I am a freelance writer who obtained my MA in Political Studies from Wits University, and interned as a news reporter at Sowetan and in newspaper production and social media at Mail&Guardian.
Tammy Ballantyne and I worked on curating and sub-editing the My Art Radar project.
My Art Radar is new project by Creative Feel aimed at sharing a more diverse view of the South African arts by a host of emerging and first-time writers, filmmakers, and designers from across the country.
Via Mathaba Media, I worked on the sub-editing, proofreading, graphics creation and layout of this Social Justice Sector Review Report.
In May 2020, we awarded ten fellowships to young, mostly African, writers and since then have been working with the inaugural class of fellows to support the creation and publication of their original work. This week on AIAC talk, we will profile two fellows and their projects: Youlendree Appasamy, a freelance writer and editor from South Africa, whose work explores South African Indian class identities, particularly in Kwazulu-Natal province; and Liam Brickhill, a freelance journalist from Zimbabwe, who unearths unique stories on Zimbabwean cricket.
[This essay was first published in Kajal Magazine Volume 4. You can buy a copy of the delicious magazine here: https://store.kajalmag.com/product/kajal-volume-4]
Indian Delights, a South African cookbook, is a hefty, red-covered kitchen companion created by the Women’s Cultural Group in the 1960s. Edited by Zuleikha Mayat, a founding member of the organisation, the cookery book is still immensely popular, selling more than 500,000 copies, and has gone...
The panel brings together filmmakers Suzannah Mirghani (director of 'Al-Sit'), Motheo Moeng (cinematographer on 'Matwetwe') and Sylvie Weber (director of 'The Prophetess'). The panel is moderated by South African writer, journalist and Africa Is a Country Writing Fellow, Youlendree Appasamy.
Presented by African Film Festival, Inc New York
Early in Five Tiger, a short film from South Africa, the audience is confronted with a striking visual: a woman in a car passenger seat accepts a folded R50 (about US$3.50) note (colloquially known as a “five tiger”) from a man in the driver seat. The transaction is almost wordless, but the viewer feels the resigned movements of the film’s lead, played tenderly by Ayanda Seoka.
This post forms part of the work by our 2020-2021 class of AIAC Fellows. Funded by Shuttleworth Foundation, our fellows produce original work. They represent a diversity of regions, backgrounds and are each exploring exciting ideas related to politics, culture, sports or social movements. Siddhartha Mitter is our mentorship coordinator. Our mentors are Aida Alami, Benoît Challand, Grieve Chelwa, Sean Jacobs, Marissa Moorman, Sisonke Msimang, and Bhakti Shringarpure. Caitlin Chandler prepares ...
On the 160th anniversary of the arrival of South Asian indentured labourers to South Africa, artist Kate’Lyn Chetty opened her Masters exhibition, A Place Away, at the University of Johannesburg. In the body of work, she reflects on family history, land, nostalgia and, of course, indenture histories. Kate’Lyn and I are both members of the Kutti Collective, and thought it’d be nice to chat about her work, artistic process and Frozen 2.
This e-zine was the culmination of documenting the Making a Feminist Internet: Africa conference.
"What do we recall about the first time we went online? What was the first thing we searched on the internet that we didn’t want our mothers to know? What information have we been unable to find due to limited content and connectivity, surveillance, censorship,exploitation and unequal representation? How can we use the internet if when trolls target our identities, political values and lived experiences?"
“We are dealing with two contagions — the virus itself and the emotions it generates. Negative emotions are every bit as contagious as the virus, and they’re also toxic."
The incoherence that COVID-19 has brought to daily life is overwhelming. It is scary. As we enter the 21-day national lockdown, the unsettling feelings creep in. Collectively, our minds race with questions:
What does this mean for me, my family and business? What will the future hold? How will we recover? When will it end?
Multidisciplinary artist and educator Prinita Thevarajah started Kapu as a meditation on the beauty and complexity of the Tamil language. Her glass works see the bends and curves of the Tamil alphabet taking on a new delicacy and softness.
The New York-based artist spoke to Kajal about glass-making, her creative process, and affordability.
Academic Digest: Burning, breaking and finding your way back to God: Examining the intimacies of care in a Verulam temple
This is a link to the radio interview I did at the end of 2019 about my MA research.