Samanthole Arts Foundation

In 2009, it must have been March or April, I sat across the table with David Nthubu Koloane for our first mentorship session. I was overwhelmed by the grace of his humility and wisdom. He spoke softly in a voice that constantly reminded me he is not 'Bra Day' to me but an elder, to which I personally requested that I call him 'GrandDay' and he chuckled at this gesture but approved.  Dr. David Koloane visiting my studio in 2016 to receive this gift I gave him for his role he played in the arts.  For the past years since 2009, I always phoned him to wish him a great birthday. Last time I did that is today last year. May his soul rest in peace.  I have met Granday years before this session, I have done so through my brothers Leshoka Legate and Philip Legate whom got to know him through my mother Maletsepe Makgato who worked at Artist Press Studio which was based at the Bag Factory in early 2000s. I remember in 2005 or 2006 my brother Philip had phoned me to wat

Seipati Seipati Bulane - Hopa is a pioneer in the black film industry. Her engagements include film producer and executive producer on the international co-production of Takalani Sesame, chairperson of the Independent Producer's Organization and founder member of Pan African Women in Film, an affiliate of Pan African Federation of Film-makers.  Seipati   Bulane-Hopa Photo credit Artmatters  I have met Mme Pati, as we affectionately call her, in 2016 during the occasion of PUKU Children's Literature Festival from a special invitation by the founder and director of PUKU Dr. Elinor Sisulu whom we affectionately call MaE. The festival which was held over a weekend, comprised of round-table-discussions where we were workshopped on how to approach literature writing for children. I was particularly impressed and inspired by Mme Pati's intellectual prowess and her warmth in sharing easily her wisdom with everyone. After the sessions I walked upto her and offered mysel

Born on 15 December 1925, Bopape was a pivotal figure in the music industry. He began his career in 1951 as an assistant talent scout for Record Industries. In 1955, he was recruited by  EMI South Africa  to become its main talent scout and producer of African music. At EMI, Bopape handled some of the country's most popular acts including girl group the  Dark City Sisters , pennywhistle band  Black Mambazo  and gospel quartet the  King's Messengers . Bopape also oversaw the birth and development of mbaqanga music by replacing African jazz players with new, younger session musicians. Rupert Bopape  In 1964, Bopape quit EMI and moved to  Gallo Record Company  (then known as Gallo Africa). At Gallo, Bopape was the executive head of the organisation's new division devoted to producing African music,  Mavuthela Music Company . Under Bopape's tutelage, Mavuthela pioneered the new, up-tempo mbaqanga music (often referred to as 'mgqashiyo') with electric ins

OPEN LETTER TO A GIRL CHILD Dear girl child, please allow me to start by saying a small prayer for my girl child and boy children before I proceed with my letter. Ntate wesho wa Magodimong please give me strength and wisdom to raise my girl child in knowing that no joy comes in having affair with married men and older men. May she be protected from vultures of this world disguised as men, preying at young girls to satisfy their lust. Ntate Modimo, I am also praying that you give my sons wisdom to grow into responsible men who will never treat women as objects, especially sex objects that they can use and toss around just like that, Amen! Now that we are done with prayer, let me address issues regarding the letter. For sure many are asking why a letter to girl child specifically, my answer is simple, in a society that is patriarchal and always ready to cast stones to a girl child every time something goes wrong between her and a man, I sympathize with a girl child.  This le

Kagiso 'Bra Pat' Mautloa is a caring father figure to most of us the younger generation of visual artists in the country. Always willing to engage our ideas and the work we do in shaping the future complexion of the arts landscape. The intelligence of this great man lies in his soft speaking voice and poignancy of reason with touches of humor.  Kagiso Patrick Mautloa. Image courtesy of Chepapeism   I had come to know him through his work exactly sixteen years ago from a catalog of group exhibition mounted at the Polokwane Art Museum curated by Amos Letsoalo through partnership with Standard Bank. My elder brother Philip Moganoa Legate worked as an assistant administrator for Bag Factory Artist Studios at the time and the exhibition was focused mainly on the artists from the Bag, as we affectionately call it. Featured artists in this show included the finest of names such as David Koloane, Sam Nhlengethwa, Diane Hyslop, Wayne Barker and others. During my years at the

Ezrom Legae was educated at St Cyprians Primary School and Madibane High in Diepkloof, Soweto. He studied at the Polly Street and Jubilee Art Centres between 1959 and 1964 under Cecil Skotnes (qv.) and Sydney Kumalo (qv.). On the latter’s retirement in 1964, Legae was appointed art instructor at Jubilee Art Centre, later becoming co-director of that institution. In 1970, Legae was awarded a USSALEP travel scholarship, which funded travel and study in the US and Europe. From 1972 to 1974, he was director of the art programme at the African Music and Drama Association, before leaving the educational environment to become a full-time practising artist. In 1980 and 1981, he worked as a part-time instructor at the Federated Union of Black Artists (FUBA), and was Director of the Diepmeadow Town Council Art project until his death in 1999. (revisions.co.za)  Photograph  by Fernand Haenggi Legae is best known for his powerful visual commentaries on the pathos and degradation of apa

I remember the first time I saw her perfom was on the screen through one of the live performances of STIMELA many years ago. This was from one of the DVDs my eldest brother Leshoka Joe Legate had in his music collection - my love for music, especially African music is credited to the influence I had from my brother Leshoka. I used to be starstruck at how dedicated he was in buying original music albums during the time of music piracy that has hurt the pockets of many artists. My brother would always tell me that "You are an artist, or at least one day after matric you'll pursue art as a profession, you must respect artists' work and buy their music. Copying the CD is not good for the arts economy." His statement made a lot of sense and he lived by example. He inspired me to buy music when I was able to. I am glad that I buy original CD's and LPs to support the musicians today.  Last year I attended a live concert at the Market Theater that celebrated the 60th Birt