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mahlotify_your_mind mahlotify_your_mind

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  mahlOt • S A N S O S A pledging all of my allegiance to AfroFemininity 🇹🇿🇧🇷☪️


... there's really only one place where this can be a thing..😒🐟😩🐟😭🐟😆

when it's Eid & Pride at the same damn time🌈☪️

...a drink, a smile, & a hell of a lot of side eye... .

'ridin around & gettin it..' .
📸 @zinziminott 🎯😆
edit: photo taken while experiencing euphoric levels of Blackness, while seemingly surrounded by Blackness, then unabashedly disrupted by gentrifying forces that were swiftly rebuked in the name of Black Jesus..
@muddugavu wish you were heeeere

when you try desperately to dodge the fuckery but it is literally flying in the wind..

seduced by the light ...

when in ulm.. #contemporary


riveting&relevant conversations at Wiener Festwochen 2017- To you,
@zohraopoku @zeruhelen @lebohang_kganye @katebomz @loisardeacquah @muddugavu @steloolive to the future🍾 "Through anti assimilative thought, Nathi.Aha.Sasa speaks to both the emotional and sociopolitical relevance of our conscious allegiance and interconnectedness to our mother tongues, and mothering countries, amidst a vast uprising of globalization. This discussion reveres our interwoven narratives within our artistic practice, and bears witness to our generation's willfulness for political & social change. Working across a vast selection of creative formation such as performance, photography, video, installation, sound, sculpture and history, we are proud bearers of sacred heritage and cultural traditions representing Ghana, South Africa, Tanzania, Ethiopia, Uganda and the diaspora by way of Brasil. The Women present represent variance throughout our communities continental and diasporatical, the dualities of histories and futures, theories and actualities, visions of hope and the pluralism of now." -mahlOt Sansosa
#visuals #contemporary

mtoto wa baba yangu (my father's daughter), 2017•
video, sound Installation, performance•
veil, my blood, bible, father's heartbeat, coffee, tobacco, brown sugar, roses

mtoto wa baba yangu (my father's daughter) is a ceremonial homage to my father's 20th year exiled in Cuba. Through my presence alone, this performance intends to honor my father's sacrifice to his family, his decision of relocating me, his only daughter, to a country that is by no means perfect or just, but allowed me to develop into an individual not stifled by political repression or governmental isolation. I visually articulate elements of memory imperative in my journey as an illegal child immigrant to what I represent today, while affirming my community through words & my appropriation of baptism.. the parallels of sexual and gender variance, spiritual fluidity and cultural adherence through migratory thought guide this performance. The coffee, brown sugar and tobacco represent the labor of diasporic peoples displaced through central/south america/the carribean•their work fueling the luxuriating forces of a western world (neurosis of coffee culture/global righteousness around free trade sugar farming, exoticism of cuba, its tobacco, & peoples that share this skin) cloaked in Christian righteousness devoid of “loving thy neighbor' as the book speaks. My blood is spilled for siblings that are no more, to the children that never made it. The installation of the veil represents the symbiotic essence of my mother, paying reverence to all Muslim Women under persecution globally, veiled or unveiled, & as metaphor of those existing in silence & darkness..This is for you."

•Steloolive Presents, "Zongo Tech"
A work in progress - experimental electronic music EP. For Wiener Festwochen Steloo builds the physical body of the sound in sculptures which draws memories and inspiration from his childhood days in local township communities. By design, the sound installed is neither mixed nor mastered. This is to offer patrons an exclusive interaction of both the raw sound and sculpture as it awaits its official release in 2018.

sui amantes sine rivali, 2017
Photo series in collaboration with Francis Kokoroko.
This set of photos reflects on concepts of Self and Love as performance. 
The concept of Self, which we have over the years embraced cautiously, now presents itself prominently, disregarding the haunting episode of Narcissus. The series lends its title from the Roman philosopher Marcus Tullius Cicero’s description of military leader Pompey as sui amantes sine rivali, a lover of self without rival. How does Love engage the ‘Self’ or ‘Same’ without reprisal from the other? Is love in itself not a forlorn performance, in a hopeless search of acceptance? Borrowing the ‘white-gown’ as a costume worn by the lover, Steloo stages a performance embodying both the bride and the groom on the day of their matrimony. Further interrogations come to play about embracing one’s self and sexuality against Africa’s communal and cultural backdrop.
#ghana 🇬🇭

Nelisiwe Xaba• "Bang-Bang-Wo" 2017
a lecture performance, which grapples with the subject of help/ aid. Considering ‘help’ in the contemporary global society, Bang-Bang-Wo ideates various forms of help. Help as a sacrifice, a demand, as rhetoric and questions how help instils power dynamics between the helper and the helped.
What are the consequences of help for the helped and for the helper...? Assuming people give ‘help’ as a rewarding action, who is privileged to help? What does ‘help’ involve? Who benefits from ‘help’ and how? Do people provide help to feel good or powerful? Is help provided out of guilt, to cleanse of iniquity or to be socially acceptable? What are the problems, which arise from ‘help’?
Xaba presents compelling questions around the subject of help: “Why is it so difficult to help in your immediate environment?” Rafia Zakaria refers to ‘voluntourism’ where Africa is traditionally a favourite destination for ‘saviourdom’.
“What does too much help result in? Are we indoctrinated to thinking that helping others is the right thing to do?” "Who are the people who help and how do they substantiate or reason why they help?” .....

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