, approaches it like a narrative documentary. The movie, available to stream on Kanopy, follows a young male on a journey to confront his power-mad father. A manhyena speaking from a treetop is treated matter-of-factly, rather than as a mystical or mystifying occurrence. Mr. Cissé’s languid but mindful pacing and his indifference conventions on space and time transitions also contribute to the movie’s distinction. NSK Industry Loop The whole point of a stand in presenter is to make sure the standard set by the original host does not dip. I’m talking radio now munene. The stand in presenter is to make sure all segments (especially sponsored segments) are kept alive at the designated times. The stand in presenter can never be expected to execute the abovementioned exactly the way the original host does it because each personality is unique in their own way. The stand in presenter should innovate and add their own zest but not to a point that it overshadows the standing segments. You must understand that the listenership have come to a point where they made the original host and the style thereof part of their lives. People adore a routine. A stand in presenter should avoid disturbing the listener routine. The stand in presenter cannot move around the segments. That would be disturbing listeners’ routine. Abuti John is used to preparing lunch boxes while every single day. If the stand in presenter comes in and moves the sports update to a later slot and runs most likely to cause confusion. The stand in presenter can never ever stand in with ill intentions. Ill intentions would be to sabotage the quality of the show. Ill intentions would be to want to take over the show permanently from the original host. Management must be proactive to spot these ill intentions and deal with them head on. If not, you are going to have tensions in the team and that is never good for the whole radio brand. One key factor in standing in for the original host is that you need to pay homage all the time. You cannot be presenting the show as if it is your own show. It’s not your show. You need to make it clear all the time whenever you go on air that you are only standing in for the original host. This helps keep the listener on that frequency with the hope that the original host will be back soonest. On the subject of managing listener should step up and initiate jingles that butter up the listener. Through these jingles, let listeners know that the original host will be off from this time to such time. Let the listener know who will hold the fort. It really is just customer service. Put yourself in the listener’s shoes. Imagine switching on the radio to enjoy your favourite slot just to hear another voice who makes no effort to explain to you that he is just standing in. It’s insanely annoying. questions that usually come to mind are: a) what happened to the original host? b) how long will the original host be gone? c) or is this person now the new host?! You need to understand that the original host have fostered a relationship with the listener to such a point that even on a bad day, a listener can sympathise with the original host. That’s powerful. The transition between the original host and the stand in host must is and the station will loose credibility. #gmtm Need a dj? book nsk at naobebsekind@gmail. com NSK provides sound & Dj services (weddings, corporate functions etc.). For bookings, email @naobebsekind (twitter)

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New Era Newspaper Vol 22 No 167