Youth Month: Drummer Tanatswa Pepukai on music, purpose and the rise of Nala Collective

As a jazz student at the University of Cape Town and a drummer making her mark on Cape Town's thriving jazz scene, Tanatswa Pepukai is part of a new generation of musicians redefining the future of South African jazz. While balancing her studies with a growing performance career, she has become a driving force behind the Nala Collective, an all-women jazz ensemble founded by young musicians who met through UCT's jazz programme. Together, they are creating space for women instrumentalists to lead, collaborate and be heard in an industry where they have long been underrepresented.

Recently, the Nala Collective stepped onto one of its biggest stages yet at the Afro Diaspora Collective, showcasing the dynamic sound, musicianship and collaborative spirit that have made the group one of Cape Town's most exciting emerging acts. More than a band, the collective has become a platform for championing women in jazz, performing works by South African women composers and pushing for a more inclusive future for the genre.

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In conversation with GLAMOUR, she opens up about her journey, her inspirations, and how she's helping reshape the future of South African jazz.

GLAMOUR: How did you develop your skills and style as a drummer?

Tanatswa Pepukai: I’ve explored many genres, but over the past year I’ve fallen in love with jazz drumming. Immersing myself in the music has improved my playing and helped me navigate other genres with ease. I believe jazz is the foundation of all music and it’s the keyto authentic expression. Drummers like Roni Kaspi, Art Blakey, KabeloBoy Mokhatla and Brian Blade inspire me with their unique styles and skill —listening to them is like a masterclass and I’m constantly learning and growing as a musician.

Tanatswa Pepukai. Image:Instagram/@TanatswaPepukai

GLAMOUR: Tell us about the Nala Collective. What inspired you to join an all-female instrumentalist band?

Tanatswa Pepukai: The Nala Collective was an idea that my friends and bandmates, Carli Morkel and Hope Hadebe, and I had been lingering on for a while. We wanted to create a space where women instrumentalists could feel comfortable making mistakes and playing without the pressure and judgment that often comes with being in the male-dominated South African jazz scene.

We are passionate about showcasing women who play instruments that are often associated with men and highlighting the work of women composers who deserve more recognition. Personally, I had never seen many women drummers on stage and it was something that made me feel a bit insecure about my own playing. Even when I told fellow musicians that I played drums, I’d often be met with surprise and shock. It’s just not something you see every day in South Africa, and it made me realise how rare it is for women to take on this role.

The Nala Collective, a female instrumentalist jazz band

GLAMOUR: How do you think being part of the band helps to break down barriers and stereotypes in the music industry?

Tanatswa Pepukai: Starting the Nala Collective in September 2024 was a gamechanger for me. It forced me to take my drumming more seriously and I wanted to show other women that they can play with confidence too.

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We have a male bassist, Adam Selikowitz, who was initially a fill-in, but he stuck with us and we loved the dynamic of having one guy in an all-women band. It shows that anyone who supports our mission of creating space for women instrumentalists is welcome to join us. The best part? Nala has helped me believe in myself and my playing and to not worry too much about what others think. Criticism is valuable, but I’ve learned to take it with a grain of salt and stay focused on my own journey.

GLAMOUR: What do you think are the biggest challenges facing new local jazz artists and how can we overcome them?

Tanatswa Pepukai: I believe the biggest hurdle we face is that people are no longer as willing to pay for live music that’s not mainstream. Unfortunately, jazz is often seen as an “old sound” by younger generations who may not relate to it. However, I’ve noticed a slight resurgence in popularity over the past few years. Since most South Africans aren’t typically part of the jazz scene or avid listeners of jazz artists, my goal is to create music that transcends the traditional jazz labels, allowing it to reach a broader audience. By doing so, I hope to encourage listeners to delve deeper into the world of jazz and discover its beauty.