Imagine a pinup calendar that revisits history through color, and woven in a manner that depicts your past and future in an amusing way. Confused?
Well that is what the future looks like for South African performing artist Athi-Patra Ruga, known for his flamboyant performances and tapestries that challenge social norms.
Growing up in the Eastern Cape Province of South Africa, Ruga knew at a young age he would become an artist, taking lessons, after school, at Belgravia Art Centre. He then received a scholarship to the Gordon Flack Davidson Academy of Design in Johannesburg.
“I had always known my body would be a site for telling stories. I feel the drive to tell stories, [I] overcame my fears – about it never been done before,” he says.
When he cut his teeth in art, he dabbled in fashion designing, incorporating fashion and art into one.
“Fashion has the power to dictate our movements physically and socially, to [a] great consequence. I have never seen it as a huge leap as both those mediums are concerned with the body,” says Ruga.
His current body of work is Queens in Exile, addressing issues of belonging and identity. However, it is his piece on the queens of Azania that put him on the cultural map.
“I feel it sparked something in the audience that [binds] our generation together. Witnessing the betrayal to the constitution I was raised with and also rainbowism, a utopian construct, played out in the country that is economically the most unequal in the world,” says Ruga.
Ruga was the Standard Bank Young Artist of the Year in 2015 and has done work for luxury fashion house Louis Vuitton. Believing the world is alive with possibilities, he held on to the hope he would one day travel the world.
“I had always dreamt of going to the south of France and now for the past five years, my husband and I have been going to Toulon for the Hyères festival,” says Ruga.
The Eastern Cape has produced some of South Africa’s great political leaders, from Nelson Mandela to Steve Biko, so it is little wonder Ruga’s work has strong historical references.
“History has the ability to arm us as a dispossessed youth, with knowledge that our forefathers went through the same things we are going through and we need that knowledge to arm us to find sophisticated ways of mobilizing for economic and cultural currency,” says Ruga.
He desensitizes “uncomfortable” topics using vibrant colors. His work is represented by the WHATIFTHEWORLD gallery in Cape Town, and in Paris, by InSitu Fabienne Leclerc.
There is also a lot of story-telling in his work which comes from his father being a journalist.
<img loading="lazy" decoding="async" class="aligncenter wp-image-36739 size-large" src="https://www.forbesafrica.com/wp-content/uploads/2018/07/©_RENE_HABERMACHER_ATHI_PATRA_RUGA_PORTRAIT.jpg" alt="" width="768" height="1024" srcset="https://cms.forbesafrica.com/wp-content/uploads/2018/07/©_RENE_HABERMACHER_ATHI_PATRA_RUGA_PORTRAIT.jpg 1536w, https://cms.forbesafrica.com/wp-content/uploads/2018/07/©_RENE_HABERMACHER_ATHI_PATRA_RUGA_PORTRAIT-300x400.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2018/07/©_RENE_HABERMACHER_ATHI_PATRA_RUGA_PORTRAIT-600x800.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2018/07/©_RENE_HABERMACHER_ATHI_PATRA_RUGA_PORTRAIT-225x300.jpg 225w, https://cms.forbesafrica.com/wp-content/uploads/2018/07/©_RENE_HABERMACHER_ATHI_PATRA_RUGA_PORTRAIT-768x1024.jpg 768w" sizes="(max-width: 768px) 100vw, 768px" />
“I come from a family of people who enjoyed telling stories and I gravitate to that tradition of storytelling in my art,” says Ruga.
His industry is faced with numerous challenges, but Ruga chose early on in his career to not focus on the negative.
“I’m honestly not concerned with focusing on challenges, that’s not how I got here. It is the attitude that defines how I will overcome that is ultimate. Our education system is something we all need to face and improve as that leads one to art and in return empathy for others,” he says.
Ruga encourages upcoming artists to venture into different spheres such as photography, art and designing as they are lucrative.
He says there are more than enough role models across the continent one could look up to such as Nicholas Hlobo, a South African contemporary artist who creates sculptures and explores ethnicity, masculinity, and sexual identity. He too looks up to him.
Despite the global exposure and success at home, Ruga is convinced the best is yet to come.
“I always feel my big break hasn’t happened yet,” he says. That will be a story for another time.

Athi

Challenging Social Norms Through Body Art

Piloting the new Alfa Romeo Giulia along a four-lane highway, you may suddenly be transported to a game drive in Madikwe. That’s if you don’t keep to your lane.
Lane assist is always alert to make sure you don’t stray from the path and emits a sound resembling a warning call from the hippo pool if you cross the dotted line.
I was about to attack the “settings” department to see if there was an alternative sound. But then decided that the imitation hippo was a lot more refreshing than the common beep!
And there is much about the Giulia, runner-up to the Peugeot 3008 as Europe’s Car of the Year, that is refreshing – apart from the name.
<img loading="lazy" decoding="async" class="size-medium wp-image-5662 aligncenter" src="/wp-content/uploads/2017/05/2017-Alfa-Romeo-Giulia-Quadrifoglio-badge-01-300x200.jpg" alt="" width="300" height="200" />
Would Lady Gaga have 66 million Twitter followers if she was Lady Stefani Joanne Angelina Germanotta? And would there be as much mystique and anticipation about the new Alfa Romeo Giulia if it was called a C-class, 3-series or A3?
Compared to the boring Teutonic monikers, the Italian name conjures up images of passion, style and performance. But does the four-door Giulia sedan deliver?
On the wallet front the Giulia is very well placed among its obvious rivals in a cash-strapped global economy. The base price for the perky two-liter petrol with 8-speed automatic transmission is a touch over $40,000.
In terms of ABS (Adrenalin Boost per Second), the rear-wheel drive Alfa probably shades the base models of the pretenders to the throne, with acceleration of 6.6 seconds for the traditional 100.
In the style of some airline meal options – yes or no – you don&#8217;t have to spend too much time considering kilowatt alternatives; the petrol is the only engine choice for now.
Where you have a world of choice is with the trim levels taking you from Giulia Base, through Super to the top-of-the range Stile Pack, with more features than you can throw a memory stick at, for an additional $10,000.
But enough of the dollars and cents. After a long gestation period, will the new model light the fires of the Alfisti and bring new converts to the brand?
True to the Alfa ethos of a convergence between design and passion, the slit-eyed Giulia has expressed the trademark “Trilobe”design on the frontend in a stark and pulse raising fashion.
And the simple, sculptured lines take you to the rear – which is, well, rather ordinary. It’s an area where many manufacturers fail to make a statement.
But if you’re looking for a clear statement, open the driver’s door and try not to be enchanted – especially if you have chosen those unbelievably comfortable seats in red and black, with matching trim.
The message is that the driver comes first and that is reflected in the simplistic, yet elegant, styling of the fascia, instrumentation and controls.
In fact there is a challenge here – I don’t think you will find such starkly clear indications of the basics – speed, revs, fuel and temperature – in any modern vehicle. In black and white, without the glitzy option of changing colors to reflect your mood!
<img loading="lazy" decoding="async" class="alignleft size-medium wp-image-5664" src="/wp-content/uploads/2017/05/2017-Alfa-Romeo-Giulia-Quadrifoglio-rims-01-300x200.jpg" alt="" width="300" height="200" />
And the large “Rotary Pad” command infotainment screen – which blends into the dash rather than popping up awkwardly, is supremely simple to operate without spending hours reading the manual.
Right, time to buckle up and take off. The start button is on the unique Alfa steering wheel (which seems to make sense) and there is the option of selecting Dynamic, Natural or Advanced Efficiency on the DNA dial.
Dynamic is probably where you want to dwell – unless you’re in heavy traffic or frightened by fuel bills. It favors performance and response, with more reactive steering and noticeably rigid suspension.
I can’t say the acceleration is blistering – maybe exhilarating is the right word – as there is a slight turbo lag.
And you wouldn’t want to hear the word smooth relating to performance – it’s like calling a fellow “dapper” instead of “suave”. You can feel those gear changes that are all an element of Alfa attitude. But you won’t feel the whiplash of being ensconced in the tiny carbon fibre tub of the 4C!
That’s unless you can get your hands on the Giulia Quadrifoglio Verde, or QV for short, the 2.9-liter Bi-Turbo V6 version that is gunning down the BMW M3 and Merc C63 AMGs.
This awesome sub-four second sedan comes in at around $100,000 and the price tag has not deterred local enthusiasts. The 46 initial Race and Launch editions were sold out before they touched down and the 45 units of the regular QV are disappearing fast.
The pocket rocket 4C was the opening act of the Alfa Romeo revolution and one questions whether there will still be a demand for the minimalist street racer, which sold strongly after the 2014 launch.
“Many of the initial 4C buyers have indicated that they are in the market for the Giulia. The 4C is a very specialized car that’s not particularly suited for everyday driving and the Giulia is a family car that also satisfies from a dynamic point of view,” says Fiat Chrysler Automobiles (FCA) Media Liaison Manager Richard Sloman.
The man firmly in charge of the FCA Group is the Italian-Canadian with the magical motoring touch, Sergio Marchionne.
He gained loads of street cred for turning around the Fiat group, in less than two years at the helm, and drove on to form a strategic alliance with Chrysler which pulled the Americans out of a deep pit.
But the Alfa part of the family was a headache and failed to produce a profit during his decorous decade. So, instead of throwing in the green, red and white towel, he hatched a plan to go it alone with a host of daring new models.
Not a budget plan either… a $5 billion investment for an eight car line-up and a sales target of 400,000 units by 2018. That’s more than five times the 2013 production!
<img loading="lazy" decoding="async" class="alignleft size-medium wp-image-5665" src="/wp-content/uploads/2017/05/2017_alfa_romeo_guilia_dashboard-300x225.jpg" alt="" width="300" height="225" />
Since production started at the Cassino plant in central Italy, the Giulia has enjoyed excellent sales in Europe and America. And, in the iconic words of Bachman-Turner Overdrive, you ain’t seen nothing yet. Their first production SUV, the Stelvio, has recently been launched overseas to rave reviews.
Named after the curvaceous mountain pass in northern Italy, the Stelvio should land in southern Africa late this year.
“We believe the Stelvio, as with Giulia, is going to stir things up in the segment, particularly when the QV version arrives in 2018,” says Sloman.
“This car, like its Giulia sibling, is going to take the fight to the likes of Porsche, Merc AMG and BMW’s M Division, with the target to be the fastest SUV in its class, not to mention around the Nürburgring in Germany.”
If the vision for Alfa Romeo stays on track, the audacious Marchionne will have orchestrated another motoring miracle. He can then eventually retire as one of the most successful automobile executives of the era.

Savior Giulia

The performance of African markets was strong last year, with money raised by companies doubling to $10.9 billion. Buoyed by a 40% jump in terms of volume of offers, 2014 saw the highest level of activity in African equity capital markets (ECM) over the previous five years, according to a PricewaterhouseCoopers (PwC) report: IPO Watch Africa 2014.
The report showed a total of 90 initial public offerings (IPOs) which raised $6.3 billion between 2010 and 2014. Secondary offers, on the other hand, raised a total of $31.1 billion, representing 83% of the total capital raised and 27% of the transaction volume in the same period. The resurging interest tops a five-year high, recorded in 2010, when African exchanges raised $7.6 billion in fresh equity capital.
Growth in the size of the capital markets highlighted the shift from commodity-based to a broader range of sectors, most notably financial services. During the 2010-2014 period, financials accounted for almost half of the companies raising new capital. Last year, this figure stood at 57%. Within the same year, four out of the top 10 IPOs by proceeds were financial stocks, according to Dealogic, an international financial services information provider.
The report also revealed a new trend – the growth of regional stock exchanges. The research indicated a greater share of capital was raised in markets outside of South Africa, which itself accounted for only 32% and 44% of total IPO capital raised in 2013 and 2014 respectively, a departure from its more prominent position in previous years. Last year, money raised by companies on other African exchanges increased by 66% to $1 billion compared to the previous year. However these stock exchanges still have a long way to go. In the five-year period under review, the Johannesburg Stock Exchange (JSE) accounted for 78% and 64% of capital raised and transaction volume respectively. Ranked first in the world by the World Economic Forum’s 2014-2015 Global Competitiveness Report for its regulatory framework, it is easy to see why the JSE continues to dominate the Africa’s capital raising landscape.
Most notably, a number of the top 10 IPOs in the past two years had an international component, either foreign companies raising capital directly on African exchanges, or African companies marketing shares to international investors through dual listings or sales to qualified institutional buyers abroad. Since 2010, nine African companies have listed outside the continent, raising a total of $370 million while only one non-African company listed in the continent, raising $107 million. This trend highlights an increasing global integration of businesses in the region and the interest of international investors in Africa.
Regional exchanges need to continue building on the strong momentum of last year. Already, 2015 is shaping up to be a positive year for equity capital market activity in Africa. Nigeria has recorded two capital raisings in January alone; an IPO and a secondary offer. Ongoing harmonization of regional exchanges and liberalization of capital markets through legislation are necessary to keep the momentum going. This is essential to uphold investor confidence and attract new players, such as the private equity funds. To date, the most common means of exiting these funds has been through a sale to corporates, which accounts for about two-fifths of exits, according to the African Private Equity &amp; Venture Capital Association.
Furthermore, improving social conditions, rising urbanization and the adoption of new technological advances are important factors in driving regional exchanges forward. These transformations must be matched with political stability and more effective economic and fiscal policies in order to deliver stable regional exchanges. In addition, improving liquidity and quality of information is crucial. The latter has been blamed for international public companies being hesitant to list on African stock exchanges and foreign investors investing in domestic listed companies.
No doubt, as these measures are steadily implemented, Africa’s rise in the international capital markets is assured.

The Rebirth Of Africa’s Capital Markets

The sky is the limit for Anne Kansiime. The Ugandan comedienne, known as ‘Africa’s Queen of Comedy’, has seen her star rise rapidly.
She has performed throughout Africa and staged sold-out shows in England and Australia. The stages in London and Sydney are a long way away from the first play she took part in while in university in Kampala.
She owes her professional success to Fun Factory, which she says gave her both the time and space to improve.
<img loading="lazy" decoding="async" class="size-medium wp-image-30177 alignleft" src="http://www.forbesafrica.com/app/uploads/2017/05/Lupita-fb-300x300.jpg" alt="" width="300" height="300" srcset="https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-fb-300x300.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-fb-100x100.jpg 100w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-fb-600x600.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-fb-150x150.jpg 150w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-fb.jpg 640w" sizes="(max-width: 300px) 100vw, 300px" />
“I had always known I had a relatively good sense of humor but didn&#8217;t think at all that it was something I would do professionally. But, in 2009, I was spotted by Fun Factory Uganda, a sketch comedy group, and I was given an opportunity to feature in their play, The Nasty Good Story. After that play, I stayed on for their weekly shows at the National Theater (Uganda) and I have been a member since.”
It was not a seamless start in the entertainment industry.
“Being a part of a comedy group, comprised of drama graduates and very experienced actors, really steered me in the right direction. There was too much to learn from them and a lot of mistakes to be forgiven,” says Kansiime.
Apart from the stand-up shows, Kansiime also hosts the television show, Don’t Mess With Kansiime. She is, however, best known for her YouTube channel. The global video-sharing website recently awarded her a Silver Play Button for gathering more than 100,000 channel subscribers.
But this is only one of the many accolades that the graduate of Social Sciences has bagged in the past few years. Last year, Kansiime pocketed the Airtel Women of Substance Award and, in 2013, was named the Best Comedian at the Black Entertainment Film Fashion Television and Arts (BEFFTA), the Best Actress at the Lagos International Festival, and Favorite Celebrity at the Social Media Awards.
The 28-year-old praises her husband, Gerald Ojok, for giving her all the support she needs.
“It’s not easy to balance marriage and a career but with a good partner, things can get a little easier. [He] has been the best support I could ever ask for. He doesn&#8217;t put me in a position where I have to explain myself and my actions.”
One of Kansiime’s most watched clips on YouTube are those where she argues with her husband. She is quick to add that these don’t reflect her life.
“Contrary to what people might think, I am not as quarrelsome as the Kansiime in the skits. I’m very quiet around strangers and, actually, my husband makes me laugh way more than I could ever make him. I’m normal, I assure you.”
Unlike many up-and-coming celebrities who look up to other people for inspiration, Kansiime says: “I don’t really look up to a particular individual in life but rather to everyone that does everything in their power to make the world a better place for everyone.”
That doesn’t stop Kansiime from wanting to inspire others. She is currently working on songs to inspire children.
“I’m currently working on a music album and videos for children dubbed My Name is Kansiime. I’m trying to create entertainment that is actually suitable for children.”
There are many established and up-and-coming comedians in Africa, but Kansiime doesn’t see them as competition.
<img loading="lazy" decoding="async" class="size-medium wp-image-30176 alignleft" src="http://www.forbesafrica.com/app/uploads/2017/05/Lupita-FB-2-300x300.jpg" alt="" width="300" height="300" srcset="https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-FB-2-300x300.jpg 300w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-FB-2-100x100.jpg 100w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-FB-2-600x600.jpg 600w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-FB-2-150x150.jpg 150w, https://cms.forbesafrica.com/wp-content/uploads/2017/05/Lupita-FB-2.jpg 640w" sizes="(max-width: 300px) 100vw, 300px" />
“I try not to compete with anyone but rather with myself because I know my humor has a unique touch. So, I only strive to be a better person every day.”
Among Kansiime’s many fans, one stands out. Oscar-winner Lupita Nyong’o, who was in Uganda working on the movie Queen of Katwe, was full of praise for the comedienne after the two met.
After posting pictures of the two, Nyong’o called Kansiime the “funniest Ugandan. Period.”
It won’t be long before she’s considered the funniest African. Period.

kansiime-high

‘I’m Not As Quarrelsome As People Think’

Set in Kenya’s Hell’s Gate National Park, Disney’s animated film, The Lion King celebrates 20 years on June 15. The Lion King’s stage adaptation of the original 1994 film has grossed more than $5 billion across the globe. The original film is the highest grossing hand-drawn film in history.
It tells the story of Simba, a young lion who is to succeed his father, Mufasa, as king. But after Simba’s uncle Scar murders Mufasa, Simba is fooled into thinking he was responsible and flees into exile in shame and despair.
While growing up with two wastrels, Simba is given some valuable perspective from his friend Nala and his shaman, Rafiki, before returning to challenge Scar to end his tyranny.
The story is set in the kingdom of lions in east Africa, with influences from biblical stories of Joseph and Moses, as well as William Shakespeare’s Hamlet.
Though it has had great success, the production of The Lion King has also had its problems. A dispute arose between Disney and the family of South African Solomon Linda, who composed the song, ‘The Lion Sleeps Tonight’, originally titled ‘Mbube’ in 1939. In July 2004, the family filed a lawsuit for $1.6 million in royalties from Disney. Two years later, Linda’s heirs reached a legal settlement with Abilene Music who held the worldwide rights and licensed the song to Disney.
In 1997, three years after the release of The Lion King, Walt Disney produced the musical stage adaptation of the same name, with the first show in Minneapolis in the United States. The musical went on to become one of the most successful in Broadway history and is still running across the globe to this day.
Britain’s stage production of The Lion King casts a huge number of South Africans. In the current run, 25-year-old Nicholas Nkuna is wowing audiences as the third South African to be cast as Simba, following Brian Temba and Andile Gumbi. Before heading to Britain to play Simba, Nkuna was the second youngest black Phantom in the musical The Phantom of the Opera.
“I auditioned for the show for two years and got a call back for the final in the third year. I went to Florida in America to do my final call back. Towards the end of Phantom, they rang me to let me know I got the job,” says Nkuna.
In July 2012, Nkuna moved to Bristol to start rehearsals for the spectacle.
Playing the lead is a huge responsibility and expectations are high. But as time went on, Nkuna says he eased into the role.
“It was incredible; it was eye-opening. The standard of performance is different, the preparation is different. With The Lion King, there’s acting, there’s singing and dancing and you also have the animal elements to it. So you’re half a lion, half a human,” he says.
“You need to learn how to move like a lion. It was interesting to do those workshops. We did Javanese movements. There’s certain cultural depth that they do that’s sort of similar to how humans would move animal-like.”
After two years of traveling with The Lion King, Nkuna has decided to end his journey as Simba to focus on his music and other business adventures.
But the show must go on. In March 2013, The Lion King was launched in Brazil and for the first time in Portuguese. It has been performed in six other languages. It has also been seen on every continent besides Antarctica.
The creators of The Lion King are probably sitting somewhere saying to themselves, ‘Hakuna Matata’, as the Lion King could enthral audiences for decades to come.
<h4>The Soul Of Simba</h4>
The opening scene of The Lion King is unforgettable. As the yellow African sun rises over the horizon, a Zulu voice cries ‘Nants ingonyama bagithi Baba’. It means ‘Here comes a lion, Father’.
That voice belongs to South African award winning musician Lebohang Morake, but to the world of arts and entertainment he’s known as Lebo M.
Morake grew up in Soweto, Johannesburg. From a young age, he started singing in a local pop band. In his first interaction with the music business he saw corruption. At the age of 12, he released his first single Celebration which received a lot of local success. However, Morake only received $20.
After finding success in Lesotho, Morake received a scholarship to study music in the United States (US). It was there that he met world-renowned composer Hans Zimmer. The two worked together on the score for the film The Power of One.
Years later, Hans Zimmer was hired to score the most successful animated movie in history, The Lion King. Zimmer wanted to make the music authentically African and there was only one person he had in mind for the job.
Zimmer traveled to South Africa to find Morake. The two returned to the US where they created a soundtrack to the film that won them numerous awards as well as a Grammy for best instrumental arrangement with accompanying vocal for The Circle Of Life.
Riding on the success of the film, Morake was then commissioned to write the music for The Lion King musical which instantly became a Broadway hit. Morake composed new songs for the production which went well with the music from the original movie.
It has become one of Broadway’s longest-running shows with productions in several countries around the world.
Morake’s original compositions and voice can be heard in a number of films including Chicken Little, Mighty Joe Young, Congo and Tears of the Sun. When you listen to Morake sing, you may not understand the lyrics but you will understand why everyone calls him the voice of The Lion King.

A Roaring Success

Automotive design is split into the following components: exterior, interior and color or trim elements. The exterior design stylist develops the shape, proportions and surface of each vehicle, and sketches are done manually or using a series of digital renderings. Next, models are made from clay, and carved to exact specifications using CNC Milling machines. The first use of clay modeling has been attributed to Harley Earl, head of General Motors (GM) styling studio in the 1930s. When it comes to the interior, ergonomics and comfort take precedence, but the procedure followed is the same described above for the outside of the car. Color and trim designers are responsible for the layout and use of various materials, where attention to the unique combination of patterns, textures, contrast and sensory nuances is key.
The high turnover of vehicle design we are so accustomed to today, finds its roots in a term called “planned obsolescence”. In 1924, the American car market had reached saturation point and GM’s Alfred P. Sloan Jr. creatively suggested that car designs be changed each year, in order to convince owners that they needed to regularly replace their vehicles. By contrast, Henry Ford was a proponent of functionality and design integrity, and suffered the repercussions of his decision to stick to his principles. In 1931, General Motors overtook Ford’s car sales and went on to become the dominant force in the US motor industry. As marketing is driven primarily by aesthetic design, Sloan’s philosophy had far-reaching and powerful implications. The downside of this strategy for consumers, apart from the obvious, is the risk that manufacturers make use of less expensive components, in order to fulfill the product’s lifetime projections.
But not all automotive designers had their eye on mass production and capturing as much market share as they could muster. The most famous of all car design companies is Pininfarina, founded by Battista ‘Pinnin’ Farina. Born in Italy in 1893, his nickname came from being called the youngest, or smallest—pinnin—of the family. Farina began working in his brother’s car body shop at the tender age of 12, and his passion for cars saw him absorbing whatever knowledge he could until he was ready to begin designing his own. Famously, Battista started doing work for Ferrari in 1952 and officially changed his surname to Pininfarina in 1961. The list of cars the company is credited with designing defies belief; and includes Peugeot, Lancia, Fiat and Alfa Romeo and in recent years, they’ve begun focusing on cars propelled by electricity and solar energy.
Another stalwart of automotive design was founded in 1912 by Giovanni Bertone. The company successfully partnered up with some of the greatest designers of the time: Franco Scaglione—responsible for the creation of the Alfa Giulietta Sprint, which launched Bertone into mass production—Giorgetto Giugiaro, as well as Marcello Gandini—the great Lamborghini Countach was his brainchild. Typified by the use of angular and wedged shapes, Bertone-styled cars always appeared futuristic and the Opel Astra Coupé is a modern vehicle still employing the artistic skills of this famous company.
While other designers stemmed from Great Britain and the United States, none had the formidable success achieved by Pininfarina and Bertone.
Time marches on and with it comes unique problems, as well as the advancement of technology, that have a direct influence on how modern cars look and function. The proliferation of internet access on our cellphones, computers and iPads has seen motoring manufacturers quickly integrating online functionality in their cars.
Advances in aeronautical engineering will soon see drive-by-wire navigation become commonplace in modern production cars. As opposed to direct mechanical controls, a drive-by-wire system senses the driver’s physical interaction with the hand control—replacing the traditional steering wheel—and converts this into a digital signal that goes to an actuator that controls the wheels. What this translates into in terms of car design, is that future vehicles will no longer need a steering column or pedals, resulting in more space for the driver. Another spin-off is that heavy mechanical components will be obsolete, and this means greater fuel efficiency and less environmental impact. Hand controls will house the throttle, braking and steering elements while gears would be selected by the touch of a button.
J Mays, Global VP of design and chief creative officer at Ford Motor Company, feels that a direct result of cellphone technology has been that consumers no longer view physically small items as being a sacrifice in terms of product delivery. It seems then that future generations might eventually break the mold of wanting huge luxury sedans, but rather concentrate on cars that are pragmatic, have less environmental impact, but that deliver on all the other factors that we require for travel; namely safety, comfort, technology, entertainment, fuel efficiency and low cost of maintenance. Mays doesn’t imply that this shift in perception would in any way relinquish the power of status appeal; status in future might be reinterpreted along different lines.
“Design is a communications tool for the brand. It’s a visual communication with the customers we want to contact and have a dialogue with,” he says.
In the next 10 years, Mays feels that the design of cars won’t change per se, but rather the skill set of those doing the designing.
“A lot more digitally-oriented designers will be coming into the auto industry and helping us change the model of why you buy an automobile.”

Desirable By Design

After 12 years on stage, fans worldwide still marvel at the performances of Africa Umoja, a colorful musical that took two old pals, Thembi Nyandeni and Todd Twala, 10 years to craft. These two performers came from the dusty streets of Soweto. Together, they created a world-class theater piece that showcases the African cultural renaissance through rhythm and dance and has visited more than 30 countries.
Young people idling in the streets motivated Nyandeni and her friend to create this production.
“Showbiz helped me to find myself. Now I want to protect others who are vulnerable,” says Nyandeni. Her father supported her throughout her dancing career by taking her to discos and parties. “My father would drop me and wait for me outside and I would dance through the night. At four in the morning, he would take me home with all my friends.”
Past members of the troupe have performed in big shows on Broadway in New York, like The Lion King. On average, dancers spend about five years with the troupe. Collen Mavundhla, aka “Mosquito”, is one of the oldest cast members. She’s been there since the group’s inception. “I’ve seen a lot of cast members being developed into professionals,” says Mavundhla.
<img loading="lazy" decoding="async" class="alignleft size-large wp-image-919" src="/wp-content/uploads/2017/04/tribal_femaleDancer-683x1024.jpg" alt="" width="474" height="711" />
Umoja’s recent performance in Lagos attracted captains of industry, senior public sector officials and members of the diplomatic community. First Bank, Nigeria’s oldest bank and the show’s sponsor, was so impressed by the performance that it proposed to partner with the dance troupe. According to Folake Ani-Mumuney, head of marketing at First Bank: “The choice of Umoja is really based on the theme behind Umoja, which is the spirit of togetherness. This is something that transcends South Africa. It is something that finds a place across the globe and Nigeria.” Ani-Mumuney believes the proposed partnership will go a long way to bridging the gap between Nigerian and South African businesses and correct some of the negative perceptions that exist about the countries.
Relations between South Africa and Nigeria are strained after South Africa deported 125 Nigerians from O.R. Tambo airport. “When the political relationship hits a bad patch, South African companies bear the brunt of it as they are the face of the bilateral relationship in Nigeria. Business people suffered most from Nigeria’s retaliation on the visa issue and they formed the bulk of those turned back at the airport recently. The foreign minister had already threatened to ‘clamp down’ on SA’s companies if SA did not apologize for its immigration officials’ actions,” wrote Dianna Games of the South Africa Nigeria Chamber of Commerce.
For Africa Umoja, partnership with a Nigerian bank is an opportunity for them to be part of the solution. “Umoja is not just a South African story, it is for everybody African. So I would like to put together 12 South African and Nigerian singers and dancers to create a show that will be a symbol of unity between us. My vision is to bridge the divisions between Nigeria and South Africa,” says Nyandeni. She concedes that the road ahead is not going to be easy. In addressing tensions, cultural diplomacy will be an invaluable tool. There are prevailing negative stereotypes, she says, that need to be dispelled. Yet there are few neutral channels to nurture understanding.
Of course, to discourage stereotyping will require more than one show. But, says Ani-Mumuney,
“I always say one thing about the creative industry; it is only limited by the limits of our imagination, which
is limitless.”

Tag: Performance