A Day at Kwa-Mai Mai
A Photograph by Sauda Dhlabo
The woman, draped with an apron, holds a chopping board and busies with her unseen arm. Three pots are set behind her, only one of which is placed against firewood-fueled fire. That the board dangles between her fingers indicates the general fitfulness of her tasks, or perhaps the alert dexterity required for such an enterprise as hers. The array of those pots are equally a clue: each is kept at the ready, only a moment from being in use. There’s also an unmissable hint of transience. Smoke blankets the scene, seeming more audacious than the fire, as audacious in its gusts as the scattering of beclouded people seeking food.
— Emmanuel Iduma
“I felt this place belongs in the archives for the next generation to see.”
I was on a two month project documenting the activities at Kwa Mai Mai, a local eatery. Every Saturday I would visit to buy food and make the photographs. This was taken while I was waiting for my meal on different days. It takes about 20 minutes for the food to be ready, so in that time I walked around making small talk and capturing photographs.
Well, the whole series was to document and archive this particular space and time. Like the countless photographs of Ghana in the 70s/80s high-life nightlife and past South African Shebeen/Jive culture, I felt this place belongs in the archives for the next generation to see.
My approach to photography is rooted in capturing the honest, everyday moments of the African experience, particularly those that often go unnoticed. I believe that photography is impactful because it has the power to tell stories that words alone cannot express, hence the “a thousand words” saying. Through my lens, I aim to give a voice to the underrepresented, sparking conversations and inspiring reflection. In a world overwhelmed with imagery, honest photography can still cut through the noise and connect deeply with people.
— Sauda Dhlabo
About Sauda Dhlabo
Sello Dhlabo, known as Sauda, is a Tanzanian-born documentary and street photographer based in Johannesburg. Despite no formal training, Sauda draws inspiration from Kevin Carter and Santu Mofokeng, and his work has been featured in exhibitions like the Joburg Fringe and The South African State Theatre. Follow his work on Instagram.
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The photograph reminds me of that time when I was in Piton Saint-Leu, Reunion Island. It was a challenging time for me because my sister passed away while I was there, and l could not return home immediately because at the time there was only one flight a week to South Africa. It was very helpful working with Rene-Paul there, as he knows very well the cultural, social, political and religious landscape of his island.
LAST WEEK — “Nonzuzo and Noncedo Gxekwa” by Tshepo Moloi
The image was not intentional; I had an appointment with Nonzuzo where she made photographs of me for a project, but since I also had a camera and loved the light and the setting of their space, I took photographs. I usually do not think about my images when made, they only start making sense later, during the editing stage.
This is the 133rd edition of this publication. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.
TENDER PHOTO is a collaborative digital archive and publishing platform of contemporary African photography, edited by Emmanuel Iduma. Our aim is to use photography to engage with life on the African continent. We publish narratives about the people, places, and events pictured in photographs, contributing to nuanced and layered perceptions.
Every Wednesday we feature a photograph, a short caption about it, and a statement from the photographer. Last year, we published commentaries or photo-essays in response to photographs previously featured on the newsletter, including CORRESPONDENCES, CONCORDANCE, KINDRED, INDEX, and AFFINITIES. Our recent Friday series was dedicated to the 5 photographers featured in Process Projected, Amsterdam.
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