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‘There Will Always Be A Need For Live Art’

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South African dancer Mamela Nyamza revived a 30-year-old dance festival to help local artists connect with the rest of the world.


An eight-year-old graces the pulpit of her hometown church capturing the attention of the congregants with her nimble dance moves. Little do they know she would go on to dazzle audiences on some of the world’s most prolific stages.

As the deputy artistic director of the South African State Theatre, it all still feels like a dream for the award-winning contemporary dancer who never imagined her passion for dance would lead her here.

Mamela Nyamza owes it all to her childhood.

Your upbringing will always find a way back to your artistic life.

From running in the rain to dance classes, with a leotard packed into a plastic bag, to curating one of the biggest dance festivals in South Africa, Nyamza is hoping to transform the art form in Africa.

Sitting in her office in South Africa’s capital Pretoria, she understands the responsibility of her position.  

“I know how important it is for people to come and showcase their work in this theater because I came from a space where doors were not opened for me. The space I come from has taught me a lot as an artist and it has actually made me the artist I am today because everything I do will always reflect  that life,” she says.

She hopes to merge the line between art and life by curating the Dance Umbrella Africa Festival.

The festival, formally known as Dance Umbrella Johannesburg, which downed its curtains in 2018 due to lack of funding, has been revived by Nyamza to incorporate a continental approach towards contemporary dancers.

She took it upon herself to revive the program that gave her an opportunity at the start of her career.

“I cannot sit back and watch a festival that groomed many artists in this country close in front of me while I am watching. If it was not for Dance Umbrella, I would have never performed internationally,” she says.

For Nyamza, the festival brought programs to South Africa which opened a gateway for artists to connect with the rest of the world, allowing them to showcase their body of work on international stages.

Institutions that support the dance community are needed to assist both aspiring and established dancers, she says.

Do I Look Pretty by Chandré Bo, a dance theatre production that explore the notion of ‘pretty’. Picture: Gypseenia Lion

“You cannot do it alone; you need these structures to help you help others. Our role here is to serve the patron, the audience, the artists and everybody.”

The position seemed daunting to her, at first, but she soon realized it was time for change in the industry.

An office job has not tethered the artist’s free spirit.

 “I was not going to leave the industry; it is all about leading the industry. I still go out there and work, I still practice my art and I feel, as an artist, I have done Mamela a lot. So why am I still holding on to me? It is time to give back. Right now, being here, I feel like there is a reason for being here. I feel like this is a calling.”

Heeding the call to make a difference, Nyamza, who is dressed in African print, recollects the challenges she faced when she turned her hobby into a profession.

As a black woman, taking it on as a career was the hardest part, thus turning a love into a strange relationship.

Being the only black woman in her dance classes made her feel like “the other” at all times.

“It [ballet] was not accepting me as a black woman. It made me  interrogate [ballet] as an artist. Hence, most of my work will always go back to ballet,” she says.

“I was deconstructing something that I know. I was not just talking about ballet, I was deconstructing something that did not accept me as a black woman or did not accept my body.”

This interrogation is reflected in most of her work.

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Surprised by the high number of artists in their early 20s who showcase their work at the State Theatre, Nyamza applauds the transformation that has made these spaces accessible since her early 20s.

A kind of access she had to fight for. 

“Right now, my son does not know that we used to walk while it was raining to go to ballet classes. We were not dropped off in cars. It was not easy, it was something you did for love and that is when passion is created. Because of the different times that we come from, it took me years to even put my work at the Artscape [Theatre Centre in Cape Town]. You always look at these differences and not that you are against them, you always just say ‘wow, this is great’.” 

As much as there has been the incorporation of digital innovation to ease access to dance and performance, the need for live theater will always be imperative for her.

“There will always be a need for live art because it touches different parts [of us]. When something is live, you remember the liveness of it, the body of it. With technology, you can see it [a performance] there and also have it here, it is easy access but a live body is not easy access and that is what people forget. You have to go out there, pay money, support and watch it live because that live memory stays with you,” she says.

“As artists, it is hard for us to say, ‘here’s my DVD’ and as artists who perform outside of the country, people ask ‘can you show me something online?’. I tell them that they can see me online but it is not the same. It is never the same. It is all about liveness and experiencing it live.”

The upside is that it opens the window of opportunity for African artists on international stages, which, at times, may pose cultural barriers.

“By being a solo artist, it has been easy for international people to get the whole history of South Africa from one artist and you don’t have to bring the whole [cast of] 80 people to talk about the story. It is easy because you are in South Africa, you are South African. Your work is South African. How you do it is up to you because you are an artist and as an artist, you can interpret your work in any way.

“When showing your work, there is already the assumption that you are from Africa and you need to do celebratory work or ceremonial work and if you don’t do that, there is a question of, ‘I did not accept that from an African woman’. There are so many ways people engage with us as artists coming from Africa,” Nyamza says.

At times, it was easier for men to succeed in the industry, she says.

“When we came as women, we didn’t entertain too much. There was an element of [not all men, some], ‘we are men showing six packs and the body’ and actually giving exactly what the other wants to see. With women, we came with issues that needed to be interrogated and debated. We provoked things and sparked some conversations that will stay with people. We were talking about things that are happening in our country and became the window to our country.”

Do I Look Pretty by Chandré Bo at the State Theatre. Picture: Gypseenia Lion

But back home, the locals are still grappling to understand the art industry, leaving artists like Nyamza with a greater popularity beyond African shores. Locally, she feels the audiences are not as supportive and open to attending live shows.

“At home we don’t have that culture of knowing what is good and understanding our own artists. It is not something our people have grown up with. Much like me studying dance was questioned as ‘what else do you do?’ Nobody will know that I am an international artist. They know us internationally but at home they will ask ‘who is Mamela?’ Not that I want them to know. I am an artist, I just do my work and it speaks for itself.” 

Looking at the growing interest for ballet-dancing among black people in South Africa, Nyamza argues that ballet is moving away from the traditional format of only wearing pink tutus and has become more accessible, thus allowing locals to make their own interpretations of the artform. However, the lack of continuity concerns her.

“I always see young black kids doing ballet and then later on there are none. Where are they? What happened to them? But then again, I think this situation is because we don’t have many black female dance teachers who these kids can relate to and aspire to be.” It is a fact most artists and art managers agree on.

The Forgotten Angle Theatre Collaborative managing and artistic director PJ Sabbagha says the arts are socially marginalized but it is the artist’s responsibility to change the way it is viewed. Through exposure in his community-based work in Mpumalanga, Sabbagha has realized that an appreciation for the arts is increasing.

6×7 Feet Dimension, named after Nelson Mandela’s prison and the size of the bedroom in Winnie Mandela’s house, is a play about the love letter they wrote to each other. Picture: Gypseenia Lion

“The art is very alive in communities and so is dance, in various forms. We still live in a world where people don’t view the arts as being real. They view it as a hobby or part-time activity. It partly has to do with the way art has positioned itself and also the way society views the arts, it has, basically, never really been seen as a real economic driver with potential for social change.

“The older generation doesn’t see how people’s lives are impacted through the arts. They can earn an income and that it can be a meaningful career or that it can benefit society. Although, things have changed, the economy in the country does not help; there is less investment in the arts because we need to save failing infrastructure,” Sabbagha says.

These are nagging concerns to answer. Because the work of many unknown artists is based on personal impact and interpretation, it becomes challenging to assess what art in small pockets of the world mean to those viewing it. Perhaps, the greater question is, what can be done to get people interested enough to attend an art show? Should it all lay at the feet of artists or should people be more proactive about who and what they view?

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Forbes Africa’s Best Photographs In 2019

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[Compiled by Motlabana Monnakgotla, Gypseenia Lion and Karen Mwendera]

Image 1:

Kabelo Mpofu, an entrepreneur, took over his mother’s shop in Meadowlands, in the South African township of Soweto. He is hopeful of making the family business a success despite big retail stores opening up in the townships and swallowing up the corner groceries.

Image 2:

Africa is the youngest continent in the world. Every year, South Africa observes June as Youth Month, honoring the anniversary of the Soweto Uprising on June 16. In this image, the country’s sprawling township of Soweto comes alive with youth dancing in the winter weather to local and international music at the Soweto International Jazz Festival, an annual confluence of history, art and culture.

Image 3:

Women hold up placards against gender-based violence during a ‘Shutdown Sandton’ campaign; this after a spate of brutal rape and killings in South Africa.

Image 4:

Car dealerships were among the businesses set alight in Johannesburg’s Jules Street, during the spate of xenophobia attacks in South Africa in August this year. The spark that fueled the raging fire began in Pretoria, the country’s capital, when a taxi driver was shot dead by a foreign national who was selling drugs to a youngster in the central business district.

Image 5:

Sibusiso Dlamini, the co-founder of Soweto Ink, works on one of his regular clients at his tattoo parlor founded in 2014 with his long-time friend, Ndumiso Ramate. In 2019, Soweto Ink held the fourth annual tattoo convention, and for the first time in partnership with BET Africa, to break tattoo taboos in Africa.

Image 6:

Mmusi Maimane, the former leader of South Africa’s opposition party, Democratic Alliance, is about to cast his vote in front of local and international media houses who had wrestled to get the perfect shot in his hometown in Dobsonville, Soweto, during the elections in South Africa in 2019.

Image 7:

The brother of South African journalist, Shiraaz Mohamed, begs for government intervention after Mohamed was kidnapped in Syria on January 2017 by a group of armed men. The group demanded more than $500,000 for his freedom.

Image 8:

South African President Cyril Ramaphosa with his body guards at the Sandton Convention Centre in Johannesburg, South Africa, where the three-day South Africa Investment Conference was held in November.

Image 9:

In a world that’s embracing new technology, inspiration is being found in bug behavior. The hard-bodied dung beetle is now key to robotics research, in Africa too. Astounded by this discovery early this year is Marcus Byrne, a researcher at the University of the Witwatersrand in Johannesburg who has been studying dung beetles for over 20 years. He holds up a metallic replica of a dung beetle in his hand in his office at the university.

Image 10: 

Mzimhlophe Hostel, a hostel among many others in Soweto, erupted with service delivery protests prior to the elections in South Africa. In the same vicinity, an informal settlement was also allegedly set on fire. Brothers Mduduzi (32) and Kwenzi Gwala (22), pictured, had arrived in Johannesburg looking for employment. They sold African beer, but their shack was set alight while they were still at church. They lost all their stock and possessions.

Image 11: 

A thrift market in the heart of Johannesburg’s central business district, not too far from a busy taxi rank, known for its pavement robberies. Despite the crimes, thousands of small entrepreneurs trade in this raucous market every day.

Image 12:

ANC, DA and EFF supporters dancing and chanting outside the Hitekani Primary School in Chiawelo, Soweto, South Africa, as they await South African President Cyril Ramaphosa to cast his vote in his former primary school. 

Image 13:

Tenants in the discarded Vannin Court in Johannesburg look on from their balconies as jubilation erupts on the ground floor.

Image 14:

Vestine Nyiravesabimana makes money weaving intricate baskets made of grass to feed her nine children in Kigali, Rwanda.

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Can Diddy’s Ciroc Recipe Work On Alkaline Water?

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The first time Sean “Diddy” Combs took a sip of Aquahydrate alkaline water—given to him by pal Mark Wahlberg at a Las Vegas boxing match in the early 2010s—he found it to be an ideal antidote for evenings spent consuming adult beverages.

“I went out that night and had a Vegas night, and I woke up and had a Vegas morning,” Diddy told me in 2015. “I drank two of the [Aquahydrate] bottles and it was, like, the best tasting water that I’ve tasted. And it really, honestly helped me recover.”

Diddy became the face of the company alongside Wahlberg shortly thereafter, and the pair invested $20 million in Aquahydrate over the years while billionaire Ron Burkle’s Yucaipa added another $27 million.

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They aren’t the only ones with lofty ambitions for the brand: last week the Alkaline Water Co., the publicly-traded purveyor of competitor Alkaline88, bought Aquahydrate in an all-stock deal that valued the latter at about $50 million.

For Diddy, who ranks No. 4 on our recently-released list of hip-hop’s top earners and boasts a net worth of $740 million, alkaline water holdings are just a drop in his financial bucket. His Diageo-backed Ciroc vodka—and its myriad flavors, from Red Berry to Summer Watermelon—is responsible for the lion’s share of his wealth. But it’s clear he thinks alkaline water, flavored variants included, could swell his portfolio. So do his new partners.

Diddy
CRAIG BARRITT AND ALEXANDER TAMARGO/GETTY IMAGES. DESIGN: NICK DESANTIS/FORBES

“You put both these brands under one public company, it makes a ton of sense,” says Aaron Keay, Alkaline’s chairman, of the Aquahydrate deal. “We see synergies on distribution, we see cost-savings on cost of goods. On production, on logistics, on staffing. … And we don’t see both brands actually then competing for the same target market.”

In the past, flavored water has enriched investors including some of Diddy’s hip-hop world comrades. A little over a decade ago, 50 Cent famously took Vitaminwater equity in lieu of stock as payment for his endorsement—and walked away with some $100 million when Coca-Cola bought its parent company for $4.1 billion in 2007.

A ten-figure valuation for an alkaline water company seems an outlandish target even for the notoriously bombastic Diddy. But Keay notes Alkaline clocked $33 million in revenues over the past fiscal year and had been expecting $48 million in 2020; now, with Aquahydrate on board, he projects closer to $60-$65 million. That compares favorably to Core Water, which was doing some $80 million as of last year before getting acquired.

“For two or three years, Core Water was just another clear water,” says Keay. “Then they added about a half dozen flavors. Sales doubled. They got bought for $500 million. I mean, for us, $500 million would be a big number off of where our market cap is right now.”

Diddy appears to be an ideal ally in achieving that goal. With Ciroc, once a middling vodka in Diageo’s roster, he was able to articulate importance of the brand’s defining trait: it was made from grapes, not grains (never mind that this might technically disqualify it from being considered a vodka). His contention, according to Stephen Rust, Diageo’s president of new business and reserve brands, is that grapes are simply sexier than potatoes.

“One of his favorite things [to say] is, ‘If you can have a vodka that comes from a history of winemaking, why would you do that versus the history of coming from potatoes?’” Rust explained in an interview for my book, 3 Kings: Diddy, Dr. Dre, Jay-Z, And Hip-Hop’s Multibillion-Dollar Rise. “That’s Sean.”

With alkaline water, Diddy has demonstrated a similar knack for sizing up a product and extracting an elemental notion that passes muster with consumers (if not necessarily scientists). If “you’re full of acid,” Diddy once explained to me, you need to “get your body leveled out.”

Vodka and water, of course, are two very different products, and the same tactics won’t necessarily translate from one business to another. Flavored water itself seems to have been over-carbonated of late, as the recent struggles of brands like La Croix show; Alkaline’s shares have slumped this year as well.

Perhaps that’s why Alkaline is looking beyond its flagship bottled water business. Future plans call for a move towards cans in a nod to environmentally-conscious customers, as well as expansion into the nascent CBD-infused beverage space. Keay figures Diddy and Wahlberg, along with fellow celebrity investor Jillian Michaels, should provide a boost across the board.

“Once the FDA makes a ruling about how CBD is going to be distributed through those chains and channels, those guys are going to want trusted brands, brands that they know already have a consumer following,” says Keay. “And that was another big reason why it made sense to bring [Diddy, Wahlberg and Michaels] in, because it’s only going to help.”

Zack O’Malley Greenburg; Forbes

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The Highest-Paid Actors 2019: Dwayne Johnson, Bradley Cooper And Chris Hemsworth

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A bankable leading man is still one of Hollywood’s surest bets, even if your name isn’t Leonardo DiCaprio. While the lucrative twenty-twenty deal ($20 million upfront and 20% of gross profit) doled out to the likes of Harrison Ford and Tom Cruise may be more or less gone, Hollywood still has its big-money brands, those actors who can promise an audience so big that they command not only an eight-figure salary to show up on set but also a decent chunk of a film’s nebulous “pool”—or the money left over after some but not all of the bills are paid. 

Dwayne Johnson, also known as the Rock, tops the Forbes list of the world’s ten highest-paid actors, collecting $89.4 million between June 1, 2018, and June 1, 2019.

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“It has to be audience first. What does the audience want, and what is the best scenario that we can create that will send them home happy?” Johnson told Forbes in 2018.

It seems he makes the audience happy. Johnson has landed a pay formula as close to the famed twenty-twenty deal of yore as any star can get these days. He’ll collect an upfront salary of up to $23.5 million—his highest quote yet—for the forthcoming Jumanji: The Next Level.

He also commands up to 15% of the pool from high-grossing franchise movies, including Jumanji: Welcome to the Jungle, which had a worldwide box office of $962.1 million. And he is paid $700,000 per episode for HBO’s Ballers and seven figures in royalties for his line of clothing, shoes and headphones with Under Armour.

READ MORE | ‘Black Panther’: All The Box Office Records It Broke (And Almost Broke) In Its $235M Debut

While Johnson’s deal is the biggest in the business right now, he’s not the only one with a lucrative deal. Robert Downey Jr. gets $20 million upfront and nearly 8% of the pool for his role as Iron Man, and that amounted to about $55 million for his work in Avengers: Endgame, which grossed $2.796 billion at the box office. 

That gross was so big that it secured spots on this year’s top-earner list for Chris Hemsworth, Bradley Cooper and Paul Rudd, in addition to Downey; together, they earned $284 million, with most of that coming from the franchise. 

“Celebrities such as Downey and (Scarlett) Johansson currently have extreme leverage to demand enormous compensation packages from studios investing hundreds of millions of dollars in making tent-pole films, such as The Avengers series,” entertainment lawyer David Chidekel of Early Sullivan Wright Gizer & McRae told Forbes. 

READ MORE | Worldwide Box Office, The Best It’s Ever Been

Cooper is the rare actor who can thank a bet on himself for his 2019 ranking. The actor earned only about 10% of his $57 million payday for voicing Rocket Raccoon in Avengers. 

Seventy percent came from A Star Is Born, the smaller musical drama that he directed, produced, cowrote and starred in with Lady Gaga. The movie was a passion project for Cooper, and he forfeited any upfront salary to go into the film and Gaga’s salary. It paid off—the movie, which had a production budget of only $36 million, grossed $435 million worldwide, leaving Cooper with an estimated $40 million. 

The full list is below. Earnings estimates are based on data from Nielsen, ComScore, Box Office Mojo and IMDB, as well as interviews with industry insiders. All figures are pretax; fees for agents, managers and lawyers (generally 10%, 15% and 5%, respectively) are not deducted.

The World’s Highest-Paid Actors Of 2019

10. Will Smith

Earnings: $35 million

9. Paul Rudd

Earnings: $41 million

8. Chris Evans

Earnings: $43.5 million

6. Adam Sandler (tie)

Earnings: $57 million

6. Bradley Cooper (tie)

Earnings: $57 million

5. Jackie Chan

Earnings: $58 million

4. Akshay Kumar

Earnings: $65 million

3. Robert Downey Jr.

Earnings: $66 million

2. Chris Hemsworth

Earnings: $76.4 million

1. Dwayne Johnson

-Madeline Berg; Forbes

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