“After watching “The Brother with a Perfect Timing,” the idea of double exposure emerged, inspired by Abdullah Ibrahim’s dual life in New York and Cape Town. Using 35mm film, landscapes and artifacts related to anti-apartheid history were captured simultaneously, creating tangible archives. Translating Ibrahim’s Mannenberg into numerical musical notation allowed for its performance on the Guzheng, revealing the spirit of Capetonian Jazz and themes of liberation.
This exploration, discussed by John Edwin Mason and Julie Tay, extended to the Mencius Society, highlighting music’s unifying power. Through double exposure, a fusion of photography, music, and conversation uncovered themes of cultural confidence and liberation.”
