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The Citizen
25-06-2025
- Business
- The Citizen
Graphic artist Jordan Sutherland proves hustle beats hype in creative industry
Without formal training or agency backing, Sutherland turned his passion into a full-fledged design business. He's been drawing his own path through life ever since he could hold a pencil. Graphic artist Jordan Sutherland's got a way about him that's unassuming and quiet, imminently chilled. Yet there's a larger than life personality that reveals itself slowly, because he doesn't need to be loud to be noticed. This man's got talent and he knows how to use it. Sutherland is in his early 30s now and he's still never held a formal job. Facing failure, finding direction He was an entrepreneur from the get-go and despite setbacks, he's curated a personal growth curve that has only headed north, albeit at times with a bit of a plateau. But every time that happened, he restarted the incline, got up, dusted himself off and just did it. Sutherland was educated at the National School of the Arts in Braamfontein. There, he failed his first entrance exam. 'I didn't get in the first time,' he said. 'They made you draw a self-portrait, a chair, do a painting and then sit for a three-hour creativity exam. I wasn't ready.' He did it again after some practice and was admitted. His scholastic career was also where he met his future business partner and, when he swapped his uniform for real world civvies, it was all business. Business and challenges Instead of heading off to varsity and sitting through another bunch of years, he wanted to get going. He had a friend who was still in high school but already dabbling in web development. 'We said, let's start a business. He builds the websites; I'll do the branding and logos. And just like that, it was a done deal.' ALSO READ: Youth month: Young creators get a spot on the wall in Joburg Sutherland's parents had a rule though that he didn't like. 'They said if I lived under their roof, I had to work where they told me to. So, I moved out,' he said. 'I knew I could work remotely and I knew this could work.' It did, until it didn't. Six months into the partnership, his friend, a Congolese national, left Mzansi to visit family in Congo. 'I dropped him at the airport, and 30 minutes later I get a call that he's been deported,' said Sutherland. It turned out some paperwork that had allowed him residence in South Africa had been 'organised' on the young man's behalf without him knowing and it got him dispatched. With Congo's triple daily power cuts and sketchy internet connectivity at the time, Sutherland's business partner was out of action for the foreseeable future. Picking up the pieces It left him in a pickle. Clients were calling. Sites needed updates. Jeremy wasn't answering. It was a squeeze that had Sutherland thinking that the whole future he had mapped out was about to be cancelled. 'So, I started again. New company, new name. I just called it after myself. Sutherland Sites,' he said. A crash course in website platform WordPress later, Sutherland was building websites from scratch, front to back. 'That was about 10 years ago. Since then, I've done over 300 sites, full branding packages, corporate identities, you name it.' ALSO READ: Beaded tribute: Artist gifts Thabo Mbeki a 77 558-bead portrait for his birthday 'In charge of my own destiny' It's all been self-taught. The graphic design skills, the web development, fixing glitches and the client management aspects of doing business. There's no agency propping him up, no ponytail or tech hype. He had to figure it all out while he was billing for stuff, because he had to eat and he had to secure some kind of future. 'I tried to apply for jobs on the side, but it was not where my heart was. I wanted to be in charge of my own destiny, so I just put my head down, learned and earned.' Tech changes and existential crises In the decade and a bit since he started his company there have been massive changes. Technology has accelerated to such an extent that designers, copywriters and many people in the create industry had, and likely would, face several existential crises. Yet Sutherland reckons there's no real cause for concern because there's value in grit, experience and solving real-world problems. 'I think platforms like Canva were a bigger knock to graphic designers than artificial intelligence,' he said. 'It gave small business owners the tools to do decent design themselves.' Presently Sutherland's working on a project that will help him and other designers and creative folk manage the business end more efficiently. This, in between a growing roll call of clients, his dry sense of humour and seriously great talent. NOW READ: Trombonist Siyasanga 'Siya' Charles excited to come back home for the National Arts Festival
The South African
17-06-2025
- Entertainment
- The South African
SA Gamechangers: Greg Karvellas on Crafting Theatre and Revisiting Moffie
Interview by Gordon Glyn-Jones: Part of the SA Gamechangers series From backstage beginnings to bold productions, Greg Karvellas returns to Cape Town with a powerful new staging of Moffie. Greg Karvellas has worked across nearly every corner of South African theatre. From his early days in stage management to his years as artistic director at The Fugard Theatre, he has built a career around collaboration, care and craft. Now based between Europe and South Africa, he returns to Cape Town with a stage adaptation of Moffie, a story set during the apartheid-era border war. It asks difficult questions about masculinity, memory and identity — and whether certain kinds of silence ever really end. You began by doing a bit of everything — TV, stage, documentary. What stayed with you? What stayed with me was learning to see the whole picture. I left drama school and went straight into stage management. That taught me how all the parts work together. You can have big ideas, but you also need to know how to make them happen. That balance stuck with me — creativity has to live alongside practicality. And then there's the people side of it. I learned early on, especially from someone like Janice Honeyman, that you're working with human beings. They bring their moods, their energy, everything. You have to hold space for that. You didn't plan on going into theatre though? No. As a kid I wanted to be a chef. I still love cooking. But I grew up around the arts. My aunt was a photographer, and our house in Johannesburg was full of people from the industry. My mom was a ballet dancer. My biological father, who I didn't really know, was in the original Rocky Horror when it came to South Africa. I went to the National School of the Arts in high school and then into drama school. At first I wanted to act — I thought it looked cool. Then I realised I wasn't good at it. I found myself more drawn to what was happening behind the scenes. That's where it started to click. You were part of The Fugard from the beginning. What made it work? It was a place that focused on people. Dan Galloway set that tone. Whether you were a guest, an actor or someone grabbing a coffee, you were made to feel part of something. That attitude carried through the building. We were also a small team, often working sixteen-hour days. That intensity can be hard, but it also built something close-knit. I think that's what made the theatre feel alive — everyone was fully in. And the hardest part? Getting it off the ground. People didn't know what it was at first. Because it was privately funded, some assumed it wasn't serious, or that it was exclusive in some way. We had to prove ourselves. Each production pushed us further. Sometimes we bit off more than we could chew, but we kept learning. There were practical challenges too. We once had to figure out how to deal with a dead rat under the foyer floorboards hours before a performance. You're balancing things like that with trying to stage a musical at the Artscape. It was all part of it. Is there a show you still think about? West Side Story stands out. It was a big jump — moving from our own space to the Opera House. We were pushing the limits of what we thought we could do. Then there's King Kong. That was in the works for years. From the day I started, I heard it being talked about. When we finally got to stage it, it felt like a milestone. And The Father, in our smallest venue — a tough script, a tight space, but one I was proud of. We made it work. You shifted into digital production and documentary. What changed? It sharpened my skills. I'd worked in content before, but COVID forced a new kind of hustle. I had to do everything. It reminded me what it takes to build something from scratch. It also made me rethink how stories are told. Audiences are changing. Some things stay the same — people will always love The Sound of Music. But when it comes to new work, you have to find fresh ways to connect. You can't just rely on the old approach. How do you decide whether to take on a script? There's no formula. It's a feeling. Sometimes it's immediate, other times you sit with it and something stirs. You start digging. You don't always know what you'll find, but the process is the reward. As I've got older, I've learnt to trust that. I used to panic more. Now I go with my gut — but I also listen. Sometimes the best idea comes from the musical director in the corner. If someone says, 'Try this,' and it works, I'll take it. You're not meant to know everything. That's the point of collaboration. You're bringing Moffie to Cape Town. For those who don't know the story, why should they come? It's part of South Africa's history. The story is set in the 1980s and follows a young man doing military service during apartheid. He's figuring out who he is — in a place designed to crush individuality. It's about more than sexuality. It's about trauma, about how masculinity was shaped and enforced. Those echoes are still around. Many of the men who went through that system are still here — in their 50s, 60s, 70s. Some remember it as the best time of their lives. Others don't talk about it at all. There's a gap in how we understand what that experience meant, and what it did. This production sits inside that gap. What's it been like staging it now, in 2025? It feels more relevant than ever. Especially living in Europe now, where there's so much talk about pre-war sentiment, you start to notice the patterns. What are we asking young men to do? What's the cost of silence? Moffie is not a lecture. It just opens up space to think about those things. Buying a ticket is still a leap of faith for many people. What would you say to someone who's unsure? I'd say take the risk. You might walk away with something you didn't expect. The play doesn't try to tell you what to think. It just puts something in front of you and asks you to sit with it for a while. In a world of AI, video and digital overload, why does theatre still matter? Because people still need to gather. We're wired for it. We live on our phones, we isolate, but when the lights go down in a theatre and everyone's watching the same thing, something shifts. It's not about nostalgia. It's about connection. Theatre doesn't offer a recording you can replay. It's live. It disappears. And that makes it more valuable. I think there's going to be a resurgence — because people are realising that what they're getting from their screens isn't quite enough. And what comes next for you? Ideally, four shows a year — two that I choose, one I'm excited by, and one that just pays the bills. Maybe I'll run a theatre again. I'd like that. I'd like to build a space where people want to come and work, where audiences feel something unexpected. That's the goal. Don't miss MOFFIE live on stage. Baxter Theatre, Cape Town 2 – 27 September 2025 Book your tickets here. 'The play doesn't try to tell you what to think. It just puts something in front of you and asks you to sit with it for a while.' SA Gamechangers
IOL News
13-06-2025
- Entertainment
- IOL News
Celebrating young stars transforming South Africa's entertainment scene this Youth Month
Ayakha Ntunja's nostalgic affinity for theatre and film has propelled her toward major accolades. Image: Mishaal Gangaram As South Africa embraces Youth Month, an annual celebration that honours the vibrant spirit, resilience, and contributions of the nation's youth, it also shines a spotlight on the burgeoning talent within the entertainment industry. A generation of young stars is not only entertaining audiences but also transforming the cultural landscape of the nation, and their achievements deserve recognition and celebration. The South African entertainment realm is a mosaic of diverse talents, with young artists marking their presence in music, film and television. This Youth Month, we celebrate some of the industry's brightest stars who are redefining success and inspiring their peers. Ayakha Ntunja Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Next Stay Close ✕ Ad loading Ayakha Ntunja's nostalgic affinity for theatre and film has propelled her toward major accolades. Image: Mishaal Gangaram Ayakha Ntunja's journey in the performing arts appears ordained during her formative years at SA's National School of the Arts. Her nostalgic affinity for theatre and film has propelled her toward major accolades. Her multifaceted talents have seen her take on significant roles, including a remarkable performance as Thembi on "MTV Shuga Down South', which helped solidify her rising status in television. Most recently, she has taken centre stage in 'Youngins', playing the lead role of Amo, and is currently enchanting audiences with her portrayal of Qhawe in "Inimba'. Niyaaz Arendse Niyaaz Arendse embodies the essence of a true entertainer. Image: Niyaaz Arendse Instagram With a natural charisma and a powerful voice, Niyaaz Arendse embodies the essence of a true entertainer. This Cape Town native's musical journey began at a tender age and quickly developed, catching the attention of his primary school teacher by age six. Talent shows became his playground, and after years of honing his craft, he burst onto the scene as part of a boy band before embarking on a successful solo career. Arendse first captured the hearts of South African viewers during his stint in the Top 5 of 'Idols SA' season 14, but it was his earlier performance on 'SA's Got Talent' at age 14 that firmly established his place in the public eye. Since then, he has concentrated on creating a unique sound, evident in his debut single "Don't Need It" released in 2020. Kim Blanche Adonis Kim Blanche Adonis has captured the hearts and minds of audiences through her dynamic solo acts. Image: File Award-winning actress Kim Blanche Adonis stands out as a superb performer whose exceptional range and compelling storytelling have placed her in the spotlight. Lauded for her powerful performances, Adonis has captured the hearts and minds of audiences through her dynamic solo acts that weave satire and social commentary into her narratives. Her ability to embody an array of characters has earned her widespread acclaim, with critics praising her chameleon-like versatility, enhanced by diverse accents and physicality. One of her most noteworthy performances was in 'My Fellow South Africans'. Adonis' skillful integration of humour and serious social issues not only captivates audiences but also provokes thought and dialogue, solidifying her place as one of Mzansi's most influential artists. Ntando Zondi Ntando Zondi has also made a significant mark in the entertainment scene. Image: Ntando Zondi Instagram Emerging from a young age with a passion for the arts, Ntando Zondi has also made a significant mark in the entertainment scene. His charismatic flair for acting became evident throughout his academic journey, and he made an impressive debut in the widely acclaimed television series 'Shaka iLembe'. As the young King Shaka, Zondi showcased his remarkable acting abilities and his dedication to embodying complex characters authentically. Following this breakthrough, Zondi continued to rise, appearing in productions such as 'Red Ink" where he played Sifiso, as well as in the series 'Sibongile & The Dlaminis'. His talent has not gone unnoticed; recently, he received a nomination for the Simon Mabhunu Sabela Best Newcomer Actor Award at the KZN Film & Television Awards 2024, a clear indicator of his rising star in the industry. Lauren Bianca Maduray Lauren Bianca Maduray's work resonates beyond the pages. Image: Lauren Bianca Maduray Instagram Another rising star making waves is Lauren Bianca Maduray, a comic book artist who has recently ventured into writing with her debut fantasy romance 'His Wolf Her Horse'. Maduray's journey from beloved comic creator to published author exemplifies her diverse talents and unwavering passion for storytelling. Armed with a degree in psychological counselling, Maduray channels her knowledge and creativity into her artistry, urging young artists to embrace both faith and creativity as fundamental to their success. Her work resonates beyond the pages, inviting readers on a journey that seamlessly intertwines the enchanting worlds of comics and literature.
The Citizen
21-04-2025
- Health
- The Citizen
Embracing Autism this April
April is Autism Awareness Month – a time used to raise awareness, understand, and accept autistic individuals throughout the world. Autism Spectrum Disorder (ASD), also known as neurodivergency, is a developmental disability caused by differences in the brain, and this day is observed annually on April 2. Also read: Celebrating the unique brilliance of autistic children The Roodepoort Record had an opportunity to sit down with Inspirando Academy (an autism centre) principal Alison Tumbev, who shared a wealth of knowledge from her journey as a neurodivergent individual and as someone who owns an academy dealing with other neurodivergent individuals daily. Growing up in Roodepoort in the 1970s, Alison says there was little information and limited understanding of autism at the time. 'The majority of the primary schools had a remedial class for learners who had cognitive, physical, and emotional challenges. I was placed in a neurotypical class from Grade One until Grade Seven and continued my high school education at the National School of the Arts, where my performing arts were ballet, contemporary dance, and Spanish dance. 'The challenges that I felt to be the most overwhelming as a child and teenager were separation anxiety, talking to unknown people, and being unable to express myself using words. My parents enrolled me at a ballet studio as a child to build my confidence. 'The joy that I found in dancing became the hidden language of my soul. I felt free and developed the life skills that have assisted me throughout my life. Since matriculating, I have always been passionate about teaching and assisting children with autism,' she said. With a core background in education and dance, Alison explains that awareness about autism has grown significantly, with 1 in 100 children being diagnosed. She says Autism South Africa plays a vital role in providing parental assistance and training courses, as well as organising events to raise awareness about autism. 'Although autism can be diagnosed at any age, it is described as a 'developmental disorder' because symptoms generally appear in the first two years of life. Autism is not an illness that can be cured but a neurological disorder that requires lifetime management. 'Each neurodiverse child is an individual with special needs that are entirely different from any other neurodiverse child. There may be a few similarities, such as delayed speech, lack of eye contact, stimming, lack of socialisation skills, aggressive behaviour and a restricted diet due to food textures, to name a few,' she added. Alison's advice to parents with autistic children is to make informed choices about their child's treatment, as not all children respond to the same treatment. 'They should use natural supplements, a good autism center program, Primal Integration Therapy, and be prepared for social outings to help their child grow and develop.' Lastly, she said, 'I would like to commend all parents who have a neurodiverse child. Know that you are doing your best, even when you are exhausted, as autism requires 24/7 involvement from parents, grandparents, caregivers, and teachers. You are highly praised!' At Caxton, we employ humans to generate daily fresh news, not AI intervention. Happy reading!
