Last year, we put out an open call with BACARDÍ to find photographers who could document intergenerational dance culture across UK dancefloors. From that process, three photographers were selected for their ability to translate the connection and sense of freedom found on dancefloors into powerful imagery. Expanding on BACARDÍ’s Move With The Greats campaign, the project explores how younger generations draw inspiration from past eras where dance and music were central to everyday life. Last week, we spotlighted Alec Jafrato’s images showcasing the energy of Northern Soul club nights. Now it’s the turn of photographer Cebo Luthuli. 

For his commission, Luthuli headed to Greenwich to document an Amapiano night at 338 Studios. Working across Black electronic music, sound system culture, carnival and queer spaces, his images centre those often pushed to the margins, placing music and movement first. Often driven by a desire to document “smiles, intimacy, and reckless joy”, Luthuli particularly photographs in spaces where Black people feel safe and free to be fully themselves. 

The night at 338 Studios embodied much of what Amapiano represents. With BACARDÍ & Coca-Cola drinks in hand, the attendees in Luthuli’s images reflect the unguarded joy associated with the genre. Originating in South Africa, Amapiano is a genre rooted in deep house, jazz and kwaito, defined by its log-driven rhythms and emphasis on movement. In London, it has become a space for cross-generational exchange, where seasoned dancers and newcomers share the floor without hierarchy. As Cebo notes, “People weren’t conscious of the camera. They were fully in their bodies, fully present.”

Below, Luthuli tells us more about his journey, creative process, and the night he documented at 338 Studios.  

What initially drew you to photography? 

Cebo Luthuli: I came to photography after leaving video journalism. I needed a new creative outlet, something that felt playful. I was also sober at the time, about two and a half years in, and I needed a new vice. Not a destructive one, but something that carried excitement and curiosity.

Early on, I photographed friends. There was no money attached, no feedback or reversioning, no pressure. Just joy. For the first time in years, visual art felt light. Photography became a way to meet people, to break the ice and make art without expectation. I’ve been doing it consistently for the past two years, and it’s given me a sense of freedom I didn’t know I was missing.

Can you tell us about the night you photographed for the ‘Move With The Greats’ commission?

Cebo Luthuli: The night itself was incredibly smooth. Amapiano, what some call “African electronic music”, is fluid, open, and expressive, and that freedom is translated directly into the images. People weren’t conscious of the camera. They were fully in their bodies, fully present. Young dancers and seasoned dancers shared the floor effortlessly. There was no hierarchy, just rhythm, movement, and trust in the moment. As the community is being built in real time, we do not always notice it while it’s happening. However, I truly believe we’ll look back at these images as the glory days, when the genre was still new, still exciting, still emerging without gatekeepers. Documenting this felt like preserving something fragile and powerful before it’s reshaped or diluted.

Why was this particular event important for you to document?

Cebo Luthuli: People genuinely didn’t care what anyone thought. It was the 4th of January – cold, post-holidays, when most people retreat inward. But everyone there chose freedom. They chose to move, to feel, to be visible in their joy. That choice was palpable.

"People weren’t conscious of the camera. They were fully in their bodies, fully present," – Cebo Luthuli

What stood out to you about the energy on the dancefloor?

Cebo Luthuli: That it’s not about impressing anyone. It’s not about pulling someone or ‘gyal’. It’s about you, your energy, your presence, how deeply you’re listening to yourself and the music. Freedom starts there.

This campaign celebrates intergenerational dance spaces. What did you notice about how different generations moved, connected, or shared the space? 

Cebo Luthuli: There was no separation; the dancefloor was one, the dancefloor was an icebreaker and a safe space for all. The dancefloor gave people space to be themselves.

What do you think younger dancers can learn from older generations when it comes to moving freely?

Cebo Luthuli: Younger people were almost always dancing with their groups. I think there's something in dancing by yourself and bringing yourself to the dance floor. Older people took up space without asking or waiting for their friends. Older people have a fun cockiness; they are here because they need it. Sometimes, younger people are here for Instagram.

Is there one image from the night that best captures what ‘moving freely’ means to you, and why?

Cebo Luthuli: There’s an image of Tadi.WAV that really stays with me. He arrived early, danced on the floor with everyone first, then stepped into the booth. He didn’t separate himself from the crowd or hang out in the green room, even though he was on the line-up; he shaped his set from what he felt the crowd needed from him next to them. That joy and grounding in community are visible in the image. You can feel that he belongs there, and that the music grew from that connection.

What do you hope people take away from your images about the Amapiano community in London as a space for connection, confidence and shared movement?

Cebo Luthuli: I want people to feel welcome. If you need to dance, if you need release, if you’re curious, just come. Experience something new. Experience a sound rooted in African Electric Music, freedom, and excitement. This space is open. It’s generous.

Head to the gallery above to check out Cebo’s images.