Renaé Mangena and Anastatia Nkhuna are the backbones of iQHAWE Magazine and iQHAWE Media. With five years of pure dedication and a strive for creative excellence, they pride themselves in being an editorial platform that celebrates Africa’s creative heroes and also being a femme-led media agency.
This creative duo is thrilled to be part of Johannesburg’s highly anticipated Basha Uhuru Freedom Festival at Constitution Hill. As partners and curators for the Day 2 Basha Uhuru Creative Conference on June 28th, they’re gearing up for an exciting program filled with thought-provoking conversations and workshops. I had the pleasure to chat with them about the creative conference and what they aim to achieve with it.
This year’s festival, running from June 27th to 29th, promises a dynamic lineup including the Sounds of Freedom Music Festival, immersive creative experiences, and vibrant art installations, all centered around the theme “30 Years of Creative Freedom.” As Youth Month celebrations unfold, the festival aims to honor the pivotal role of young people in both creative expression and social change.
- How did iQHAWE Magazine come to collaborate with Basha Uhuru for the 2024 Creative Conference?
Renaè: Due to our work within the creative space, we were approached by the Basha Uhuru exhibitions coordinator, who was trying to find a new angle to bring in fresh and younger voices. We pitched an idea based on their past activities and what we believe could be done differently. Our proposal reflected feedback we’ve heard from people in the creative community about their needs and interests, particularly around monetization, brand building, and making money. They liked our idea, and as a result, we were offered the partnership to curate the festival this year.”
2. Can you provide more details on the theme “30 Years of Creative Freedom” and how it will be reflected in the Creative Conference?
Anastatia: For the theme “30 Years of Freedom,” we explored it from the perspective of monetization, which is often inaccessible to creatives. We aimed to structure the Creative Day conference around tools and people, divided into three parts.
The first part is Product, which focuses on tools and resources. The second part is People, featuring individuals who either have their own organizations or are part of organizations that engage in creatively freeing work while also generating income.
The third part is Place, highlighting communities and events that provide spaces for creative expression within our diverse nation.
We examined our community to identify people who could drive the conversation on “30 Years of Creative Freedom” and how creatives find their voice in the creative economy. The first person we considered was Mashudu, who is key in advising young people about startups and entrepreneurship. His insights shared through his podcast and website, The Founder’s Sauce, prepare young creatives for their chosen industries. He has extensive experience working with various brands, including Telkom and Yoko.
Next, we identified Digify Africa and Digital Girl Africa under the Product category. These organizations offer resources for digital marketing and careers in the digital sphere. Led by Renaè, this discussion will address how to prepare for the digital world and explore monetization opportunities in digital marketing, social media, and content creation. Ian and Blessing from Digify will discuss the various ways to leverage digital opportunities for business monetization.
For the People segment, we chose Tayla Foong, the founder of Dear Friends, who has successfully monetized events for brands like Sportscene and Nike. We also looked at Lineo, who provides excellent advice on entrepreneurship, personal branding, and brand identity. Additionally, we are considering someone to focus on marketing strategies.
In the Place segment, we included MAAK ’N PLAN, a podcast that will host a live session outside the main event. The host, Bathandwa, will speak with Kefiloe and Andiswa from Other Village People, a queer-centered event that creates a safe space for artistic expression. We also included NarowBI by Vuyo McGlad, an event for alternative communities in the city. Vuyo has successfully monetized and grown his brand, attracting sponsors and maintaining a packed audience over the past five years.
Our reflections on these pillars of creative freedom encompass various industries, including tech and events. We have put significant thought into this theme and will share additional resources detailing these contributors so that you can document them accurately.
3. How has working with Basha Uhuru influenced your perspective on the role of young people in creative and social movements?
Renaè: Working on this project, I realized there’s often a disconnect between programs for young people and their effectiveness because they’re not created by young people. Basha understands that to make relevant programs, they need to partner with brands that speak the language of the youth and face similar challenges.
I’ve seen students at events gathering knowledge and critiquing the curation, suggesting improvements if given the chance. I applaud Basha for empowering us, a young brand, to address prevalent issues. For instance, it’s one thing to be a photographer or graphic designer, but another to build a sustainable career from it. This year, we’re promoting self-sufficient educational resources that don’t require institutional backing. This experience has shown us how institutions work and how Basha and Con Hill support young people in solving their problems by providing necessary resources.
4. How do you balance the creative and business aspects of running iQHAWE Magazine, and what advice would you give to emerging creatives struggling with this balance?
Anastatia: To be honest, my advice to someone struggling with balance is that it’s okay if things don’t balance perfectly for a while. As creators, we have a lot to juggle. The key is to look at your life holistically and evaluate how you spend your time.
If you have a 9 to 5 job, use your lunch breaks productively, and after work, find time for yourself before getting back to your projects. Schedule meetings in the evening if necessary, as your collaborators likely understand your unique schedule.
Balance comes from effective scheduling and ensuring you rest adequately. It’s essential to know what you want and align your goals with your available time. For the past five years, Renae and I have balanced our 9 to 5 jobs with our business by making sacrifices and working constantly, even if it means less sleep.
Managing your time well and knowing your goals is crucial. When you feel off-balance, revisit your plans and adjust as needed. Having a supportive business partner or community can make a significant difference. Reach out for help when needed and collaborate with those who share your goals. That’s how we’ve found our balance.
5. Can you provide an overview of the key themes and topics that will be covered during the conference?
Renaè: Essentially, we will be discussing resources in the form of place, people, and product, particularly digital resources—where they are, how they can be accessed, and what one can do to be self-sufficient.
Another key point we want to address is the importance of monetization and sustaining a career within this space. We aim to inform people on how to make money and sustain their careers. Additionally, we want people to leave feeling informed, knowing what they can and cannot do and how to operate within this space. For example, our zine provides clear, concise information; if you pick it up and read just a few pages, you will gain an understanding of how to navigate this space.
Do you need money to fund a product? Here are the resources. Are you having a tough time meeting people to collaborate with? Attend an event. Events are the best way to meet people in Johannesburg. While social anxiety can be a barrier, it’s challenging to build a sustainable career in isolation. We want to create a space where people can network, learn from each other, and engage in meaningful conversations. We aim to provide resources in a tangible, transferable way so that you leave feeling truly informed, rather than just hearing someone talk about their success.
6. Who are some speakers or workshop leaders you’re particularly looking forward to at this year’s conference?
Anastatia: I’m going to do the opposite and go to Renae’s people and say that I’m excited about Ian. I think Digital Girl Africa is an amazing platform, and not enough people know about it. I’m looking forward to hearing what her opinion is on “30 Years of Creative Freedom” and how we can create an ecosystem that makes sense for everyone and solves the digital divide that still exists. I am also looking forward to hearing about her expertise in digital skills, career support, and valuable tools and resources.
Renaè: I’m excited about the podcast recording because I’m hoping the speakers will be honest, which was strongly encouraged. In 2024, it seemed like everyone was hosting events, but what stood out were the new, innovative spaces and events. I’m particularly interested in OVP and NarowBI’s approach, as they cater to specific communities while remaining inclusive. I’m curious to learn how they’ve built and monetized their niche brands, especially considering the challenges of the events industry. It would be insightful to hear about their early events, how they managed to make them profitable, and how they’ve sustained momentum.
We believe everyone should access our resources, regardless of educational background, as we bridge the digital and physical realms.
– Renaè
7. How do you plan to make the educational content accessible and engaging for creative entrepreneurs with little to no formal education in business and finance?
Renaè: Our focus is heavily centralized on urban creatives with internet access, who can easily produce and share content digitally. Although we’re expanding into print, our main presence remains online. However, reaching creators outside our immediate sphere, like a photographer in the Eastern Cape, is challenging. The curation of our platform primarily caters to those within our physical space, limiting our reach. Yet, we strive to simplify our content for accessibility across platforms like Instagram and TikTok. We believe everyone should access our resources, regardless of educational background, as we bridge the digital and physical realms. While we can’t solve all issues, we aim to make a difference by simplifying content and expanding our digital reach.
Anastatia: I find it intriguing because I believe we aimed for a tangible outcome, such as the zine. However, I’m uncertain about its potential reach beyond the participants. It would be remarkable if we could make it available as a resource through reprints, thus granting access to a wider audience, especially considering internet accessibility issues in South Africa. Distributing it to those outside metropolitan areas would be invaluable. That’s just my additional thought.
8. What long-term impacts do you hope this collaboration with Basha Uhuru will have on the creative community in the region and beyond?
Anastatia: Long term, I hope this collaboration lasts because there’s still so much to do. I believe it could offer a valuable learning experience for many, especially those in creative fields. Traditional school programs often limit creativity and focus too much on assessments. I see the potential for this collaboration to evolve into an institution that reaches beyond Johannesburg, even into rural areas like Limpopo. By partnering with other brands, we can make this vision a reality, though it’ll require significant financial support. I believe this initiative has the power to transform South Africa’s creative landscape, encouraging people to think differently and expanding opportunities beyond major cities like Johannesburg. We need to explore untapped regions like Port Elizabeth or Moletjie and overcome the limitations we’ve faced so far. I’m optimistic about the long-term impact and growth of this collaboration.
9. What are some of the tangible outcomes you hope to achieve for attendees of the conference?
Renaè: The education scene is crucial to us because it’s a key part of our programming. When I started, I felt there wasn’t a platform that provided a clear guide on navigating the space. We had to figure it out ourselves, not knowing what we didn’t know. Having a printable guide with advice from experienced individuals and information on software, funding opportunities, and resources like the Department of Arts and Culture, BASA, and National Film and Television, is invaluable. This information can help others receive funding and navigate the space better. The zine is just a small part of a larger problem we’re trying to address as a brand. We’re grateful to Basha for giving us the opportunity to provide this resource. Our program is collaborative and interactive, especially the segment with Mashudu. We aim to break away from traditional panels by fostering open conversations from the start. Mashudu is passionate about empowerment for creators and entrepreneurs, making our program beneficial even for those not creatively inclined. We’ve curated the program to ensure people not only learn but also feel heard and have their problems addressed seriously within the space, especially during that segment.
10. Last question, How can people be a part of the conference without being there physically?
So, the zine will be available online on iQHAWE magazine’s website under iQ Corner. In our marketing strategy, we aim to capture key moments on social media during the event. This ensures inclusivity, as not everyone can be there physically. We want to make sure that those who can’t attend still feel involved by posting live updates and going live on Instagram. This way, people can catch up on the experience even if they’re on the go. It’s about making the event immersive for everyone.
Culture Club - Magazine 