Rave & Resistance, a music documentary that looks at the birth of club culture in Johannesburg. The film explores the views of industry legends and pioneers like Oskido, Lakuti, Bob Mabena, Vinny Da Vinci and others. They take people on a journey to the origins of dance music in South Africa.
Through personal accounts and archived footage, the film-makers showcase the birth of Joburg’s club culture and how this gave rise to some of the most unique sounds to come out of South Africa
Pictures: From the documentary
Music has always been an integral part of South African society, the doccie lets the viewer explore how music was used as a healing mechanism during the country’s most difficult times. We get to see how music was more than a means of entertainment, it was a vehicle which facilitated social cohesion during the apartheid days.
Using a mix of stock images of old Johannesburg and interviews with those who witnessed and ushered the scene’s birth, the doccie takes us on a journey back to 1989 and the rise of youthful rebellion in a haven for the open-minded.
It will draw you back to a time in townships where young black kids were finding a way to voice their experiences in a way that had never been done before, while white people, struggling with their privilege, were looking at ways to connect with a world they had been separated from.
These two worlds would collide in abandoned buildings in the inner city and mega bashes in the townships. Their combined efforts would produce a sound. This sound would help South Africa to forge its identity and become significant across the world.
Rave & Resistance revisits pivotal moments in music history. It recalls a rainbow nation that was flanked by bubblegum music and social clubs that were open to people of all races and sexualities. This was an era that marked rapid change and social upheaval. Apartheid was drawing to a close and the new South Africa was yet to be born.
“We were exercising our freedom but escaping reality. We all accepted that we were new South Africans but not interrogating our whiteness and our past and what we continue to contribute to an unequal society,” – Charl Blignaut