What are rising directors in our industry thinking about? Here’s Robot’s director Ayanda Duma [INTERVIEW]
Ayanda Duma, commercials director at Robot, represents a group of rising young directors in our industry who have their fingers on the pulse of culture, and creativity and come with an inclusive mindset and strong point of view. Ayanda has built a reputation as someone who can tell authentic human stories, with her signature blend of humour and sensitivity. Her reel of work shows that she has a deep understanding of themes of black identity, queer culture, and femme politics. From challenging societal stigmas to creating authentic representations on screen, Ayanda is not afraid to make her mark in Adland and with the smart production chops of Robot, you know you’ve got the whole package.
‘I’m working in a space at Robot that values mental and physical health, personal lives, creative integrity and a distancing from self-censorship. I hold these values in high regard and really value being in a space where I can lead with these things and still feel not only supported, but celebrated.’ – Director Ayanda Duma from Robot
Director Ayanda Duma from Robot.
Q: What experiences do you draw from when directing commercials?
Ayanda Duma: My background stems from a myriad of multidisciplinary art forms explored throughout my life, from piano at the age of 6, modelling at 16 and directing by 26. I’m an Eastern Cape native who has lived in 6 different cities across South Africa and believe that each one of these spaces unlocked beautiful and bizarre observations and lived experiences and directing is one of the ways I choose to process my life’s encounters. Greta Gerwig says, ‘Writing is listening’. And often I feel like ‘Directing is asking’. So I’m also never afraid to ask and maintain an inquisitive nature when crafting a story.
Q: You champion equality and authentic representation in your work, what’s the secret to achieving this?
Ayanda Duma: Refuse to work with a**holes!! On a more serious note, I firstly will always champion a diverse cast and crew in any job, big or small. I feel as though those of us who have had to exist in the margins often have a unique perspective to bring to the vision. I think our experiences mean we mostly arrive for the task at hand with a level of vigour, levity and focus. By the same token, my being black and femme and telling my stories and observations as authentically as possible IS the representation I seek; one absent of stereotype or trying to fit into a mould of what that should look like. That said, when choosing who to work with the best person for the role or position remains at the forefront of the casting and crewing process and additionally it’s another one of my roles as director to set the precedent for an inclusive and fair vibe on set.
Framegrabs from Ayanda’s ‘Love Shouldn’t Hurt’
Q: Can you tell us about how you tackle ‘taboo’ subjects in the pursuit of telling authentic human stories?
Ayanda Duma: One project of mine, the Showmax documentary ‘Sex and Pleasure’ is a great example of this. The mere conversation around sex and pleasure has been (and still is) stigmatised in South Africa. I’m proud of how the series opened by blatantly calling out this stigma, starting with how we’re taught about it from school to parents, and why the two title words aren’t mutually exclusive in our early teachings. Another stigma that was refreshing to address and dismantle was the idea that African families have an innate conservative-ness when it comes to sexuality and the discussions therein, only to learn that Xhosa people had training during puberty that helped young people understand their bodies not only from a biological standpoint but one that taught and remained emphatic on the pleasure aspect of sexual becoming as well.
Framegrabs from Ayanda’s ‘Sex & Pleasure’ series for Showmax
Q: You use humour in such a clever and nuanced way in a lot of your work, even when you tackle tougher subjects, what’s your approach?
Ayanda Duma: I lean into the discomfort and work my way back from there. In my experience, the most memorable or impactful stories/moments are rarely derived from the safest, most diplomatic scenarios and reactions. I’ve found that even the darkest scenarios have room for laughter if you allow it, because it helps me confront things that white knuckling/anger/depression haven’t let me access. Humour is also subjective, so forcing it into a mould that doesn’t feel authentic to what genuinely makes me laugh and confront issues results in a lukewarm viewing experience.
Framegrabs from Ayanda’s latest Standard Bank commercial
Q: You have a background in fashion and music, does this aid you as a director at all?
Ayanda Duma: These are the multidisciplinary art forms I have explored and grown attached to even before directing became my thing. Because I started in model and fashion photography, it’s helped me think critically think about each frame of film as a stand-alone image that needs to work and communicate the subtext all on its own. Then the musical background is what ties this altogether as a cohesive piece; music is the element of my directing that helps me decide the pacing of these frames, the chronology of the storyline and the tone and texture of the characters within it. Then on a more practical level, I come from a technical musical background that doesn’t only think musically but is able to execute on a technical level, be that a piano piece, a simple bass riff, or putting this all together by creating beats and writing lyrics to bring my whole audiovisual point of view to life.
Q: What or whose music is currently influencing you?
Ayanda Duma: Little Simz, Skepta, Busta Rhymes, Thandiswa Mazwai, Duval Timothy, FKJ, Daniel Caesar, Kendrick Lamar and returning to trusted favourites like Oskido, Vince Staples, A Tribe Called Quest & Letta Mbulu.
Framegrab from Ayanda’s Nurofen commercial
Q: You are so plugged in with pop culture and social issues, where do you access this?
Ayanda Duma: Social media is a big one, although I always seek further information by investigating the headlines I read on Saint Hoax’s insta profile, lol. I also engage with art whenever and however I can absorb it. I try to watch an episode/film/short every single day and I talk a lot with my trusted community and of late have found myself engaging with people with V V different views who exist outside of it. When I can laugh and ask questions through sips of red wine, the latter becomes very interesting and informative.
Q: Robot is a powerhouse production company, how has it been making your home there over the past couple of years?
Ayanda Duma: I’m fortunate enough to be at ROBOT where there aren’t only like-minded individuals, but those who have also existed at the intersection of multiple marginalised identities, therefore making it very easy for me to speak my truth around who I work with and how I work. I’m working in a space at Robot that also values mental and physical health, personal lives, creative integrity and a distancing from self-censorship. I hold these values in high regard and really value being in a space where I can lead with these things and still feel not only supported, but celebrated.
Q: What’s a South African commercial you wish you did?
Ayanda Duma: The SABC1 ‘Take Another Look at Mzansi’ ad (we could only find this old-ass link) that was so affecting to white South Africans they had it banned. It’s a masterpiece cause of the fact that it was made in 2007 and still aged really well, it’s got a great soundtrack and sound design, and the idea that white people couldn’t even imagine themselves living the way the majority of the country did and still does, is a great example of how far we still have to go and how powerful advertising can be. Also, I can’t not mention Nando’s – ‘Afro-tising’ by the fine folks from M&C Saatchi Abel, which hilariously tackled the issue of Wakandafication of black identity in popular media and boldly reclaimed that representation with no nuance is just not good enough. LOVED.
Framegrabs from Ayanda’s Colgate commercial
QUICKFIRE ROUND
Q: What are the three things you can’t live without?
Ayanda: Memes, Drag Race & My Sister.
Q: What is something very few people know about you?
Ayanda: I’ve been obsessed with country music long before Cowboy Carter.
Q: What’s a new trend you are loving right now?
Ayanda: Parachute Pants, Colourful Ties & Maximalist Jewellery.
Q: What trend do we simply have to leave behind?
Ayanda: Ripped light-wash jeans.
Q: As a filmmaker, what’s the best advice you ever received?
Ayanda: Don’t dwell on the last project and SHARE YOUR WORK.
Q: One thing you can’t live without on set?
Ayanda: Huge bottle of water, slap chips, biltong and lots and lots of laughter.
ABOUT ROBOT
Robot, the production team representing Ayanda Duma, has decades of experience in the fine art of being smart with resources. Led by Executive Producers Liam Johnson and Ayanda Tshabalala (aka ‘the other Ayanda’), the team are deeply aware of the current pains agency creatives sit with – tight budgets, tighter deadlines. Robot prides themselves in adding value wherever they can in the commercial-making process and their knack for finding the right resources in South Africa to make great ideas go further is very important to the team. For us, it’s the fact that they have loyal return-and-return-again clients that speak volumes, oh, and with Robot you are guaranteed fun times on set!
Wanna (s)talk some more? Check out Robot on IDIDTHAT and Company Website.
Contact Robot
Executive Producer | Liam Johnson
liam@therobot.tv
+27 71 564 2286
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Produced by the IDIDTHAT Content Studio – Credits: Anne Hirsch (Writer) / Julie Maunder
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