WOMEN IN THE ARTS THEIR STRENGTH & RESILIENCE
SA R36,90 (incl. VAT) - August 2018
Creative Feel / August 2018 / 1
08018 9
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519004
EARLY SPRING SYMPHONY SEASON Making music together. 031 369 9438 • www.kznphil.org.za
WORLD SYMPHONY SERIES OUTSTANDING
THURSDAY, 23 AUGUST 2018, 7:30PM Conductor:
Perry So
Soloist:
Alessandro Taverna, piano
Mozart
Die Entführung aus dem Serail Overture (II Seraglio)
Mozart
Symphony No. 40 in g minor, K. 550
Chopin
Piano Concerto No. 1 in e minor, Op. 11
THURSDAY, 30 AUGUST 2018, 7:30PM
EARLY SPRING SEASON 2018 WITH
CALL 031 369 9438 TO SUBSCRIBE & SAVE UP TO 20%
Conductor:
Perry So
Soloist:
Alissa Margulis, violin
Offenbach
L’ile de Tulipatan: Overture
Mendelssohn
Violin Concerto in e minor, Op. 64
Brahms
Symphony No. 1 in c minor, Op. 68
THURSDAY, 6 SEPTEMBER 2018, 7:30PM Conductor:
Daniel Raiskin
Soloists:
Vitaly Pisarenko, piano Avuya Ngcaweni, soprano
SOLOISTS,
Siphokazi Maphumulo, soprano
STAR CONDUCTORS AND A MASSED
Sizakele Masuku, alto Wayne Mkhize, tenor
CHOIR, THE KZN PHILHARMONIC
Ntuthuko Ziqubu, bass
ORCHESTRA PROUDLY PRESENTS
Choir:
Clermont Community Choir
THE EARLY SPRING SEASON OF ITS
Strauss
Don Juan, Op. 20, TrV 156
Liszt
Piano Concerto No. 2 in A Major, S.125
Smetana
Vltava from Má Vlast (My Homeland)
Bessey
Inkosazane (Princess) Mkabayi: A Symphonic Poem
RENOWNED WORLD SYMPHONY SERIES 2018 FROM 23 AUGUST TO 13 SEPTEMBER.
THURSDAY, 13 SEPTEMBER 2018, 7:30PM
Bongani Tembe, Artistic Director
“The
KZN
Philharmonic
is
committed
to
enriching the cultural life of South Africa’s diverse audiences by presenting world-class concerts and implementing education and community engagement programmes.”
2 / Creative Feel / August 2018
Conductor:
Lykele Temmingh
Soloists:
Various young South African artists
Mozart
Violin Concerto No. 5 in A Major, K.219, “Turkish”, mvt. 1
Rossini
‘Cruda Sorte! Amor tiranno!’ From L’Italiana in Algeri
Krommer
Clarinet Concerto No. 1 in E-Flat Major, Op. 36, mvt. 3
Gounod
‘Avant de quitter ces lieux’ from Faust
Mozart
Bassoon Concerto in B-Flat Major, K.191, mvt.1
Dubois
Alto Saxophone Concerto
Saint-Saëns
Violoncello Concerto No. 1 in a minor, Op. 33, mvt.1
Lalo
Symphonie espagnole, Op. 21, mvt.1
Bellini
‘Ah! non credea mirarti’ from La sonnambula
Shostakovich
Piano Concerto No. 2 in F Major, Op. 102, mvt.1
Single tickets priced from R68 – R240 are available at Computicket. All concerts commence at 7:30pm at the Durban City Hall. Pre-concert talks are held from 6pm 6:40pm. The City Hall precinct, including surrounding parking garages, is patrolled by a dedicated security team.
Daniel Raiskin
Alissa Margulis
Perry So
SOME OF THE
Vitaly Pisarenko
ARTISTS FEATURED IN
Alessandro Taverna
THE KWAZULU-NATAL PHILHARMONIC’S EARLY SPRING SEASON
Wayne Mkhize
Clermont Community Choir
The KwaZulu-Natal Philharmonic Orchestra
Siphokazi Maphumulo
World Symphony Series 2018
Early Spring Season 22 AUGUST - 13 SEPTEMBER 2018, LINDER AUDITORIUM, PARKTOWN, JOHANNESBURG
Concert 1
22-23 AUGUST 2018 | 20H00
PROGRAMME Ludwig van Beethoven: Coriolan Overture, Op. 62 Robert Schumann: Concerto for Cello in a minor, Op. 129 Antonín Dvořák: Symphony No. 7 in d minor, Op. 70
Estelle Revaz
Daniel Raiskin
CELLO
CONDUCTOR
Estelle Revaz studied the cello in Paris at the Conservatoire National Supérieur de Paris with Jérôme Pernoo as well as in Köln at the Musikhochschule with Maria Kliegel. Her performances have been highly acclaimed by reviewers and audiences in Europe and South America.Estelle Revaz has signed a long-term recording contract with the German label Solo Musica (Munich)..
A son of a prominent musicologist, Daniel Raiskin grew up in St Petersburg. He is the recently appointed Principal Guest Conductor of the Belgrade Philharmonic Orchestra and from the 2017-18 season onward will also take on his roles as Principal Guest Conductor of Orquesta Sinfonica de Tenerife and Artistic Partner of St Michael Strings in Finland.
Concert 2
29-30 AUGUST 2018 | 20H00
PROGRAMME Gioachino Rossini: La gazza ladra (The Thieving Magpie) Overture Sergei Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43 Dmitri Shostakovich: Symphony No. 5 in d minor, Op. 47
VISIT JPO.CO.ZA FOR MORE INFO
Bryan Wallick
Daniel Raiskin
PIANO
CONDUCTOR
Bryan Wallick is gaining recognition as one of the great American virtuoso pianists of his generation. Gold medalist of the 1997 Vladimir Horowitz International Piano Competition in Kiev, he has performed throughout the United States, Europe, and South Africa. He made his New York debut in 1998 at Carnegie’s Weill Recital Hall and his Wigmore Hall debut in London in 2003.
Daniel Raiskin’s regular appearances in opera houses have featured Carmen at the Koblenzer Stadttheater. Raiskin conducted the Minsk Orchestra in an acclaimed production of Mozart’s Don Giovanni at the St Margarethen Opernfestspiele 2011 in Austria.
“The action of making and sharing great music is one of the most profound and uplifting experiences known to humanity. It is the surest way of bringing people of diverse ages and cultural backgrounds together in a spirit of harmony, goodwill and understanding.” BONGANI TEMBE - CHIEF EXECUTIVE AND ARTISTIC DIRECTOR
Concert 3
05-06 SEPTEMBER 2018 | 20H00
PROGRAMME Bedřich Smetana: The Bartered Bride Overture Felix Mendelssohn: Concerto for Violin in e minor, Op. 64 Pyotr Ilyich Tchaikovsky: Symphony No. 6 in b minor, Op. 74, “Pathétique”
Alissa Margulis
Perry So
VIOLIN
CONDUCTOR
Alissa Margulis studied in Cologne with Zakhar Bron, in Brussels with Augustin Dumay and in Vienna with Pavel Vernikov. Her first public appearance at the age of seven with the Budapest Soloists launched a career that has included performances at the Berlin Philharmony and Carnegie Hall. She has won numerous prizes at international violin competitions and was awarded the “Pro Europa” prize by the European Arts Foundation.
Born in Hong Kong, Perry So received the First and Special Prizes at the Fifth International Prokofiev Conducting Competition in St Petersburg. He is known for his wide-ranging programming, including numerous world premières on four continents and works from the Renaissance and the Baroque.
Concert 4
12-13
SEPTEMBER 2018 | 20H00
Vitaly Pisarenko
Perry So
PIANO
CONDUCTOR
Pisarenko is the First Prize winner of the 8th International Franz Liszt Piano Felix Mendelssohn: Competition in Utrecht. His worldA Midsummer Night’s Dream wide engagements have included Overture, Op. 21 an appearance at Amsterdam’s Ludwig van Beethoven: Concertgebouw with the Netherlands Piano Concerto No. 3 in c minor, Op. 37 Radio Philharmonic Orchestra under the Franz Schubert: baton of Damian Iorio, performances in Symphony in b minor, D. 759, “Unfinished” Wigmore Hall and St James’s Piccadilly in London and recitals in Poland, Italy, Germany, Mexico, South Africa, France and Cyprus. PROGRAMME
Perry So made his European operatic debut at the Royal Danish Opera and has conducted around the world. He has recorded extensively with the BBC National Orchestra of Wales and the BBC Concert Orchestra.
CONTENTS
COVER IMAGE Nhlanhla Nciza and Theo Kgosinkwe of Mafikizolo SOURCE Universal Music
cover story 14 MAFIKIZOLO: TWO DECADES OF MUSIC For the past 20 years, Mafikizolo have been one of South Africa’s most loved Afro-pop duos, reaching audiences around the world.
arts and culture 12 AFTER 20 YEARS, RMB STARLIGHT CLASSICS IS STILL GOING STRONG! Over the past 20 years, the annual RMB Starlight Classics concerts, both at the Country Club
20 REMEMBERING TWO ICONIC WOMEN OF SONG More than a generation separates Miriam Makeba and Brenda Fassie, but today these two women are often mentioned together when discussing South Africa’s greatest black pop stars.
24 THANDI NTULI: THE QUEEN OF COOL 2018 has been a great year for Thandi Ntuli’s career so far.
26 CIRQUE INFERNAL’S MORTALÈS
Johannesburg and Vergelegen Wine Estate, have
Cirque Infernal’s theatrical circus tale Mortalès, will
pulled crowds and filled both venues to capacity.
show at Joburg Theatre’s Mandela Stage from 6 to 23 September 2018.
16 ZOË MODIGA: A REVELATION Since winning the SAMRO Overseas Scholarships Competition for Singers in the jazz category in 2015, Zoë Modiga’s career has been on a fast track to the top.
17 ELZA VAN DEN HEEVER ENTHRALS AND CAPTIVATES
28 THE 2018 SOUTH AFRICAN WOMEN’S ARTS FESTIVAL A celebration of women through world-class theatre, dance and the arts.
36 IS ART MORE IMPORTANT THAN PEOPLE? As Jemma Kahn’s The Borrow Pit showed at this
To call Elza van den Heever one of South Africa’s most
year’s National Arts Festival, with risk often comes
successful sopranos would be an understatement.
substantial reward.
18 ORCHESTRATING LEGACIES Throughout history, those families with
44 PERFORMANCES OF MEMORY Onyis Martin, who won a merit award at the 2016
considerable wealth have channelled resources
L’Atelier, will be showing his latest solo show
into funding artistic endeavours. The likes of
Performances of Memory at the Absa Gallery in
the de’Medici banking family in Italy, American
Johannesburg from 7 August to 31 August 2018.
heiress Peggy Guggenheim, British contemporary art collector Charles Saatchi or, in South Africa, the many banks, corporate entities and individual collectors that continue to invest in the arts.
46 PUSHING THE BOUNDARIES OF ARTISTIC EXCELLENCE
64 DISCOVER DURBAN! Durban continues to attract both local and international visitors to the city and keep
As last year’s winner of the Sasol New Signatures
them entertained.
Art Competition, Lebohang Kganye has spent the past year developing her practice, and will soon be presenting her latest work.
48 A CENTURY OF ART FROM THE SANLAM ART COLLECTION 52
DREAMS AND MUTI MAGIC Following on from the 2017 exhibition, Dreams, Wishes and Expectations, the Voices of Women Museum, supported by the MTN Foundation, will host a new exhibition entitled Dreams and Muti Magic this August.
56 RECOVERING THE PAST As mentor and protégée in the Rolex Mentor and Protégé Arts Initiative, Joan Jonas and Thao-
68 SAMARA A catalyst for change in the Great Karoo region of South Africa.
lifestyle and entertainment 72 76 79
contributors 34
ARTLOOKS & ARTLINES
Ismail Mahomed questions the place for the ‘jack of
Nguyen Phan have developed a lasting relationship.
60 PROVIDING THE MAGIC BEHIND THE SCENES
CINEMA NOUVEAU CD REVIEWS BOOK REVIEWS
all trades’ in the arts sector.
38
THE ART OF PERFORMANCE
Dave Mann reports back on his trip to the National
Creative Feel spoke to one of the Loeries’ sponsors,
Arts Festival.
Gearhouse, which looks after all technical and production aspects of the event.
62 RECOGNITION, REWARD AND INSPIRATION Loeries Creative Week returns to Durban in August for the fourth consecutive year.
42
COLLECTING FOR THE FUTURE
Ruarc Peffers looks into the business side of the arts sector.
74
LITERARY LANDSCAPES Indra Wussow launches the Sylt Foundation’s new programme Diverse People Remember.
EDITOR’S NOTE
ON A PERSONAL NOTE
I
t is not often that I use my editor’s
as he was. David always granted interviews or, rather, time for
note for an obituary. But sometimes,
discussions, and one was always welcome at his home in a rather
like today, I feel that it should be a
modest suburb of Johannesburg. I remember talking to him at the
personal farewell. As an editor, I have
very early planning stages of a new, extended version of On the
had many opportunities to interview and
Mines while he was looking through his archive for images to give
chat with some of our best performers
to Nadine Gordimer, who would again be writing about the work.
and authors. Some get close and very
He shared his insight and was comparing the new publication to
special to me over the years that I have
his original On the Mines, his very first book, which was published
worked with them. One such artist was David Goldblatt, who died in his Johannesburg home in July at the age of 87, ‘a legend, a teacher, a national icon and a man of absolute integrity,’ as Liza Essers, director of the Goodman Gallery (which represented him for many years), said in a statement. His pictures went around the globe. David unrelentingly documented what the apartheid system had done to his country. He rarely took pictures of obvious violence or brutality, instead, he showed the complexities of everyday life, observing the quiet suffering of black workers on their daily bus
in 1973 together with Nadine Gordimer. For me, it was very special
commutes or the casual privilege of white Afrikaners.
because the original had been the very first coffee table book I ever
Right until the very end, he showed the aftermath, the legacy of that era. He expanded his work to include colour
purchased about South Africa. David was not only a great documenter of South African
photography, and broadened his focus to show how HIV/Aids
society, he was also one of our most outspoken artists. As his
and consumerism had ravaged an already delicate post-apartheid
family commented:
society. I remember standing in the middle of an exhibition at
‘David’s life and work was guided by his unflinching support
documenta 11 in Kassel, Germany, and looking at his images of
for particular ethical principals, and inasmuch as his work
Dainfern, part of his Johannesburg Intersections 1999-2002 series
offers lasting value, it is that they reflect and contain these
that showcased the new residential neighbourhoods constructed
principals. In his letter to President Jacob Zuma in November
for South African high society in the suburbs of Johannesburg,
2011, David wrote: “I decline the award in protest against what
in great contrast to the poverty of nearby informal settlements.
has been done to the spirit in which the award was created.
One review described it so well: ‘..putting the sewage pipe
South Africa’s rebirth was characterised by its march towards
central to its existence, emphasising exactly what those who
humanity, a new culture of human rights and a respect for
market the place have tried so hard to avoid. But the sewage pipe
human dignity. The government and the party which had passed
is Dainfern. No matter how well manicured the golf course is,
the bill were in contempt of that spirit – which was the spirit in
how quaint the nature trails or how secure the perimeter.’
which the national orders were conceived. To accept the Order
Anybody who ever worked with David knew that there was no excuse for getting the captions for his images wrong. For him, it
of Ikhamanga from you... would be to endorse your contempt. I refuse to do that and, very sadly, I decline the honour.”’
was most important, and he insisted he check personally before a
May the young students of the Market Photo Workshop
publication went to print (he was even known to have withdrawn
continue David’s work at the very place he founded for them.
his publishing permission for not using ‘his’ correct captions). We all made sure not to fall out with such a generous and caring artist
Lore
TEAM PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Angelia Muller; angelia@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Indra Wussow Michelle Constant Dave Mann SALES & MARKETING sales@desklink.co.za, sales@creativefeel.co.za SALES & MARKETING COORDINATOR Zama-Africa Mkhize; zama@desklink.co.za INTERN
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‘A beautiful place to come home to and to stay after a busy day at work’ The above statement is straight from one of the guests who stayed at Casta Diva Boutique Hotel. At this beautiful hotel, which is nestled on the northern side of the Magaliesberg mountain range, guests are hardly ever disappointed. Their performance and ratings on TripAdvisor.com and Google profiles, expose the boutique hotel for what it is – a hidden gem where guests feel welcome and taken care of. They have been awarded a number of well-deserved Certificates of Excellence. Casta Diva is the ideal location for… well, any kind of stay. If you need to be in Pretoria for work, why not stay at a place where you can combine the ‘office’ with a touch of leisure? With the excellent on-site Charisma
Boutique Hotel A unique venue, nestled high on the northern slopes of the Magaliesberg amidst peaceful and tranquil surroundings that offer stunning views and an unsurpassed setting of natural beauty and elegance in an oasis of peace and serenity in the city.
Restaurant, you can conveniently take a culinary adventure without even leaving the premises. Serving a variety of dishes, the general consensus among guests is that the food is ‘excellent’. Not to mention the immaculate table settings, crystal glassware, and the attentive service provided by the hosts. For wine lovers, there is a selected range of delicious, international and South African wines to choose from. On stage at Casta Diva’s own theatre, Vissi d’Arte: Growing Old Disgracefully – a light-hearted, frank look at the funny side of ageing. Join internationally celebrated cabaret artist, Tonya Koenderman, and sassy saxophonist/pianist, Connie
Restaurant Guaranteed the true Decadent, Divine, Delightful fine dining experience, the perfect fusion between the magic of Casta Diva, fresh ingredients, a dedicated culinary team and the friendliest service of South Africa.
Bentlage, in this hilarious comedy cabaret. Do you put your car keys in the fridge? Do you walk into a room and forget why you went there in the first place? Are your arms starting to resemble bat wings? You are not alone! Come and enjoy a glass of wine with this decadent duo and delight in an evening of laughter and tears. All of your favourite songs will be featured, with a wicked twist. The evergreen but, perhaps, dated ‘My Favorite Things’ has been rebooted to embrace more ageappropriate themes. ‘All About That Bass’ (or, rather, ‘base’) is now an ode to makeup and other anti-ageing tools, while the classic ‘Memories’, from the musical Cats, is now about… well, we can’t remember. All in all, you can look forward to a side-splitting night of entertainment and fun from these two accomplished artists. Sorry, in advance, for the new laugh lines. Growing Old Disgracefully will be on at Casta Diva on 25 August. Tickets are R150. To book, email info@castadiva.co.za Visit their website at www.castadiva.co.za for more information, and keep an eye on their Facebook pages [Casta Diva the Place to | Casta Diva’s Charisma | Casta Diva’s Vissi d’Arte] to stay up-to-date with events and special offers. So treat yourself to a getaway like no other. Visit Casta
12 / Creative Feel / August 2018
Diva – The place to… simply be. CF
AFTER 20 YEARS RMB Starlight Classics is still going strong! Over the past 20 years, the annual RMB Starlight Classics concerts, both at the Country Club Johannesburg and Vergelegen Wine Estate, have pulled crowds and filled both venues to capacity. This Spring 20th anniversary concert in Joburg promises to be yet another proud, Afro-symphonic tribute to our beautiful country.
Unathi Malunga PHOTOS Gavin van Haght
14 / Creative Feel / August 2018
T
he line-up has been as carefully planned as always, with something for everyone. Singing duo Nhlanhla Nciza and Theo Kgosinkwe, of Mafikizolo fame, will join RMB Starlight Classics in also celebrating their
20-year creative partnership this year. Also taking to the stage is Zoë Modiga, a celebrated jazz singer/songwriter who is in demand at jazz festivals, from Joy of Jazz to the Cape Town International Jazz Festival. A special treat for opera lovers is South Africa’s very own international diva, the acclaimed soprano Elza van den Heever – ‘blessed with a plush, dramatic voice capable of
decided instead to embark on a career in law, specialising
formidable power and dazzling high notes.’
in entertainment law because of her interest in music
Ard Matthews, the frontman of South African band
and in the need to legally protect artists in general. Since
Just Jinjer; much-loved baritone Aubrey Lodewyk, who is
graduating, Malunga has worked as an entertainment lawyer
certainly no stranger to the audience; and tenor Phenye
and, more recently, as a creative industries consultant.
Modiane of Gauteng Opera fame, will all be performing. This
Today, she is an admitted attorney with a Master of Law
show also welcomes Rocco de Villiers, pianist, composer,
(UCLA) and a is Fulbright Scholar focusing on entertainment
musical director and cocktail connoisseur.
law in SA and the USA. Unlike many such lawyers, her work
A refreshing addition this year, is that for the first
spans the whole gambit of the creative and content industries:
time in its 20-year history, a female conductor, Unathi
film, television, music, visual arts, publishing, theatre, dance,
Malunga, will share the Starlight stage under the creative
live events and sport. Malunga is not the type of lawyer who
baton with Maestro Richard Cock. This is a significant
merely guides, supports and renders strategic and legal advice
milestone and Creative Feel is very excited about this
to her clients through their projects, she is often asked to
opportunity for Malunga.
manage these very projects through to completion.
Malunga describes herself quite simply: ‘Forget the “outof-the-box thinker!” With Unathi, there is no box!’ Looking at her career thus far, there are several boxes
Through her work, Malunga aims to benefit marginalised communities and groups, particularly the youth. She put herself through most of her studies, including when she
wherein she could be contained, but in true Malunga
took a sabbatical from her legal work in 2012 to return to
style, she has pursued two very distinct careers in order
full-time study, and to upgrade her music credentials. It
to reach her ultimate dream – to be the first and best
goes without saying that she understands that every young
black African woman conductor of classical music with
person needs a champion; someone to believe in them,
an international following, and to show the world what
someone to give them a chance.
African women can achieve. While at school, Malunga studied music under the
During 2014, Malunga devoted herself to a period of intensive private conducting lessons. Because of the
directorship of Ian Smith (who later became the manager of
immense expense, she searched for a conducting programme
the KwaZulu-Natal Philharmonic Orchestra). Piano, her first
well-suited to close the gap caused by 15 years of musical
instrument, was taught by Sharon Smith. Pat Matshikiza, the
inactivity. Malunga found a programme at the Stellenbosch
late, prolific composer and pianist, allowed her to practise
University (conducting is offered at only two other
on his piano during school holidays as her family could not
universities in South Africa) and undertook conducting
afford one. Throughout these school years, Malunga also
studies there for two years. During this time, she was invited
studied the cello with distinguished cellist, Dr Ishbel Sholto-
to conduct in Europe. It has not been an easy road and it
Douglas. She gained much experience as a performer, not
has been an immeasurable sacrifice – all in an effort to give
only as a soloist in cello and piano performing in eisteddfods
South Africa its first black female orchestral conductor.
and concerts, but also as an ensemble player (as a lead cellist
Malunga’s participation in the concert is certainly a big
in the orchestra) and a chorister. Having won the music prize
step towards achieving her goal. Like so many other young
every year, Malunga passed her final year with a distinction
promising artists who were given a chance at RMB Starlight
in Music Performance.
Classics Concerts, she will share the international ranks of
Growing up, Malunga was doubtful about the possibility of being able to pursue classical music as a profession. She
Pretty Yende, Pumeza Matshikiza, the Mzansi Youth Choir, Brandon Phillips, Hlengiwe Mkhwanazi, and many more. CF
Creative Feel / August 2018 / 15
MAFIZOLO
Two decades of music For the past 20 years, Mafikizolo have been one of South Africa’s most loved Afro-pop duos, reaching audiences around the world. Nhlanhla Nciza and Theo Kgosinkwe have made major inroads into the genre on the African continent and beyond, and they show no signs of slowing down any time soon.
W
hile their name means ‘the new kids on the block’, Mafikizolo are definitely not! Over the last two decades, they have sold well over a million copies of their albums, have
been nominated for BET (Black Entertainment Television) and AMA (American Music Awards) awards, and have won multiple SAMAs (South African Music Awards), MTV Africa and AFRIMMA (African Muzik Magazine Awards) awards. Their latest release, 20, received multiple nominations for this year’s SAMAs, with the duo taking home three: Best Duo/ Group, Best Engineer and Best Pop Album (African). This is the third time that they have taken home the SAMA for Best Group/Duo. Nhlanhla Nciza and Theo Kgosinkwe’s friendship dates
back to their childhood. They grew up a few minutes from each other in Kagiso, near Krugersdorp, and met while attending contests and talent shows. With help from friends, in 1996 they recorded a four-track demo on a cassette tape and submitted it to Oscar Mdlongwa of Kalawa Jazmee Records. He liked their blend of R&B and kwaito and signed them. Aspiring kwaito star Tebogo Madingoane joined the line-up to turn the duo into a band. Fame and stardom weren’t instant, and it was only with
their third album Gatecrashers (1999) and the track ‘Majika’ that they began to find their own, unique sound. The song ‘Marabi’, with its 1960s feel, was their breakthrough hit and their now cohesive Mafikizolo sound was formed. The track opened their 2001 album release, Sibongile, which yielded great hits. With Sibongile, they also unveiled their new look,
a fresh, 1960s-inspired, vintage style that has become their signature. Sharp zoot suits, Panama hats and swing skirts personified their style and set them apart from their contemporaries.
16 / Creative Feel / August 2018
Mafikizolo SOURCE Universal Music
The success of Sibongile came at a dark time for the trio, who had survived a near-fatal car accident a few months prior. But 2002 brought Kwela and their first SAMA, and they were no longer just ‘the new kids on the block’. The trio went on to release two more albums, 2003’s Van Toeka and 2004’s Six Mabone. The year 2004 was, unfortunately, another terrible year for the band as their third member, Tebogo Madingoane, was fatally shot in a roadrage incident. After the tragedy, the group separated. ‘After Tebogo’s death, we needed time to heal,’ says Nciza. ‘We met with the record company and made it clear that we didn’t want to replace him. They thought we would become unbalanced, that it would affect our image. It was important for us to let him know that wherever he is, he is still part of Mafikizolo. We wanted his family to know that we respect Tebogo’s legacy. Humans are unique, they are not dispensable.’ During their time apart, Nciza started her own clothing line, NN Vintage. ‘My love of clothes is something that I got from my mom,’ she says. ‘I would always look at how beautiful, how stylish she looked. Even with Mafikizolo, I was always styling and customising our clothing. I decided to follow my passion and share it with women. For me, the style was always a part of the music.’ Nciza has won numerous fashion awards over the years for NN Vintage, which has grown into a highly sought-after brand. During this time, Nciza also recorded her first solo album, under her husband TK Nciza’s label, TS Records. While critics were harsh, the album went gold and she won a Metro Award. But this success was again accompanied by tragedy in 2009 when her five-year-old daughter died in a car accident. Kgosinkwe also worked on solo projects during their break. ‘Working on my solo album was scary,’ he says. ‘I was facing a lot of negativity, but I learnt a lot. I started my own label. I didn’t even have enough money to do this. The album was partly funded by proceeds from the sale of my parents’ house. ‘I had to do well. I put together a good team. I wrote songs for Kelly Khumalo, Bucie and others.’ The duo reunited in 2012. Mafikizolo released an album Reunited, marking an exciting new beginning for the band. Mafikizolo’s latest release, 20, is a celebration album that isn’t focused on any specific genre – it’s a smorgasbord of sounds and influences indicative of a cosmopolitan and modern pop group. More significant are the collaborators and producers they turned to – a youthful selection of hip-hop artists as well as some known names. For some youthful exuberance, they brought in Kly, who features on two songs, as well as Gemini Major and Howard. Nokwazi Dlamini also lends her voice. Mafikizolo continue to fly the South African flag in different African countries, including Sudan, Zambia, the DRC, Rwanda and Ethiopia. Their imagery and branding celebrate all things fabulous and vibrant about African cultures – they dabble in Herero headgear from Namibia and the pleated Tsonga skirt from South Africa. Mafikizolo are proudly African and excellently positioned to take African music to the world and unite the continent under their banner. CF
Creative Feel / August 2018 / 17
Z
oë Modiga stole the hearts (and ears) of the general public in 2016 when she took part in the first season of The Voice SA. She has since performed at celebrated festivals like the Aardklop National Arts Festival, Artscape Youth Jazz Festival, University
of Cape Town Jazz Festival, Joy of Jazz and the Cape Town International Jazz Festival, and shared the stage with the likes of Lira, Ladysmith Black Mambazo, Louis Moholo, Gloria Bosman, Mark Fransman, Sibusiso Dlamini, Tshepo Tsotetsi and many more. As one of the country’s most respected young jazz voices, Modiga is a sought-after collaborator, appearing on tracks by popular artists like The Kiffness, Frank Paco Art Ensemble, Soul Sessionz Music, Kaapstad
a revelation
and the Jo Kunnuji Experiment. She also leant her smooth vocals to ‘Amazing Grace’ for the Oscar-nominated film, Noem My Skollie, scored by acclaimed pianist Kyle Shepherd. Music was a natural path for Modiga to follow. ‘As a child, making music was my biggest aspiration,’ she says. ‘I wanted to reach and move people through music with every fibre of my being. My family’s eclectic and diverse taste in music influenced me a lot. ‘I went on to study music in order to pursue my dream of making music. I attended the National School of Arts in Johannesburg, where I studied classical piano, clarinet and vocals. I then went on to study jazz vocals at the South African College of Music at the University of Cape Town.’ With strong foundations like this, it’s no surprise that her
ZOË MODIGA
debut album, Yellow: The Novel (2017) garnered both public and
Since winning the SAMRO
critical acclaim. Described as ‘a happiness pill for tough political times’ and
Overseas Scholarships
with ‘velvety low notes, feathery top notes, a clean falsetto, impeccable runs
Competition for Singers in the
a ‘revelation’, this self-released album displays her ‘limitless’ vocal range and a quieter, childlike whisper.’ The album took two years of hard work to release, but it was worth it.
jazz category in 2015, Zoë
Modiga was nominated for two SAMAs this year, for Best African Artist
Modiga’s career has been on
and Best Jazz Album – a major milestone in the career of any young artist.
a fast track to the top.
‘There is something to be said about being seen by the people you wish to affect. It is truly rewarding to be nominated among people I look up to. It affirms to me that I am on the right path,’ she says. Yellow, she says, is her favourite colour. ‘When I think about yellow, I think about this constant pursuit of happiness and I wanted to associate my debut album with happiness. It’s such an honour to even say my body of work is out, it’s been two years and counting.’ So, why ‘The Novel’? ‘I think the project is like a book – you have to sit down and read it,’ she says. ‘You don’t read a book in traffic, unless you’ve got major skills. Not that you can’t listen to it in traffic, but it’s like that introverted moment with yourself. The whole thing is centred around selfrealisation and they are those kinds of songs.’ One thing is for sure: if you see her perform once, you’ll want to see her again and again. CF
Zoë Modiga PHOTO Nicholas van Renen
18 / Creative Feel / August 2018
To call Elza van den Heever one of South Africa’s most successful sopranos would be an understatement. The soprano is ‘blessed with a plush,
Elza van den Heever PHOTO Dario Acosta
dramatic voice capable of formidable power and dazzling high notes.’ Each role she takes on reveals her signature vocalism and renowned stage presence.
E
lza van den Heever made her major opera debut on the San Francisco Opera stage in 2007, singing the role of Donna Anna in Mozart’s Don Giovanni, receiving sterling reviews. And
the praise has continued to pour in. For her role as Desdemona in Otello at Oper Frankfurt, she was praised for her ‘huge voice, full of tenderness and precision.’ When she portrayed Elsa in Wagner’s Lohengrin, Van den Heever was described as ‘sharing more than a first name with the Wagnerian heroine. Her vocal lines are sophisticated, diction impeccable, and her inflection and nuances serve to depict Elsa as a young woman who is at once daring, bold and strong.’ Her performance in the title role of Bellini’s masterpiece, Norma, at the Opérs National
ELZA VAN DEN HEEVER enthrals and captivates
de Bordeaux earned her reviews like: ‘The virtuosity of Ms van den Heever is breathtaking throughout the
high demand. She has graced the stages of the Oper Frankfurt
performance… coloratura at the top of the range, with
and the Metropolitan Opera. Following her performance at
stunning maturity in the lower range. With her controlled
RMB Starlight Classics, she will return to Wagner’s Lohengrin in
virtuosity, Elza van den Heever has the audience
October/November at the Wiener Staatsoper in Vienna. On 17 and
anxiously awaiting every note.’
18 December, she will be in concert at Salle Métropole, Lausanne,
Van den Heever has performed on many of the top
and will return to Chicago’s Lyric Opera in February for Strauss’
opera stages in the world, including the Metropolitan
Elektra. From 30 March to 20 April, she will make the Metropolitan
Opera in New York, the Wiener Staatsoper in Vienna, the
Opera her home, performing in Mozart’s La clemenza di Tito. In
Opéra National de Paris and the Bayerische Staatsoper,
May, she will travel to Germany for a performance of Strauss’ Four
Munich. She has sung many soprano dream roles,
Last Songs at Konzerthaus Berlin and then to Austria for Mahler’s
including Norma in Bellini’s Norma, Armida in Handel’s
Symphony No. 8 at Festspielhaus Bregenz.
Rinaldo, Fiordiligi in Mozart’s Così fan tutte, Leonora in
Born and raised in Johannesburg, Van den Heever trained at the
Verdi’s Il Trovatore, Vitellia in Mozart’s La clemenza di
San Francisco Conservatory of Music. She has received numerous
Tito, the title role in Donizetti’s Anna Bolena, Desdemona
awards over the years, including the 2008 Seattle Opera International
in Verdi’s Otello and Elisabetta di Valois in Verdi’s Don
Wagner Competition, a GRAMMY for her performance of Mahler’s
Carlo, to name a few. She also sang the role of Mary Curtis
Symphony No. 8 in San Francisco with Michael Tilson Thomas, and
Lee in the world premiere of Philip Glass’ Appomattox.
she participated in both the Merola Opera Program and the Adler
It has already been a very busy year, and Van den Heever’s 2018/2019 season sees her continue to be in
Fellowship. Van den Heever is a dual citizen of France and South Africa, and currently makes her home in Bordeaux, France. CF
Creative Feel / August 2018 / 19
Orchestrating Legacies Throughout history, those families with considerable wealth have channelled resources into funding artistic endeavours. The likes of the de’Medici banking family in Italy, American heiress Peggy Guggenheim, British contemporary art collector Charles Saatchi or, in South Africa, the many banks, corporate entities and individual collectors that continue to invest in the arts. Be this through building up private collections or investing in young talent, this level of patronage is vital to the health and vibrancy of art in all its forms.
T
he stories of these benefactors are intertwined with
us that financial security and talent don’t always go hand
the challenges and successes of creative geniuses
in hand. Therefore, proper wealth management and sound
like Michelangelo, modernist John Tunnard and
day-to-day financial planning is as crucial for the creative
Ndebele artist Esther Mahlangu. History has shown
community as it is for traders, bankers and builders.
20 / Creative Feel / August 2018
“It’s vital to ensure that all family members play a role in the overall wealth strategy of the unit, particularly women, who are increasingly the breadwinners and head of the family in South African households”
We ensure that our clients are educated on how to pass on good spending and saving habits to the next generation. This starts with the basics, such as day-to-day transactional banking and making sure each child has a Youth Account, to digital banking and more intricate solutions like wealth Eric Enslin
management and offshore diversification.’ It doesn’t stop there, the full suite of RMB Private Bank’s solutions extend to more intricate wealth management tools
‘The cast of Starlight Classics are leaders in their industry, just as we are leaders in ours,’ says Eric Enslin, CEO of RMB Private Bank. Over the 20 years of its existence, RMB
like fiduciary advice as well as investing options such as Securities-Based Lending and Commercial Property Finance. If you take this view then, like an orchestra, it’s vital to
Starlight Classics has created a platform that nurtures and
ensure that all family members play a role in the overall
exposes local talent, many of whom go on to perform on
wealth strategy of the unit, particularly women, who are
global stages, such as Pretty Yende, Loyiso Bala, the Mzansi
increasingly the breadwinners and head of the family in
Youth Choir and, in 2018, conductor Unathi Malunga. . While
South African households. Offering guidance, support and
she was still studying orchestral conducting, Malunga had
insights – through our Private Banking Advisors – into
already set herself the goal of being the first black African
the financial world is vital to enable our clients to plan,
woman to conduct a professional orchestra. She will achieve
embrace the financial opportunities at their fingertips
this ambition during the 2018 RMB Starlight Classics when
and better educate their children for the future. Even
she appears as the guest conductor alongside Maestro
in more traditional family units, RMB Private Bank’s
Richard Cock.
recommendation is always to deal with important financial
‘Investing in the arts starts with an investment in the youthful talent who create music, lyrics and choreography,
decisions together. RMB Private Bank’s investment into the arts is just
some are our greatest assets in building our future design
a taste of our approach to acquiring, managing and
thinkers,’ stresses Enslin. ‘Similarly, our support for RMB
protecting precious assets. We are firm believers in the
Starlight Classics helps to bring music, dance and production
ability to transform lives for the better through investing
design to life and offers both our clients and show attendees
in the arts. After all, this is the same approach you take
the chance to mindfully explore the way in which the arts
to your own family: nurturing what is yours by investing
mould, build and contribute towards our creative economy.’
in time, attention and care to build small dreams into
Orchestrating that creative talent like Malunga is able to rise to the top takes more than just ability and
glittering realities. The Starlight Classics showcase exposes RMB Private
perseverance. It requires financial support and long-term
Bank’s clients to some of South Africa’s best and brightest
planning. Enslin explains: ‘Proper wealth management
talent. Music is a global language that resonates across
begins at home. Our solutionist thinking informs every
borders and boundaries. Once a star has taken to the
aspect of how we engage with every family that comes
Starlight stage, rest assured that the glow never fades, it only
through our doors, as well as the families they support.
grows stronger and more vibrant. CF
Creative Feel / August 2018 / 21
More than a generation separates Miriam Makeba and Brenda Fassie, but today these two women are often mentioned together when discussing South Africa’s greatest black pop stars. Their music was different, their lives were lived mostly on different continents and they both had rather erratic private lives, in spite of all their musical power. But their songs live on; their music is still much celebrated and admired.
REMEMBERING TWO ICONIC WOMEN OF SONG
I
t has been ten years since Miriam Makeba, the legendary South African singer and outspoken opponent of apartheid, died. She is still known today as ‘Mama Africa’ and the ‘Empress of African Song’. Her songs like ‘Pata
Pata’, ‘The Click Song (Qongqothwane)’ and ‘Malaika’ – a Swahili love song – are timeless and her iconic stage presence is still much copied by young singers today. Makeba was the anti-apartheid movement’s most audible spokesperson during her 30 years in exile. She sold out the most prestigious concert halls around the world and carried the story of the inhuman political system in her homeland to millions of her fans. As reviews often pointed out, ‘Makeba was a natural and consummate performer with a dynamic vocal range and an emotional awareness that could induce the delusion of intimate contact in even the
Brenda Fassie
22 / Creative Feel / August 2018
most impersonal auditorium.’
Miriam Makeba Early on, Makeba noticed that music could save her from
Makeba joined a female group called The Sunbeams, who
the poverty that surrounded her and found a mentor in singer
became better known as The Skylarks. They recorded more
Dolly Rathebe. American jazz and ragtime had been absorbed
than 100 songs, many of which became big hits, with Makeba
into South Africa and transposed into local forms. Makeba’s
singing alongside Abigail Kubeka, Mummy Girl Nketle, Mary
big break came in 1954 when she joined The Manhattan
Rabatobi and sometimes with Dorothy Masuku.
Brothers, a top band whose vocal harmonies were modelled on
It was King Kong that launched the international career
American groups like The Mills Brothers and The Ink Spots.
of Makeba in 1957. The South African jazz-influenced
Initially, when The Manhattan Brothers travelled abroad,
musical, billed at the time as an ‘all-African jazz opera’,
Creative Feel / August 2018 / 23
played to integrated audiences with Makeba as the shebeen queen of the Back of the Moon, a popular shebeen of the time in Sophiatown. Key
Miriam Makeba and Harry Belafonte SOURCE Schomburg Center Photographs and Prints Division
to her international success was a small singing part in the film Come Back, Africa, a dramatised documentary on black life directed covertly by Lionel Rogosin. Makeba played herself, singing two songs in a shebeen. When the film was finished, Rogosin invited her to attend a screening at the 1959 Venice International Film Festival, where she became an instant celebrity. In the US, it was Harry Belafonte who took her under his wing and guided her through her first solo recordings. Songs such as ‘Pata Pata’ and ‘The Click Song’ formed the basis of her repertoire and remained her most popular songs throughout her career. Shortly after the Sharpeville massacre in 1960, Makeba heard that not only had her mother died, but her own South African passport had been revoked and she was prevented from returning home for the funeral. Thus began 30 years of exile. Her international music career continued to bring her great stardom while she was recording and touring, meeting stars like Bing Crosby, Marlon Brando and even appearing alongside Marilyn Monroe at the famous birthday celebration for John F. Kennedy. In 1966, she
“Miriam Makeba always took time to endorse the cultural boycott of South Africa, of which she was a figurehead”
earned a GRAMMY with Belafonte for An Evening With Belafonte/Makeba. Increasingly involved in, and identified with, black consciousness, Makeba became associated
brought important issues into general discussion and made
with radical activity not just against apartheid but also in
cultural activity even more potent.
the civil rights movement and then black power. In 1967,
After 30 years away, Makeba returned to South Africa when
while in Guinea, she met Black Panther Party leader Stokely
Nelson Mandela was released in February 1990. She continued
Carmichael, who became her next husband, after her
to perform until her death in 2008 in Naples, where she
marriage to Hugh Masekela had ended.
collapsed on stage during her farewell tour. Her music lives on,
Makeba always took time to endorse the cultural
as does the music of Brenda Fassie, who died aged 39 in 2004.
boycott of South Africa, of which she was a figurehead.
Affectionately called ‘MaBrrr’, she was sometimes described as
As the apartheid barriers showed signs of crumbling, she
the ‘Queen of African Pop’, the ‘Madonna of the Townships’ or
was embroiled in another strange episode, which saw
simply as ‘The Black Madonna’.
ANC supporters boycotting her show at the Royal Albert
A huge South African and international fanbase
Hall. She herself was accused of breaking the boycott
celebrated Fassie, who sold millions of albums during her
by collaborating with Paul Simon on his controversial
two-decade career. Her debut recording, ‘Weekend Special’,
Graceland project, with an album in 1986 and concerts,
was released in 1983 – a lament about a boyfriend who
including one in Zimbabwe the following year. Simon was
would only see her at weekends. It was an instant hit,
the one being picketed for not conferring with the exile
eventually taking her and her group Brenda & The Big Dudes
groups before his recruitment drive for South African
to the US, Brazil, Europe and Australia. This was rapidly
session players. Makeba and Masekela gave him full
followed by several more hits, including ‘It’s Nice To Be With
support, however, and welcomed the controversy because it
People’ and ‘No No No Señor’.
24 / Creative Feel / August 2018
“A talented musician, Fassie’s genius lay in her ability to reinvent herself and give voice to the frustrations and aspirations of the township”
Brenda Fassie statue, created by artist Angus Taylor, outside Bassline in Newtown Fassie was born in the township of Langa near Cape
African release of the year and earned her numerous South
Town, as the youngest of nine children, and was named after
African Music Awards (SAMAs). In 1999, she received the
the US country singer Brenda Lee. Her mother recognised
KORA Award for Best Female Artist of Africa. Her next
her daughter’s talent early on and by the age of 4, Fassie was
album, Nomakanjani, reached Triple-Platinum status within
performing at church events, accompanied by her mother on
a few months of its release.
the piano. At the age of 16, she left for Soweto to seek her fortune as a singer in Johannesburg. With her first string of hits and her new-found fame,
A talented musician, Fassie’s genius lay in her ability to reinvent herself and give voice to the frustrations and aspirations of the township. She started off as a pop queen,
Fassie lavished money on cars, houses and extravagant
but having grown up in Langa at a time of tremendous
parties. All of this appeared to have derailed her – in spite
upheaval – the 1976 student uprisings had deeply affected
of having a son, Bongani, by a fellow Big Dudes musician.
her school – she easily tapped into the political militancy of
She became addicted to hard drugs and her career
the 1980s.
suffered. She fired managers, was sued by promoters for
In 1990, she released the single ‘Black President’, a tribute
failing to turn up at concerts, and, in 1992, was fined
to the still-imprisoned Nelson Mandela, which was banned
for assaulting a photo-journalist. She got into financial
by the apartheid regime. She stopped singing in English,
difficulties and lost her house.
declaring: ‘I am proud to be an African.’ Her songs were in
In 1994, during the first democratic elections in
Zulu, Xhosa and Sotho. When kwaito emerged from Soweto
South Africa, Fassie attempted a comeback with Abantu
street parties in the early 1990s, Fassie adopted the genre as
Bayakhuluma (The People Speak) and sank into cocaine
her own. In 2001, Time magazine featured a three-page special
addiction when it was unsuccessful. Only after her lover
on Fassie, calling her ‘The Madonna of the Townships’.
Victoria ‘Poppie’ Sihlahla died of an overdose did Fassie pull herself together and go into rehab. She made her comeback to the music industry with her
During the last few years of her life, she regularly toured the African continent as well as America. Her death on 9 May 2004 is shrouded, as so many aspects of her life are, in
album Now is the Time, which featured two duets with the
controversy. Her family claimed it was an asthma attack,
Democratic Republic of Congo music legend, Papa Wemba.
while others reported it was a cocaine overdose. Only one
Rumours of her downfall as a pop star were proven wrong
thing is certain, Fassie was much too young to die and both
with her releases over the next years, especially the 1998
she and Makeba are music legends, with their legacy of
album Memeza. The album became the best-selling South
wonderful songs. CF
Creative Feel / August 2018 / 25
THANDI NTULI The queen of cool
2018 has been a great year for Thandi Ntuli’s career so far. She started the year as the 2018 Standard Bank Young Artist (SBYA) for Jazz, a title that brings gravitas to her work and means a larger audience is waiting in anticipation of her next move. And she hasn’t disappointed. She released her second self-published album, Exiled, in February this year, following on the success of her 2014 debut, The Offering. She also returned to the National Arts Festival (NAF) for the seventh year, performing in two crowdpleasing shows – The Rebirth of Cool and her SBYA performance.
26 / Creative Feel / August 2018
A
pianist, composer, vocalist and producer, Thandi Ntuli is a forerunner among a rich cadre of South Africa’s upcoming jazz musicians. She forms part of an interesting group of jazz musicians who cite a varied range of musical influences that are evident in the records they
produce. This is apparent both in Exiled and The Rebirth of Cool. Taking its name from Miles Davis’ 1957 Birth of the Cool, The Rebirth of Cool at the NAF epitomised what Davis was feeling at the time. Feeling apprehensive about boxing himself into the ‘jazz’ category, Davis instead chose a kind of music where ‘you take what you like, and leave what you don’t. You know, like food.’ Ntuli and a band comprising of Sthembiso Bhengu on trumpet, Linda Sikhakhane on saxophone, Senzo Ngcobo on trombone, Sphelelo Mazibuko on drums, Benjamin Jephta on bass, along with DJ Kenzhero, performed a set that moved from modern neo-soul classic, to jazz standards and hip-hop, taking bits and pieces, reinventing and adding a jazz spin. The outcome demonstrated the inclusivity and elasticity of the jazz genre and delighted a multi-generational audience. Ntuli’s exceptional ability to take many genres of music and weave them together into a unified vision shines through in Exiled. The album includes aspects of different styles, including spoken word, electronic and world music – something that many jazz artists might be afraid to take on. The album highlights her sublime keyboard skills as well as her incredibly compelling compositional skills – which give hints of highly charismatic pop sensibilities. Listeners are also offered a deeper look into Ntuli’s superb vocal work. The success of the album was further underscored when she became the first South African jazz artist to be featured on the New Artist Spotlight on Apple Music. One reviewer sums it up perfectly. ‘The result is a 15-track body of work that’s as daring as it is elusive. In this genre of jazz, indulgence is a cancer. Spectacular compositions can be undercut by excessive solos and an overpresence of different instruments… ‘The sheer relentlessness of the music beckons quietness and contemplation, but, make no mistake, this is still a very functional album. Exiled is a record that showcases the very best of Ntuli’s interests, which include conceptions of identity and womanhood, as well as rethinking what it means to be alive, here and now. All of this she does with a vulnerability that forces her to make herself the ultimate subject.’ Of the title, ‘Exiled’, Ntuli says, ‘The way I think of exile is more than just physical displacement. It’s also on a spiritual and emotional level. The reason I use that word is because the themes that come across in the album – although they are things that one might experience personally – are caused by our history. They are the repercussions of where we come from. Whether you’re black, Indian or white in South Africa, you feel like you don’t belong, so through my music, I wanted to confront my own sense of displacement.’ Ntuli tours regularly and has played on local and international stages, including the Cape Town International Jazz Festival and the Calabar International Jazz Festival in Nigeria. She has also played with the Cape Philharmonic Orchestra, along with Mike Campbell and the UCT Big Band. This year alone, Ntuli has entertained audiences in Switzerland, the Netherlands, Mozambique and Swaziland. Ntuli has big plans for the future, including possibly returning to her classical music roots. ‘I would like to do some projects that maybe move into the chamber direction musically. I’ve got ideas of things that I still think are a little bit far away because of the research I’d still like to do for those projects, but I’m hoping to do some collaborative projects in the coming year or so.’ CF
Creative Feel / August 2018 / 27
Varanella
Mortalès
a shocking new performance from Cirque Infernal
Cirque Infernal’s theatrical circus tale Mortalès, will show at Joburg Theatre's Mandela Stage from 6 to 23 September 2018. The show has shocked and astounded audiences around the world.
C
irque Infernal was created by Danny Varanne in the mid-1990s. A gothic lover who grew up in the entertainment world, Varanne developed his appreciation for visual arts from his favourite
movies, circus stories, and personal experiences. He put all of these elements into a blender, and Cirque Infernal was created. Born and raised in a traditional family of travelling performers, Varanne started as a showman at a very young age in his parents’ burlesque theatre. Then, with his brothers, Varanne started a motorcycle daredevil show. They toured the world and amassed international acclaim for their skills. By the year 2000, the three brothers went their separate ways, each one following a new path. Varanne maintained the daredevil show, realising almost all of his dreams. In 2012, he received two awards
28 / Creative Feel / August 2018
Mortalès features some of the world’s top circus performers, playing characters like The Widow, The Angeliques, La Muerte, The Death Riders, The Strong Men, The Queen of Darkness, The Carnies, and the Funambulist. Trapeze artists Celeste Bliss (USA) and François Colarusso (France/Canada) met at a school for circus arts in Quebec City, Canada. The duo now tours the world with their aerial acts. Wilson Stey (France) is the funambulist of the show. The 23-year-old recently married Chenly Vigne (one of the Angeliques). Originally from Germany, Stey’s ancestors have been walking the tightrope since the Middle Ages. Pro Sufi dancer Aurelia Baque is a native of Toulouse, France. She spent half a year in an Indian Ashram, learning and practising daily the art of Sufi dancing. The (almost) fully tattooed Stephane Bucheton of France is a former FMX Biker. Tired of crashing, he befriended the Infernal Varanne Riders who taught him to ride the wall of death. Celeste Bliss and François Colarusso
Italian Bruno Alliot always says that he would rather ride a bike than walk. If he could, he would ride through the
at the prestigious Festival International Du Cirque De
intricacies of life with pleasure. Alliot, whose father was also
Monte-Carlo, and an official Guinness World Record. After
a wall of death biker, grew up with Varanne’s family.
this, it was time for something new, the development of
Married on stage and in life, Scottish couple Rachel
his oldest and fondest dream: Cirque Infernal. Having
and Charlie Atlas push the boundaries of the knife
spent two years travelling the world in search of artists
throwing show. The beautiful burlesque performer meets
to work with on his project, Varanne is now presenting
Charlie, the street fighter.
Cirque Infernal to the world. Mortalès is the first production created by Cirque Infernal. The story of a circus performer, Mortalès is set in Europe in the middle ages. A troupe of tightrope walkers perform in a village on a windy day. The weather is dangerous. The daredevil shouldn’t mount the high wire, but it’s the only work his family has known for generations. As the
The beautiful Irina Naumenko studied contortion and other art forms at the world famous Circus School of Moscow. She has participated in the Monte Carlo circus festival and toured the world with the Cirque du Soleil. Romanian brothers Valentin and Catalin Badea are the Strong Men of the show. Johann Jacob Gorius is the rolla bolla (an acrobat
funambulist starts to stride across the wire, a gust of wind
performing on rolling cylinders) performer in the show. He is
strikes, causing him to plummet to his untimely demise.
an Amish native of Alsace in France and his family worked in
Finding himself face-to-face with Death, Death and the
various circuses in California.
performer strike a deal: the performer comes back to life but in order to stay alive he must complete the show and avoid the messengers sent by Death. He is guided along the way by the Angeliques; the angels.
French fire performer, Varanella, is the Queen of Darkness in the show. Though you won’t see him live, French actor Warren Zavatta is the voice of Death in the show. CF
The show tells the journey of the funambulist pursuing his goal. Will he succeed and earn the ultimate title of daredevil? The acts in the show were created by the company.
The show takes place on the Mandela Stage of the Joburg Theatre from 6 to 23 September 2018. For tickets, book online
Featuring two world firsts and thrilling draw droppers, the
at www.joburgtheatre.com or call 0861 670 670.
show also features touching romantic scenes and moments
Discounts available for students, pensioners and Groups of
of pure poetry. The outcome is an exciting blend of Tim
10+. Special family packages available.
Burton and Fellini movies.
Age restriction: 5+
Creative Feel / August 2018 / 29
THE 2018 SOUTH AFRICAN WOMEN’S ARTS FESTIVAL
A celebration of women through world-class
theatre, dance and the arts
Scars
30 / Creative Feel / August 2018
Confessions of a Blacklisted Woman: She Bellows
The Playhouse Company, an agency of the Department of Arts and Culture, presents its much-anticipated annual South African Women’s Arts Festival in Durban from 7 to 18 August 2018. This year marks the twenty-second anniversary of the South African Women’s Arts Festival (SAWAF).
‘T
o celebrate this momentous landmark, our South African Women’s Arts Festival (SAWAF) roster is jam-packed with frontline shows, featuring South Africa’s latest and greatest theatrical productions,
performers, directors, writers and choreographers,’ says The Playhouse Company’s Chief Executive and Artistic Director, Linda Bukhosini. ‘In keeping with Women’s Month, SAWAF’s mix of dance, drama, music, dialogue, arts and craft, showcases the determination of South African women to find freedom, respect and equality within our society.’ Wathint’ abafazi, Wathint’ Imbokodo (You Strike a Woman, You Strike a Rock)
Ndoni
WATHINT’ ABAFAZI, WATHINT’ IMBOKODO (YOU STRIKE A WOMAN, YOU STRIKE A ROCK) In August 1956, over 20 000 women of all races marched in unison to the Union Buildings in Pretoria protesting unjust apartheid pass laws. The march led to significant advances towards the emancipation of women. The 1986 stage production, You Strike a Woman, You Strike a Rock, commemorated the thirtieth anniversary of that event. Now, more than six decades on, this fresh new retrospective, adapted and directed by Matjamela Motloung for the Playhouse Actors’ Studio, asks: how far have women’s rights progressed? And how much is still to be achieved? This gripping piece combines novel elements of fashion and photography with theatre.
SCARS This powerful new Playhouse Dance Residency vehicle, choreographed by Lulu Mlangeni, explores gender stereotyping, and its repercussions. By tapping into the energy of unlimited human imagination, these barriers can be swept aside, freeing up the human race to realise and rejoice in its full potential, to the benefit of all.
TRIBUTE CONCERT This year, the country also celebrates the centenary of one of the great daughters of the African soil, Mama Albertina Sisulu, who dedicated her life to fighting for the emancipation of women and the liberation of South Africa. Among those who fought relentlessly and played a significant role to attain the freedom we enjoy today, was Mama Winnie Mandela. The Playhouse Company pays tribute
32 / Creative Feel / August 2018
incorporates music, poetry and dance in a satirical work that interrogates the representation of women in contemporary South African society: Are black women at the bottom of the food chain? What is consent culture? Are African skin and hair being replaced with plastic?
WOMB OF FIRE This multi-award-winning one-hander exposes the effects of colonialism through the vivid use of allegory. Set against the episode of the India epic, Mahabharata, the play interweaves personal narrative and contemporary realities with the lives of two women from the founding years of the Cape Colony to interrogate the ‘womb of fire’ that birthed South Africa. Directed by Dr Sara Matchett, with design by Craig Leo, Womb of Fire is written and performed by Rehane Abrahams with vocal accompaniment by Lukhanyiso Skosana. SAWAF also includes added attractions such as a guitar workshop; an arts and craft exhibition; a dialogue session, and Womb of Fire
free sundowner concerts. Bookings via Computicket outlets; telephonic bookings on 0861 915 8000; and
to such icons under the theme ‘Be The Legacy’, with an
online bookings at www.computicket.com.
extravagant concert starring Khanyo Maphumulo and Gloria
Alternatively, patrons can call the Playhouse Box Office on
Bosman, featuring The KZN Philharmonic Orchestra and the
031 369 9540 / 9596 (office hours). For school bookings, call
Playhouse Chorale.
031 369 9407 or email sales@playhousecompany.com CF
NDONI 2018 Standard Bank Young Artist for Dance Musa
THE PLAYHOUSE COMPANY’S SOUTH AFRICAN WOMEN’S
Hlatshwayo’s compelling new dance piece pays tribute to
ARTS FESTIVAL DATES AND TICKET PRICES:
the women of KwaZulu-Natal who leave their homes to find
Wathint’ abafazi, Wathint’ Imbokodo (You Strike a Woman,
work in the chaos of the city. Combining the use of video and
You Strike a Rock) | Dates: 7 – 11 August | Tickets: R80.
slide projections with dance, the work unflinchingly evokes a
Ndoni | Dates: 7 – 11 August | Tickets: R85.
captured journey of multifaceted moments that cast light on
Scars | Dates: 8 – 11 August | Tickets: R80.
these women in their adopted workspace.
Tribute Concert | Date: Saturday, 11 August |
CONFESSIONS OF A BLACKLISTED WOMAN: SHE BELLOWS Written, directed and developed by Zimkitha Kumbaca,
Tickets: R100 to R150. Confessions of a Blacklisted Woman: She Bellows | Dates: 15 to 18 August | Tickets: R80. Womb of Fire | Dates: 15 to 18 August | Tickets: R85.
this intriguing presentation by Onalerona Collaborations
Creative Feel / August 2018 / 33
A rather special place Margaret Thatcher famously said that ‘if you want something done, ask a woman’. And when a woman brings all her passion to the task, there is simply no limit to what is possible – like the independent Auto & General Theatre on the Square and its Producer/Owner and Artistic Director, Daphne Kuhn.
G
rowing up, Daphne Kuhn acted in children’s
Kuhn has hand-picked and produced well over 2 000
theatre and Shakespeare plays. She loved the
productions, including dramatic and comedic theatre, dance
theatre and she loved to act. She grew up playing
productions, concerts and children’s theatre. Her passion for
the piano and loved music, but her passion for
the ‘gems of theatre’ – the smaller productions – has earned
theatre won out. After leaving school, Kuhn enrolled in a BA
her (and her productions) numerous accolades over the years,
Drama at the University of Pretoria, studying old and classical
including the Naledi Theatre Awards’ Executive Director Award
scripts alongside modern pieces. She furthered her studies,
in recognition of her incredible contribution to theatre. The
completing a BA Honours as well as a Master’s in Drama.
theatre has seen so many of the world’s top performers and
Early on in her career, Kuhn was part of the new
productions over the years that it is hard to choose favourites,
production team at the SABC TV Service, which gave her
but some that come to Kuhn’s mind are the multi-award-
insight into the many aspects of entertainment as it was
winning The Pirates of Penzance, Visiting Mr Green, Freud’s Last
both an acting and an administrative job. She then joined
Session, Blonde Poison and Rose. There is a show on every night
the Children’s Theatre Company with Joyce Levinson and
at the theatre, and part of her joy is that she has been able
started the Children’s Theatre Trust. She worked for both the
to give countless work and creative opportunities to writers,
Market and Civic Theatres before deciding that it was now
actors, directors, staff and crew members.
time to go out on her own. In 1994, Kuhn opened a little theatre at Mutual Square
While theatre is her main interest, she still loves her music. The Auto & General Theatre on the Square is the
in Rosebank, but it was not long before a bigger space was
only theatre in Johannesburg that has regular classical
needed, so Kuhn looked towards Sandton. Her heart had
music shows – something Kuhn prides herself on. These
always been set on opening a theatre in Sandton, where she
Friday lunch-hour performances play a very important
lives, as she felt that it was missing a cultural hub at the time.
role in keeping classical music alive and well and provide
The developers of the Sandton Square complex invited
vital support to musicians by giving them this intimate
Kuhn to open a theatre, and after searching for a sponsor,
setting to perform in. The concerts are very affordable and
the AGFA Theatre on the Square was opened in 1997. The
there is always a warm cup of tea or coffee available. All
theatre has changed names over the years to reflect its
the top musicians from the Johannesburg Philharmonic
sponsors, which have included Liberty and Old Mutual. The
Orchestra and many international visiting artists have
current naming sponsor, Auto & General, is now generously
played for the Auto & General Theatre on the Square.
making sure the show goes on.
Long may the show go on! CF
34 / Creative Feel / August 2018
A
s Vuyani Dance Theatre (VDT) continues to implement its 2020 Strategic Vision, the company is seeing a significant emergence of female leadership from what has been a predominantly
male-run organisation over the years. Lulu Mlangeni, a celebrated dancer and choreographer, and Lindiwe Letwaba, a specialist in risk management and now VDT’s CEO, have forged a very strong unit to take the company to new heights. Lindiwe Letwaba specialises in risk management, internal audit, financial management, tax administration and the management of trusts and foundations. Letwaba holds a BCom (Finance) from Unisa and is a member of the Chartered Institute of Management Accountants (CIMA). She played an integral role in setting up Vuyani Dance Company, a for-profit entity that was created to help decrease Vuyani Dance Theatre’s dependence on grant funding by diversifying the organisation’s income as a
Lulu Mlangeni PHOTO © Ruphin Coudyzer
The value of women shines through through all my years of studying. At Vuyani, gender has no direct bearing on issues of being considered for any position or role, Lulu’s talent and capabilities were the predominant factors in her selection for the role.’ Creatively, Vuyani Dance Theatre has been driven since its inception by the founder, Gregory Maqoma, and as the company grows, Lulu Mlangeni is progressively taking over the creative direction. Lulu Mlangeni’s career took off after she won the TV show, So You Think You Can Dance in 2010. Since then, she has carved a name for herself in the dance sector and has performed to much acclaim both nationally and internationally. In 2014, she was the inaugural recipient of the Sophie Mgcina Emerging Voice Award. The Award, which is the brainchild of the Market Theatre’s Artistic Director, Lindiwe Litwaba PHOTO Wesley Mabizela
James Ngcobo, was created to recognise creative talent that is breaking boundaries. Over her career, Mlangeni
sustainability intervention. This for-profit organisation
has become an activist for women, showing audiences
allows VDT to continue to nurture and develop talent in the
the strength behind ordinary women. In her recent work,
creative arts sector.
which premiered at The Market Theatre in January 2018,
Letwaba comments: ‘To have a dance industry legend like
she brings under the spotlight the lives of women who
Gregory Maqoma entrust me, a simple girl from Soweto, with
embrace challenges, break societal barriers and fight
the management of his world-acclaimed company was both
oppressive systems to survive. The work celebrates women
a humbling experience and an opportunity for me to prove
who have endured discrimination, hardships in their lives
to myself that I am capable and well-equipped for the job
and who inspire and provide optimism for the future. CF
ARTLOOKS & ARTLINES |
ISMAIL MAHOMED
Time out for the jack of all trades
F
or far too long we have attributed the term
are passionate about the arts. Yet, we find that while the
‘artist’ to an individual who holds a paintbrush
creative people who design these spaces, and those who are
in one hand and a begging bowl in the other
employed to manage them, are rather well remunerated, the
hand. The responsibility rests with artists to
unfortunate reality is that those who are engaged inside of
change this negative perception, which impedes the
these buildings to work creatively and to sell their creativity
work that is being done to associate the arts sector with
remain hopelessly poor.
economic development. Artists are as important to the economy as any other
How much of this can be attributed to the fact that the artists have often defined themselves in ways that serve
kind of entrepreneur. In as much as entrepreneurs
to entrench their un-employability and their positions
create new ideas, materials, products and experiences,
of poverty? Take a down through a commercial hub in
the core business of the artist is also to create new
Johannesburg and ask any entrepreneur what he or she does.
“A very small group of artists are able to combine their skills and passion with a smart entrepreneurial spirit, which enables them to successfully work in the creative industry” ideas, trends, materials, products and experiences.
The answer will be clear and unambiguous. ‘I am a banker’, or
Creativity and innovation are the cornerstones on
‘I sell insurance’ or ‘I am a lawyer’, ‘Here is my business card’.
which an economy is grown. However, there is a significant difference in the way
Conversely, walk around in a cultural precinct and ask any artist what work he or she does and you are likely to
that artists and entrepreneurs go about their business.
receive an answer like, ‘I am an artist. Sometimes I sing.
Entrepreneurs work incredibly hard to sell their ideas,
Sometimes I dance. Sometimes I act. It’s tough, so I try
materials, products and experiences. Artists, on the other hand,
to do anything.’ Often, the ‘I can do anything’ doesn’t
fall into two major groups. One large group resides inside a trap
reinforce the versatility of the artist. In fact, the message
of entitlement where they expect everyone to pay and applaud
that it conveys is that the artist is a jack of all trades and a
their ideas, materials and productions regardless of whether
master of none. In an environment where there is a shortage
they are marketed well or packaged effectively. Another
of resources for the making of art, and where there is
significantly large group is incredibly skilled and passionate
competition for these limited resources, artists can no longer
about their work but they have never been equipped with the
afford to be complacent about their careers.
skills on how to market their creations. A very small group of
In a competitive environment and one in which the
artists are able to combine their skills and passion with a smart
livelihood of the artist is not guaranteed or protected by
entrepreneurial spirit, which enables them to successfully work
legislation or regulation, it is essential for the artist to
in the creative industry.
be a master of his skill and his craft. The artist has to be
In almost every major city in South Africa, there are
a skilful entrepreneur who is able to advance his skill all
buildings such as museums, galleries, theatres and music
the time into constantly changing markets. Like any other
halls that have been designed by creative people and
career person, the artist too must be able to confidently
which are supposed to be administered by people who
assert that his work makes a valuable contribution to the
36 / Creative Feel / August 2018
growth of the economy and to the development of who we are as a nation. The character of our cities is significantly defined by the extent of arts and cultural activities that are presented in those cities. Artists must learn to claim ownership of their
“Creativity and innovation are the cornerstones on which an economy is grown”
cities. They must constantly and confidently point out to everyone that the city is what it is because of the work of its artists. As artists and as those who work in sectors that
economic climate, the creative industries must be able to
support the arts, we must always be knowledgeable and be
provide our audiences with satisfaction if we expect them
able to confidently talk to anyone and everyone about our
to spend their disposable income on it. The challenge is up
theatres, music halls and museums.
for the rest of us to also ensure that if we want to access and
I always look forward to visiting the Auto & General
grow bigger markets then there must be no place in the South
Theatre on the Square because, apart from each visit offering
African creative industries for the artist or arts manager who
me an entertaining and skilfully staged production, the
wants to be a jack of all trades, master of none. CF
ambience of the theatre and the warmth and friendliness of all its staff – from coffee bar to senior management – offers me a ‘unique and memorable experience’. The theatre’s combination of good creativity, relaxing ambience and professional engagement with its patrons is the kind of
Artlooks & Artlines is a monthly column
experience that is guaranteed to want to make its patrons
written by ISMAIL
come back again and again and again.
CEO of the Market Theatre Foundation.
MAHOMED,
At the Auto & General Theatre on the Square, Daphne Kuhn and her team understand that in the current adverse
Creative Feel / August 2018 / 37
Is ART more important than people? Putting art out into the world is always
W
ith the title of 2018 Standard Bank Young Artist for Theatre now glittering before her name, the pressure was on for Jemma Kahn at the 2018 National Arts Festival (NAF) in
Makhanda. The safe route, she was advised, would be to use a pre-existing script, one that would be a commercial success, but when is ‘safe’ ever memorable? ‘Throwing caution to the wind’, she chose to start from scratch – ‘and I am not a writer,’
daunting. And it never gets easy –
she says.
especially for artists who are constantly
video, a dinner party conversation and her dad. ‘One night,
pushing their practice to new limits and
I was having dinner at a friend’s house,’ she says. ‘Another
taking risks. As Jemma Kahn’s The Borrow Pit showed at this year’s National Arts Festival, with risk often comes substantial reward.
The outcome, The Borrow Pit, was inspired by a YouTube
woman at the table, a portrait painter, told us the creepiest story about Francis Bacon, the famous British painter who, for many years, had intrigued me. The following day I was in a bookshop and I found a rare copy of his biography. That seemed fortuitous.’ The Borrow Pit, a kamishibai play in Kahn’s signature style, is loosely based on the lives of British painters Francis Bacon, Lucian Freud and Bacon’s lover, George Dyer. Bacon and Dyer met in 1966 in London and started a relationship. Bacon was already a prolific painter and
38 / Creative Feel / August 2018
The Borrow Pit PHOTOS Jan Potgieter public figure. Dyer, several years Bacon’s junior, was
Dyer. The Borrow Pit thus poses the questions: Is art more
a good-looking criminal who had never been in a gay
important than people? Are the paintings of Dyer by Freud
relationship before. Bacon liked to drink heavily, gamble,
and Bacon more valuable than he was himself?
get into fights and he liked his lovers to rough him up.
Speaking six weeks before the piece debuted at the
Bacon was a masochist but, unfortunately, Dyer was not a
NAF, Kahn contrasted herself with Freud and Bacon. In
sadist. So Dyer’s tender love (inexplicable and frightening
both their lives and their works, the two British painters
to himself) was intolerable to Bacon. Their relationship was
were risk takers to the core. Kahn, on the other hand, is not
a tumultuous one, fuelled by lots of booze on both sides.
a risk taker by nature, she says. ‘There has not been too
A tragic quote: ‘Being the artist’s “friend” – George played
much risk involved with any of my productions. They have
down the sexual connection – provided him with enough
been small and cheap and meticulously planned. Sure, one
money to keep himself and a variety of hangers-on more or
always runs the risk of a play falling flat, but I have been
less permanently drunk.’
sensible and mitigated as best I could. Until now. With The
As Bacon distanced himself, Dyer, heartbroken, went to seek the counsel of Bacon’s friend Lucian Freud. Freud, like Bacon, was that kind of bohemian posh that means
Borrow Pit I, like my subjects, am throwing caution to the wind. I’m scared. ‘This play might puncture my career. People might say,
he lived in rambling squalor and had weird relationships
“She bit off more than she could chew” or, “Why did she
with his female children. Bacon and Freud were enfants
make a play about dead British portrait painters” or, “I didn’t
terribles, painting figuratively throughout the 20th
understand it” or, “It was hysterical” or, “It was sentimental”
century despite portraiture being unfashionable.
or, worse, “It was boring.” Worst of all, I imagine my
Freud painted Dyer’s portrait. To sit for a portrait by Freud was a lengthy commitment of months, even years sometimes. They must have spoken about Bacon a lot, or,
collaborators whispering behind my back, “Shame, she really fucked it up…” ‘BUT. It feels absolutely right that the subject matter
perhaps, not at all since Freud was famously mercurial.
of this play be dealt with in a risky way. So that’s what I’m
‘George got very depressed,’ Freud said. ‘He came and
doing. I’m taking a risk.’
stayed with me in Paddington for a while, and I painted
Oh, and it truly paid off. The Borrow Pit was an incredible
him. In the end, of course, he killed himself.’ Dyer died of
commercial success, with shows selling out quickly.
an overdose in a Paris hotel room in 1971. Two days later, a
Critics raved about it, calling it ‘a truly memorable theatre
large retrospective of Bacon’s work opened in at La Grande
experience’, and commending Kahn for continuing on the
Palais, Paris. Many of the paintings on the show were of
same artistic path that has led to her success. CF
Creative Feel / August 2018 / 39
THE ART OF PERFORMANCE |
DAVE MANN
Some return to form
Mamela Nyamza's Phuma-Langa
I
t’s that time of year again when a rather large amount of
few slow years, seemed to have a pretty healthy turn-out
attention is driven towards that quiet Eastern Cape city
this year.
dotted with a few churches, university students, and a
If you ventured down to this year’s NAF, you would
handful of donkeys. This year, for two good reasons.
have noticed that, after the absence of the specialist print
Late June saw the gazetting of Grahamstown’s name
publication Cue last year, a new print publication has taken
to that of Makhanda following a dedicated 20 or so years
its place in the form of Spotlight – a daily NAF supplement
of calling for a new name. And while the city itself is still
courtesy of The Herald. You would have also noticed that the
a little rough around the infrastructural edges and has
Village Green – a sizeable marketplace full of performers,
a plethora of socio-economic inequalities to deal with,
shops, and food and drinks stalls – now situates itself on the
only good things can come from a place that’s no longer
field of the Victoria Girls High School, further away from the
named after a brutal British commander. Then, there was
university and closer (although only slightly) to its original
the annual National Arts Festival (NAF) which, after a
location of Fiddler’s Green, near the city centre. Now I’m
40 / Creative Feel / August 2018
not sure how much either of those things contributed to the
few years now and it seems he’s only gotten better. Then there
heightened festivities of the 2018 festival, but I can tell you
were the various buskers and impromptu pavement sessions
that having a massive, outdoor beer tent with jumbo screens
that are synonymous with NAF. A quick walk down High
playing the FIFA World Cup in the middle of the Village
Street and surrounds can see you taking in anything from an
Green didn’t hurt.
energetic marimba band or a guitar and vocalist outfit, to the
Booze and sports aside, there was also a great deal of
lilting notes of a lone saxophone player.
art, music, theatre and performance at this year’s NAF, as
When it comes to jazz, I mostly stuck to the jazz café
is always the case. In the few days I spent there, I focused
evenings at Saints Bistro, also on High Street. During my
mostly on taking in as much theatre and visual art as
first night there, I walked in having missed the scheduled
possible, while tacking on a bit of live music, as well as the
performance for the night, but managed to catch a free jam
new Creativate Digital Arts Festival.
session with Shane Cooper on bass, Bokani Dyer on keys,
As it goes, some of the best live music took place outside
and Ayanda Sikade on drums. The three musicians took to
of the festivals’ various assigned venues. SABiNE, for example,
the stage with such abandon that one of Sikade’s drumsticks
the town’s own small-time Depeche Mode, put on a brilliant
flew right off the cymbals and into the crowd, very nearly
performance at the old Victoria Hotel. They’re a dark and
missing someone’s head on the way over.
gloomy synth-pop outfit replete with enough smoke machines
The Creativate programme was an interesting addition
and lasers to transform any venue into an 80s dive bar. Their
to this year’s festival. Curated by Tony Lankester, Ashraf
frontman, Matthew Sabine, has been at the helm for a good
Johaardien, and Toby Shapshak, the programme saw various works of tech-meets-art from both local and international artists. Highlights included Afrofuturist Animation, which
Gaslight PHOTO Jan Potgieter
involved local hip-hop artists and journalists teaming up to create digital character animations that responded to their viewers in real-time through storytelling and impromptu conversation. Other works like Lauren DixonPaver’s stitch.gif saw the convergence of old and new mediums through hand-stitched video animations being played on loop, while Wesley Swanepoel’s The Dandelion generated audience participation through a microphone and a digital projection. Users were invited to ‘take a breath and let it go’, which resulted in tiny digital dandelion seeds being blown away on-screen. Also worth mentioning were the Fak’ugesi Games Playroom by the Wits Digital Arts students, and the two main attractions, Doghouse – a VR take on dining and human interaction – and Source Fold Compositor, a generative computer music system inside a virtual reality environment, inside of a physical installation which allowed its VR users to influence their environment according to how they traversed it. All in all, the Creativate Digital Arts Festival saw a steady flow of festival-goers streaming in and out of the venue, picking and choosing the works they engaged with. While the programme was an intriguing look into the possibilities of a future where art more seamlessly meets technology, many of the works were still unrefined, and I have a feeling that in a few short years we’ll look back at them, slightly bemused, in the same way we do when we look at the now clunky and outdated cellphones we used to love. When it came to theatre, it was either a good year for theatre-makers, or I just happened to choose my shows very
Creative Feel / August 2018 / 41
well, because I didn’t see a single show that disappointed.
storytelling. It was in this show that I was reminded again
Highlights included the Laine Butler-directed Gaslight which
why I love the intimacy and immediacy of theatre: at a point
gave an old story an AI-update that was altogether humorous,
where Cairns mentions a rather grim tale of death, an old
terrifying and, at times, heart-wrenching. Kate Pinchuck’s
lady towards the front of the audience lets out a muffled
solo show Medusa Incarnate managed to be hilarious
giggle, to which Cairns shoots back, ‘Hilarious, I know.’
and absolutely devastating all at once, and interestingly,
When it came to the visual art on offer at this year’s NAF,
illustrated a great deal of Pinchuck’s stand-up comedy chops
there was a huge amount of work to be seen – too much to
in a script that educated and intrigued while staying true to its
mention in full. Lionel Davis’ retrospective exhibition was a
core narrative. Excitingly, both shows made their debut at the
rare treat, as were the works on show in Strauss & Co, and
NAF and went home with Ovation Awards.
Standard Bank’s separate exhibitions. The local university
Power outages, apparently caused by weather conditions,
also had a small, but powerful, student exhibition on show,
saw a number of shows being cancelled, with one outage
while the University of Johannesburg/MTN SA Foundation
striking in the middle of Featured Artist Mamela Nyamza’s
exhibited a selection of brilliantly curated works from their
Phuma-Langa. In true form, her cast carried on with the
collections in a show titled Shifting Conversations. Way up
performance, aided by a few battery-operated lights, and
at the Monument building sat a single wall of works, all by
managed to pull off an incredible piece of movement,
women artists, titled Sister Sister. Featuring artists such as
despite the setbacks. Jemma Kahn’s The Borrow Pit was sold-
Chemu Ng’ok and Bev Butkow, viewers were able to engage
out from day one and will stand out to me as the highlight
with works by a host of talented artists while simply taking a
of the festival. Kahn’s penchant for storytelling, and her
stroll through the building, or en route to their next show.
abilities to transform the way we engage with stories, are
Digital art programmes and new names, power outages
only growing stronger with each new production. As for the
and eleven days of art – some things change, and some
story itself, I won’t say much other than: you need to see it!
things stay the same. As another National Arts Festival
I was also lucky enough to catch the last ever staged version
comes and goes, it’s good to see that the old and the new are,
of James Cairns’ El Blanco, another show that prizes great
for the most part, striking a healthy balance. CF
DAVE MANN is an editor and award-winning arts journalist.
The Standard Bank exhibition at the National Arts Festival
42 / Creative Feel / August 2018
The time for Early Bird tickets is now!
Creative Feel / August 2018 / 43
Joburg Theatre | 5–14 October 2018 | Book now on 0861 670 670 or joburgtheatre.com Book before Monday 13 August for an Early Bird discount of 30% Nicole Ferreira-Dill & Leusson Muniz | Photograph: Lauge Sorensen
COLLECTING FOR THE FUTURE |
RUARC PEFFERS
The business of art
A
rt is often romanticised as a pursuit for
classes. From a national perspective, investment in art is
dreamers and bohemians far removed
also about heritage and cultural value – if we understand
from the socio-economic realities of
that our national artistic or cultural identity is a crucial
everyday life. Yet art is a booming global
national resource.
business, offering employment to many in different parts of the industry.
With the global art sector currently worth around $50 billion, and earning well over R1 billion per annum
Like any other business, the art industry is affected by the macroeconomic environment; subject to inflation, price levels, rates of growth, national income, GDP, etc. Trade in art itself is very much fueled by the global socio-political and economic environment, but has traditionally been viewed, at least from
in South Africa alone, there are real financial stakes in understanding what to invest in and how to collect art that will appreciate in value over time. More than this, art also serves aspirational and higher social goals. This is reflected in the values currently attracted by individual works, and how, for example, the collectability of works by previously under-represented black
a public sector point of view, as a non-
artists, can be a very important element of the self-image of
essential investment, and therefore
a country.
more dispensable in tougher times from an investment point of view. However, savvy art collectors
Aspire has recently sold two standout works in this regard: Dumile Feni’s Children Under Apartheid (1987), a work repatriated from New York City, sold in South Africa for over R1
don’t think this way – and they
million. And Sydney Kumalo’s Mythological Rider (1970), sold
are proved right when the
for almost R2 million and, significantly, was bought by a black
global art trade has been outperforming many more conventional asset
collector. These results are indicative of significant monetary, but also symbolic value – helping address the problems of social cohesion and identity from which South Africa suffers.
Mythological Rider, Sydney Kumalo, 1970 44 / Creative Feel / August 2018
from art, and regenerate different areas of the city in the process, in places like Ellis House, August House and Victoria Yards. From Aspire’s business point of view, a key challenge is sustainability in the industry. Our Artist’s Resale Rights royalty programme helps the artist’s community sustain itself, while foregrounding the role that previously under-represented artists have played in the country’s cultural economy. Big business can thus appreciate that art investment is not a luxury add-on, but a valid asset class. The Artprice Global Index has tracked the auction industry for 20 years as a financial instrument, and it has over that time outperformed both the FTSE and CAC, and is comparable to returns from many other traditional financial instruments and indices. Government also needs to understand this investment value in order to deal with the art business not as an optional investment area for ‘handout’ type programmes, but as a key economic field for investment and return – think of the value the Venice Biennale adds to Venetian GDP, Art Basel for Switzerland, or Documenta for Kassel, Germany. There are many areas of the art industry in which young business professionals can invest and become involved, especially in areas like arts administration, dealing, or investing in art funds or indices. The art business is readily internationalised, with an extensive global network, and has many related satellite fields – Children under Apartheid, Dumile Feni, 1987
cultural agencies, heritage resources, galleries, dealers, and museums, either privately or publicly owned. This asset class is not as susceptible to the vicissitudes of politics, social conditions and financial environments as
Further down the art business value chain, the
other economic and investment areas, but has been on an
field offers an exemplary SME model for growth and
upward trajectory for some years. It’s an area that rewards
entrepreneurship, incorporating traditional crafts,
investigation and involvement. CF
heritage, art studios, foundries and the other industries enabled by the art business (such as the Workhorse Bronze Foundry, Artist Proof Studio, Assemblage, curating, design, printing and publishing studios, as well as many
Every month, the MD of Aspire Art Auctions,
art and craft collectives). The art business consequently
RUARC PEFFERS, contributes a
helps solve the challenge of access to the economy, in
column on the business of collecting and
the process addressing employment, nation-building and
investing in art.
entrepreneurship. For example, there are various lower- to middle-income households that make some form of living
Creative Feel / August 2018 / 45
Performances of memory Onyis Martin, who won a merit award at the 2016 L’Atelier, will be showing his latest solo show Performances Untitled 3, Onyis Martin, 2018
of Memory at the Absa Gallery in Johannesburg from 7 August to 31 August 2018. He shared the story behind his latest works with Creative Feel.
W
ithin a week of arriving in South Africa for my residency at The Bag Factory Artists’ Studios, I learnt of the death of my grandmother. I chose to deal with this loss alone, rather than
share it with those around me, fearing that the knowledge of this loss would intrude on the initial encounter with them, and in doing so, alter the course of our interactions and relationships going forward. This experience, however, led me to consider loss and understand it. It occurred to me that one can never know the loss that another experiences; that whatever understanding there may be, relies on one’s own previous experience of loss projected onto the second person. This shared understanding of loss, built on individual experience, opened up, for me, an inquiry into the functioning of individual and collective memory: the alternating cycles of knowing and forgetting; the multiple remembrances of events; and the mechanisms of accessing and obscuring memories.
Untitled 8, Onyis Martin, 2018
46 / Creative Feel / August 2018
Untitled 4, Onyis Martin, 2018
The making of the work for my exhibition, Performances of Memory, borrows from intaglio and sgraffito printmaking techniques. Alternating layers of solid colours applied to the canvas in quick succession are representative of different stages of knowing and forgetting. Later, after application, I scratch them to varying degrees, revealing underlying layers and, in some instances, applying ink to the revealed areas. The scratching and inking allude to modes of uncovering Untitled 1, Onyis Martin, 2018
and retrieving memories, as well as the processes with which memories are written over. The whole process is solitary, cathartic, and undertaken entirely in private. What remains are canvases transformed into veils, a record of a private ritual made public after the fact. Grief, memory, loss, memory loss, all of these are folded into these canvases, which stand as traces, memories in and of themselves. CF Born in Kisumu, Kenya in 1987, Onyis Martin is a painter and mixed media artist living and working in Nairobi, Kenya.
Creative Feel / August 2018 / 47
Ke Sale Teng B, Lebohang Kganye, 2017
PUSHING THE BOUNDARIES of artistic excellence
As last year’s winner of the Sasol New Signatures Art Competition, Lebohang Kganye has spent the past year developing her practice, and will be presenting her latest work, Mohlokomedi wa Tora, alongside the top 100 entrants for the Sasol New Signatures 2018 at the Pretoria Art Museum. Her exhibition opens on 29
L
ebohang Kganye is a young artist well on her way to success. Her passion, innovation, creativity, intelligence and professionalism, mixed with an openness and humble confidence make her not only
deserving of her 2017 Sasol New Signatures win but also see her at the fore of young, upcoming artists in South Africa. Sasol Curator, Cate Terblanche, says that what makes Kganye’s work so appealing ‘is her sophisticated reinterpretation of rather old-fashioned, labour-intensive animation techniques, combined with her personal meditations on her roots, which results in a surprisingly
August and runs until 7 October 2018.
fresh account of a familiar narrative. Kganye’s work shows
Creative Feel spoke to Kganye about the
techniques anew while pushing the boundaries of artistic
past year and her plans for the future.
how artists can draw from the past, and present ideas and excellence in their practice.’ Since winning the award for her animated film, Ke sale teng, which features silhouette cut-outs of family members and other props in a diorama, Kganye has been
48 / Creative Feel / August 2018
Ke Sale Teng C, Lebohang Kganye, 2017
hard at work creating her latest offering. ‘The work is an
away while I was studying photography at the Market
installation entitled Mohlokomedi wa Tora, which still
Photo Workshop. She always supported my decisions, so
includes my primary medium, photography,’ she says. ‘I
losing that was the main challenge for me. Hence, through
work across different disciplines, from photography to
my body of work Ke Lefa Laka/Her-story (2013), I pay
video, sculpture and installation. These varied mediums
homage to her through photography.
within my practice are present in some form in the exhibition at the Sasol New Signatures. ‘It is very different to my previous work, which I think
‘I come from a family that does not understand art, so after completing my photography studies I worked as an assistant, as an on-set photographer for television productions, in publicity,
is important because receiving an award enables you to
in galleries, in retail etc., which I absolutely hated. Mainly
experiment and explore ideas you perhaps did not have
because I wanted to practise art full-time.
the means or support to do so before. I am very excited
‘It took me about three years to muster the strength to
to have this new work show, because the work moves in a
stop working so I that could study Fine Arts and become a
new direction.
full-time artist. Those four years were financially straining,
‘Over the last five years, I’ve worked primarily with life-size cardboard cut-outs for my photography and video works, also experimenting with scale and material.
as I paid for my fees and living expenses through art sales and commissions. All I had was faith in this vision. ‘I believe art is a calling, it is meant to heal others or
For a few months after winning the award, I spent time
sometimes it heals you. I still don’t think I chose art, I think
conceptualising suitable shifts in my work. I had been
it chose me, mainly because it makes the provisions for me
contemplating working on a large-scale installation for quite
to fulfil the visions it gives me.’
some time but hadn’t resolved the technical aspects of it.
As she hands the baton over to the next Sasol New
The prize presented the opportunity to evolve my practice
Signatures winner, Kganye’s advice for other young artists is:
by using the hosts of resources made available to me. I
‘I believe we all have that unshakeable power about us, that
worked with an exhibition designer to create the work, who
we just need to embrace by trusting in the urgency of your
was able to translate my ideas resulting in the installation
dreams. Be kind to your idea and dream, no matter how far
which will be at the Pretoria Art Museum.’
out of reach it may seem because our most powerful gift is
The journey to becoming the artist she is today has, as so often, not been an easy one. ‘I have always been
our ability to dream. I think this saying is relevant, to “Keep on keeping on”.’
interested in art but was highly sceptical about becoming
Creative Feel can’t wait to see Kganye’s installation
a professional artist because of the difficulties and lack of
Mohlokomedi wa Tora and if her past works are anything to
support I received from my family after my mother passed
go by, it is sure to be exceptional. CF
Creative Feel / August 2018 / 49
Sanlam is 100 years old in 2018 – a long time in business by anyone’s standards! For more than half of that time, Sanlam has nurtured what has become one of South Africa’s most significant corporate art collections, holding more than 2 000 pieces of art, dating from 1843 to the present.
A century of art from the
SANLAM ART COLLECTION
F
or the executives of the day, the founding of the
than what Thomas Hobbes described in Leviathan: “no arts;
Sanlam Art Collection, as recorded in the board
no letters; no society; and which worst of all, continual fear
minutes on 9 March 1965, was an extension of
and danger of violent death and the life of man, solitary,
the company’s ‘significant contributions already
poor, nasty, brutish and short,”’ Johan van Zyl, chairman of
made in the spheres of church, culture and education. South
Sanlam Ltd underlines the larger context of the Sanlam Art
African artists had achieved much in the fine arts at home
Collection today. ‘The works in the Sanlam Art Collection
and the acquisition of artworks would not only encourage
affirm life beyond the solitary, poor, nasty, brutish and short.
artists to deliver quality work but also prove a good
They confirm the indomitable spirit of creativity and once
investment for the company.’
again remind us of the significance of the imagination and
That the Sanlam Art Collection has proved to be a good
skill in making our world a better place to live in.’
investment is undoubted today, with the current value
With exhibitions at the Sanlam Art Gallery in Bellville, the
of its more than 2 000 items exceeding 20 times that of
Sanlam Art Lounge in Sandton and in various galleries across
its purchase cost. But much more valuable for Sanlam is
South Africa over the past 53 years, Sanlam has been able to
that the collection reflects its ongoing commitment to the
share its collection with a multitude of South Africans; many
freedom of South Africans to creatively explore their visions
of whom acknowledge the Sanlam Art Collection as their first
of the past, present and future.
encounter with South African fine arts.
‘Since time immemorial, art has been a special type of human activity that reminds us that there is more to life
50 / Creative Feel / August 2018
In pursuit of building a representative collection of South African art, Sanlam continues to acquire works of historical
“Such works provide a dramatic counterpoint to the historical aesthetic that is the basis of the collection�
Dorothy Kay (1886-1964), Song of the Pick, 1938. Etching on paper
Creative Feel / August 2018 / 51
Irma Stern (1894-1966), Portrait of a young Malay Girl, 1939. Oil on canvas
“In pursuit of building a representative collection of South African art, Sanlam continues to acquire works of historical importance alongside expanding the representation of contemporary practising artists�
52 / Creative Feel / August 2018
Ricky Ayanda Dyaloyi (1974- ), Untitled, 2004. Acrylic and oil on canvas
James Gavin Forrest Younge (1947- ), Forces Favourites 2, 2000. Post office bicycle, vellum, VCR and monitor importance alongside expanding the representation of contemporary practising artists. The acquisition of significant quality images in all media relevant to the context of this country’s present and historical circumstance and artistic evolution remains the guiding principle. The collection boasts a representative array of paintings, sculptures and drawings by most of South Africa’s historically important artists, such as Irma Stern, Maggie Laubser, Christo Coetzee, Gerard Sekoto, Ezrom Legae, Sydney Kumalo, Pieter Wenning, JH Pierneef and many more. Among these, Sanlam has a significant number of paintings by Maggie Laubser, her expressionist counterpart Harry Trevor and abstractionist Kenneth Bakker. On the contemporary side, the collection holds works by William Kentridge, Diane Victor, Conrad Botes, Richard Mudariki, Pauline Gutter, Gavin Younge, Willie Bester,
David Mathubu Koloane (1938- ), Moon over Squatter Settlement, 1993. Acrylic on canvas society. Such works provide a dramatic counterpoint to the historical aesthetic that is the basis of the collection. In celebration of Sanlam’s 100th year, the Sanlam
Willem Boshoff, Ndikhumbule Ngqinambi, Tyrone Appollis
Art Collection presents Centennial: A Century of Art from
and Ricky Dyaloyi, to name a few.
the Sanlam Art Collection 1918 – 2018. The 70 works on
Showcasing the collection remains important. The
exhibition trace the historical and aesthetic transformation
Sanlam Art Gallery is the premier exhibition venue at the
that South Africa has undergone. Visitors will easily
company’s head office in Bellville, which permits the showing
recognise iconic works by celebrated artists while being
of installation and video-based works which would otherwise
confronted by gritty images from contemporary practitioners
not be accommodated in the corporate office environment.
in a diversity of media. Presently on display in the Sanlam
Installations by Gavin Younge, Jan van der Merwe and
Art Gallery, this exhibition will be on view at the Sanlam Art
Jacques Coetzee present the viewer with sculptural and video
Lounge in Sandton from September before embarking on a
combinations that challenge the concept of art and its role in
country-wide tour through 2019. CF
Creative Feel / August 2018 / 53
Nqakamatshe and his muti magics, Allina Ndebele, 1998. Tapestry, 221cm x 448cm, MTN Art Collection
s m a e r D and Muti Magic Following on from the 2017 exhibition, Dreams, Wishes and Expectations, the
Voices of Women Museum, supported by the MTN Foundation, will host a new exhibition entitled Dreams and Muti Magic this August. In this article, curator Coral Bijoux explores the value of dreams in relation to the works on show.
D
reams are an essential element of a healthy mind
constraints. It takes courage to dream. The Dreams, Wishes
and body. In many cultural and spiritual beliefs,
and Expectations exhibition of 2017 at the Voices of Women
dreams are a way of connecting the physical
Museum, emphasised that dreaming will enable the ‘possibility’
world with the spirit world. In some cultural
of ideas through all the difficulties. It reflected on our wishes
practices, dreams form a bridge to the ancestral spirits. We all
and expectations for ourselves and each other, it reflected on
associate some form of practice with dreams. The Aborigines
our inner world and the world around us.
dreamt the land. The Khoisan dreamt and 'read’ the land and
The upcoming exhibition, Dreams and Muti Magic, will
converted these into shaman-inspired totemic imagery in
take a closer look at a select group of women who have,
caves, leaving us our earliest Southern African archives.
in diverse ways, shared what was foremost in their minds:
We also associate dreams with vision and innovation. We
their own dreams, their desires for something other than a
emphasise the need for creative and innovative solutions but
difficult life; the dreams they experience and the meanings
believe that this can only be achieved through logical thinking.
of these dreams perhaps inspired by our ancestors, direct or
However, one who dreams has a vision for themselves outside
lived experience and commentary on practices associated
of their circumstances. With dreams, you can step beyond your
with dreams and traditional or contemporary practice.
54 / Creative Feel / August 2018
Fishing, Tholakele Mdakane
Umdlalo Umbatwana, Tholakele Mdakane
“Thread, throughout Mdakane and Ndebele’s work, serves as a metaphor of the traditional role of the feminine practice at work. Work from the Voices of Women Collection all reference this traditional role” Master crafter and facilitator at the Voices of Women Museum Tholakele Mdakane’s UKudlala, gives us the impression that she wants to play or, perhaps, is encouraging us to play. Playing, in its purest form, is also an important activity that stimulates creativity, much like dreaming. ‘Ukudlala kuyimpilo kukhomba ikhaya elinokuthula nelihloniphekayo (playing is a part of life and shows a peaceful, respectful home that is brought up with integrity),’ she says, speaking through imagery that demonstrates her intentions. The figures dance
Ukudladla, Tholakele Mdakane
off the substrate, her renderings in thread playfully executed as lines leisurely linked and intertwined, colours vibrant and her symbology friendly, like her family, all of which plays together to complete her composition. For her, ukudlala (to play) forms the basis of a happy family – the ability to play together.
Creative Feel / August 2018 / 55
Allina Ndebele shared her innermost utterances in much the same way, through her colourful viscosity, speaking at length to her ancestors and being guided by their messages. Nqakamatshe’s Muti Magic takes us into the realm of the ‘other world’. The world where unseen spirits reside, and which makes us conscious that our world is a much bigger place than our physical and tangible reality. There are unseen dangers as well as unseen angels. There are energies that build us and energies that fail us. There is indeed something magical about this work. Unlike Mdakane’s canvas, which is cradled easily in her lap from where her story emanated, Ndebele could not view her work in its fullness until she took it off the loom. She did not know what the final image would look like and had to trust her imagination, ancestral guidance and her weaving process. Ndebele, Mdakane and Helen Sebidi all demonstrate contemporary ideas embedded in fluid traditional and
Amazon.com, Kim Lieberman, 2000. Cotton thread and stamp sheet, 78cm x 96cm, MTN Art Collection
spiritual practices. In Sebidi’s works Carrying it for Hope and The Loss of the Garden, imagery of despair plays out in expressions on the faces gathered together in unsmiling connection and animal form conjoined, creating our humanity. Christian influence and the beast in man are evident, but nonthreatening in this instance. These form gentle reminders of our connection to the natural world where we are inherently natural beings: human and possessed of qualities that we share with other natural forms, such as animals who all have their significance in our symbolism. Thread, throughout Mdakane and Ndebele’s work, serves as an indicator of the traditional role of the feminine practice at work. Artworks from the Voices of Women Collection all reference this traditional role. Alternately, Kim Lieberman’s Amazon.com takes us into another trajectory where thread is used to indicate a digital connection. Her work also speaks about connection, but to different worlds and places across the globe. Initially rendered through links created via a process of postage and stamps, this process is reaffirmed in a digital space. The electronic chips, which are reminiscent of thread, carry messages about and to different spaces. According to Sean O’Toole, ‘Lieberman’s mail art traces pathways, a multitude of unforeseen and emotionally meaningful routes.’ Dreams and Muti Magic will traverse the world of our realities and our dreams, our beliefs and our magic. We explore these while remembering ukudladla. CF Exhibition opens in August 2018 Voices of Women Museum, 168 Palmer Street, Durban
56 / Creative Feel / August 2018
Carrying it for hope, Helen Mmakgabo Sebidi, 1996. Etching, 42cm x 29cm, MTN Art Collection
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W W W. C R E AT I V E F E E L . C O. Z A
RECOVERING THE PAST
Joan Jonas
New York-based performance and video artist Joan Jonas accepted Rolex’s invitation to be a mentor because, she says: ‘I enjoy meeting young artists and am curious about their concerns in this chaotic and difficult time. I hope to have a dialogue that might clarify thoughts and ideas.’ Moved by Jonas’ ‘extraordinary power to reinvent, being so groundbreaking from one work to the next’, protégée ThaoNguyen Phan described meeting Jonas ‘as something like destiny’, a ‘lasting relationship… For my career, the programme has been a very immense support.’ WORDS: AMEI WALLACH
58 / Creative Feel / August 2018
I
n the aftermath of the Lunar New Year, the centre of Ho Chi Minh City glittered like an amusement park. When Joan Jonas visited her protégée ThaoNguyen Phan in her hometown, swags of communist stars, outlined in LED, arched above streets that also flashed gaudy whirligigs, illuminated parasols,
or garlands of megawatt lotus flowers, the emblem of Vietnam. Less than twelve months earlier, when Thao-Nguyen first went to New York to meet Joan Jonas, she was struck by how much was possible in a place where experimentation was celebrated and audiences were educated. In her whirlwind year as a Rolex protégée, Thao-Nguyen had witnessed, and sometimes helped, as Jonas prepared performances and talks around the world, and a mutually respectful friendship had grown. This was Jonas’ first visit to Vietnam and crucial to deepening their artistic understanding. In Thao-Nguyen’s studio, cast-off decorations scavenged from the New Year’s streets lay on the floor, cloth-covered frames of once-flamboyant lotus flowers stripped and transformed into lighted sculpture and props for her video-in-progress. Sunflowers, she explained, symbolise the Communist Party, and the lotus ‘is the representation of purity, because the lotus grows in dirty mud but it doesn’t have the smell of mud. It is the symbol of the nation because we live in poor conditions, but that doesn’t mean we are affected by the bad conditions.’ Like so many artists since the 1960s, Thao-Nguyen is heir to a practice that Jonas helped pioneer, fusing technology with the enigmatic intuitions of poetry. Jonas’ influential experiments in layering sound, music, movement, dance, drawing and moving images allowed the audience to engage with a work of
Thao-Nguyen Phan and Joan Jonas
Thao-Nguyen Phan art in more complex ways, and helped deliver trailblazing
before the lights turn green, and slaloming along sidewalks
performance and video art in the process.
where diners on banks of stools feast on fragrant bowls of pho.
For half a century, Jonas has mined the world’s cultures,
Jonas and Thao-Nguyen visited museums and sites of
conflating origin stories, literary forms and ancient and
what is known as the Vietnam War in the United States,
contemporary media to create what she calls ‘magical haunted
and the American War in Vietnam. ‘It’s very touching
spaces’ in which to rethink universal themes, such as the
being an American in Vietnam because of the war,’ Jonas
beginnings of cultures and beliefs, the construction and
remarks later.
fragmentation of identity, and the abuse of the natural world.
As always, wherever she goes, Jonas had her GoPro
Thao-Nguyen’s art is rooted in her training as a painter –
camera on hand as they toured paper-making studios, and
at the Vietnam University of Fine Arts and the School of the
took in the fledgeling gallery scene. Many of those images
Art Institute of Chicago – and her attention fixed on her own
found their way into her What is Found in the Windowless
backyard. Installation, video and sculpture are additional tools
House is True exhibition in New York earlier in the year. So,
she brings to the task of unearthing her country’s buried history.
too, did the bamboo and paper kites by a master kite maker
Thao-Nguyen is petite and girlishly pretty in a manner that belies the force of her work. ‘I’m concerned with
Thao-Nguyen tracked down. Thao-Nguyen had made some brief videos before she
criticising the educational system in Vietnam, where history
met her mentor, and had begun putting together what would
is erased and there is a big amnesia,’ she said in February,
become Tropical Siesta. She had been working on a series
when guiding a visitor on a studio tour of the work she
of small paintings in which delicately reductive washes of
was preparing for her first major solo exhibition in Ho Chi
shading and colour depict characters separated from their
Minh City. She had already titled it Poetic Amnesia, an apt
context. Their gestures alone transmit ambiguous layers
description of both approach and content.
of psychology, history and fraught emotion. In the new
‘History is written by the winners and when the North won
paintings, children sleep on desks, float in water, walk five
the war in 1975, they rewrote history,’ says Thao-Nguyen in
in a row with their heads between the rungs of a ladder –
her deceptively gentle voice. ‘There was a lot of trauma.’
actions for real children to enact in the video.
She was eager to share with Jonas the context of her work
Visiting Jonas in Rome, Thao-Nguyen showed her the
and the untold stories beneath everyday experiences, such as
first edit of the brutal yet lyrical video narrative that she
navigating chaotic streets where herds of motorbikes stampede
had assembled. Jonas commented on the structure and
60 / Creative Feel / August 2018
By the time that Jonas visited her studio, Thao-Nguyen was preparing for her April exhibition at The Factory Contemporary Arts Centre, the first major art space in Ho Chi Minh City. A Ministry of Culture and Tourism licence is mandatory for a public exhibition in Vietnam. As a result, galleries are sparse and many artists only show to one another. Artists and arts professionals are hopeful that the growing economic freedoms will spill over into culture, though Thao-Nguyen had just learned The Factory’s legal consultants were advising against submitting her video to the authorities, as well as many of the paintings she was composing as an installation for the exhibition. ThaoNguyen confided to Jonas that she was considering removing the contested images; Jonas was concerned that selfcensoring would eviscerate her work. ‘One of the reasons I wanted to go to Vietnam was to understand her situation in relation to the constraints on artists there,’ Jonas explains. ‘I feel now I can talk with her about that. And help her.’ In the end, Thao-Nguyen’s video remained intact, but the Joan Jonas
video screen hung dark in the public exhibition, turned on only for invited viewers. ‘What I learned most from Joan is
30-minute length of the single-screen work. As they watched
trying to be flexible and make the work you want to make in
together, it occurred to Thao-Nguyen that it would be better
any situation, because in Vietnam you are always complaining
to tell her story on two screens.
about the lack of support,’ Thao-Nguyen says. ‘We are in a
‘It now feels more like an installation, more
transition and there is a lot of potential here, but for now, the
condensed, not like a film,’ she says of the two-channel,
situation is limited. The way Joan works, she is so open and
14-minute result.
so free. She is working all the time and looking at things and
Also, the rough cut had ended with a summarising
shooting videos. She doesn’t have to have a fancy camera; she
subtitle to pull together the disparate threads of child’s
can just use her iPhone, and make good work. So that’s the
play, reverie and memory that illuminate the centrality of
most important lesson. I learned from her: you just work with
language and the hazards of meddling with it. Such a neat
what you have and maybe what you have is very rich.’
ending might be rather didactic, Jonas suggested. On that same trip to Rome, the themes began to coalesce.
Jonas is also intent on helping in other ways: ‘The main reason I wanted to work with Thao is because I was so drawn to
At the city’s Jesuit Archives, Thao-Nguyen was able to consult
her work. Beyond that, I thought that it would be very important
original 17th-century texts and letters concerning a phase of little-
to support a woman from Vietnam and help to establish
known Vietnamese history she had been studying. The French
connections for her in different parts of the world. It has been
Jesuit missionary Alexandre de Rhodes translated the Chinese-
a very special experience and I enjoy the dialogue we have
based characters of Vietnamese script into the romanised alphabet
together. I hope that it continues with her. Her work should be
in which Vietnamese is written today. As a result, Vietnam
shown, and will be shown, in many different circumstances.’
lost a part of its heritage, including some of the myths Jesuit missionaries recounted in letters that Thao-Nguyen found.
‘Meeting Joan was something like destiny,’ Thao-Nguyen says. ‘To be with Joan is a lasting relationship.’ CF
In the Tropical Siesta video, children with no teachers, no alphabet and no discipline re-enact those tales. They float in
Amei Wallach is a New York-based arts writer and film-
mud and dance with the lighted sunflower decor that Thao-
maker. She is President Emeritus of the US chapter of AICA
Nguyen had rescued from the streets. Dream sequences
(Association Internationale des Critiques d’Art). This article
composed as meticulously as her paintings, are juxtaposed with
extract was published with kind permission from Rolex.
rural views of rice paddies and tree frogs. Dream and reality blur
Jonas and Thao-Nguyen partook in the 2016 – 2017 cycle of
into what Thao-Nguyen calls ‘a sense of dreadful optimism’.
the Rolex Mentor and Protégé Arts Initiative.
Creative Feel / August 2018 / 61
magic
Providing the
BEHIND THE SC E NE S The annual Loeries Awards are an exceptional display of the best of African creative talent, which includes not only those being awarded but also those who labour behind the scenes to ensure the event is of the highest standards. Creative Feel spoke to one of the Loeries’ sponsors, Gearhouse, which looks after all technical and production aspects of the event.
Creative Feel: Gearhouse has been involved with the
being part of an event that celebrates and recognises the
Loeries in varying degrees since 2005. Please tell us a
vast creative talent we have on the continent and locally
bit more about the partnership? How has it changed
is close to our hearts.
over the years? Why have you chosen the Loerie Awards in particular?
CF: What does Gearhouse’s involvement usually entail?
Gearhouse: It gives us the opportunity to showcase how
With regards to planning and logistics, what does an event
technology can be used to reinforce the brand message
like this take to pull off from a production perspective?
and we have the presence of the creative community as a
GH: We provide lighting, audio, AV, rigging, power,
whole. Obviously, as creatives and innovators ourselves,
trussing, LED screens, staging, some set elements and
62 / Creative Feel / August 2018
cameras to the main awards, the judging, the red-carpet area, registration area and seminar as well as smaller associated events around Durban. The event draws on the combined resources of a couple of companies within the Gearhouse Group, namely Gearhouse SA (Johannesburg and Durban branches), LEDVision and Sets Drapes Screens, pulling top crew
“It is always a buzz for us to see great creative work integrated with the latest technology. It’s what inspires us and the Loeries gives us that year after year”
members from each region to do what they do best. It involves a lot of logistical planning as each area is setting up or running at different times and not only is
We are also frequently called on for sets, power or rigging
equipment moving from one region to another but it is also
for TV work and for product launches where an experiential
sometimes moving from one event space to another on site.
element is required.
Planning for the next year begins around six months ahead of the date.
In today’s competitive landscape, brands are looking for ever more inventive and innovative methods of reaching their target markets and, as a result, the event experience
CF: Both the Loeries and Gearhouse are about
has become an effective vehicle for influencing client
innovation and constant evolution, will there be any new
perception and purchasing behaviour. As technical supplier
technologies or innovations that Gearhouse will show at
to the advertising market, we have found that our clients’
the Loeries this year?
expectations go way beyond the provision of technical
GH: We are looking at bringing in some of the latest LED
equipment and services and that very often the trend is
technology this year. It seems to be the product that is
to contract the supplier as technical partner and creative
most utilised for advertising work and obviously the crisp
solution provider from inception.
clear imagery of LED ties in with the visual requirements of the ad industry.
When the technical supplier is involved from the outset in technical concept and design, the result can be not only an unforgettable, interactive and stimulating
CF: What is Gearhouse’s role in the advertising industry
visual experience but will also be completely aligned with
outside of the Loeries? Are there any particularly exciting
the brand message in look and feel.
projects you have worked on? GH: We have provided a lot of LED to ad shoots such as
CF: Is there a particular aspect of the Loeries that you are
Vodacom, Gillette and Mercedes-Benz Vans, as well as film
looking forward to this year?
work. The latest being Maze Runner 3: The Death Cure, which
GH: It is always a buzz for us to see great creative work
used 400 x ROE Visual RS1200 LED strips, built into the
integrated with the latest technology. It’s what inspires us
futuristic sets.
and the Loeries gives us that year after year. CF
Creative Feel / August 2018 / 63
RECOGNITION, REWARD AND INSPIRATION Loeries Creative Week returns to Durban in August for the fourth consecutive year. The festival is the biggest creative gathering in Africa and the Middle East, bringing together the best innovative minds from the brand communications industry.
W
hen we talk about the creative economy, we’re talking about an industry worth billions: R90 billion to be precise. That was the value of the creative economy’s
contribution to the South African GDP in 2017. In its Future of Jobs Report, the World Economic Forum (WEF) put creativity in tenth place three years ago as a skill a young person needs to succeed in the workplace. By 2020, it will be placed third, with complex problem solving and critical thinking, first and second. Creativity employs over one million South Africans. The same WEF report shows an average growth rate for creative industries across Africa of seven per cent between 2011 and 2016. The numbers are encouraging, but in an age defined by data-driven insights, 3D printing, laboratory-produced meat and artificial intelligence, is there a future for creativity and creative thinking? We have all witnessed how technology changes the working world. But there is one field where humans can’t so easily be replaced and that’s the field of ideation: the creative world where ideas and concepts are the currency. It’s because of the power of creativity that events like the Loeries are so important. Taking place during August in Durban, the creative festival is the largest across Africa and the Middle East. Well known as an advertising award show, this is the Loeries’ fortieth year and the organisers consistently add new events to the programme, and categories to its list of awards. It’s not just advertising that’s rewarded. There is an expansive communication design category, which includes entries
64 / Creative Feel / August 2018
for architecture, interior design, furniture design and clothing, fabric and wallpaper. Carmen Kelly, interior designer at Georgette Black in Durban, and member of the communication design jury at Loeries this year, says it’s important that design and creativity co-exist. ‘People are inherently creative, making this category an important one because it comprises elements that create and fill the tactile world that surrounds us.’ Design has come such a long way in the industry’s appreciation of its contribution that, at the Loeries in 2017, a Grand Prix – the highest accolade at the show – in Communication Design was awarded to Grid Worldwide Branding for its Meat Made Luxury campaign for the restaurant, Marble. In 2016, Sunshinegun also won a Grand Prix for the Nando’s global visual identity system, which had been entered into the brand identity & collateral design category. Sunshinegun’s Bronwen Rautenbach, also on the communication design judging panel this year, sees design as beautiful problem-solving. She believes that welldesigned innovation pushes humanity forward and makes the world a better place. ‘It’s important that the Loeries reward design in the broadest sense of the word. A lot of exciting and important work is happening in this discipline. A building can tell a beautiful meaningful brand story and play a defining role in culture, as can a piece of clothing or wallpaper,’ she says. But can creativity ignore technology? After all, we are living in a time where profound digital experiences are playing a defining role in culture. It’s a balancing act. ‘Nothing replaces real,’ says Rautenbach, who observes that real creates the content that digital campaigns talk about and data obsesses over. ‘We are still human first: digital is only a platform’ is the opinion of Vumile Mavumengwana, designer and creative director at VM DSGN and Loeries communication design jury member. ‘We connect and spend a lot of our time in the digital world but we need to celebrate and pay homage to our immediate reality in ways that digital and data cannot.’ (He’s a self-proclaimed fan of the human experience over the virtual tech world.) Loeries Creative Week tickets are now on sale. Delegates should arrive Wednesday 16 August and depart Sunday 19 August to get the most from Creative Week which takes place in Durban South Africa. The week, which begins with the judging of around 2 500 entries from across Africa and the Middle East, includes a seminar of international creative leaders, masterclasses, awards ceremonies and many networking events. For more information, visit loeries.com CF
Creative Feel / August 2018 / 65
Discover Durban! Sunny skies, year-round warm days and nights accompanied by fun-filled beach activities, musical concerts, exciting nightlife and adrenaline-filled activities, are a sign that you have finally arrived at one of the Top 52 must-visit destinations in 2018. This is one of the most recent accolades that the city of Durban has received from Fodor’s Travel – a US-based tourism publication. Durban continues to attract both local and international visitors to the city and keep them entertained.
66 / Creative Feel / August 2018
the major job creators in the province. The city of Durban has invested over R7.6 billion towards capital infrastructure development and tourism-related programmes aimed at promoting destinations and attractions. Currently, 3.8 million tourists visit Durban, generating over R19.7 billion towards Durban’s GDP contribution and supporting 41 000 jobs. The city has proven time and time again that it is the destination for international sports and events. The city has played host to major international events and conferences including, but not limited to, NAM Summit, COP 17, BRICS, HICA and the 13th International Aids Conference, and has been awarded the Tourism Indaba for the next five years. Indaba is one of the premier tourism platforms and discusses the growth and economic development of our tourism industry. It is expected to generate an estimated R500 million in economic impact for the city and province over the next five years. In 2016/17, the Indaba attracted 18 500 visitors with an economic contribution of R26.2 million. In celebrating the Mandela centenary, Durban’s emphasis is on guided tours to the popular Woza eNanda Heritage Route in Inanda. Inanda is of importance as it is where the late, former president Nelson Mandela chose to vote in South Africa’s first democratic elections in 1994. This is now an opportune moment for people to visit Inanda and commemorate his life. The guided tour visits Gandhi’s settlement in Phoenix, the Mandela voting site, Dr JL Dube’s house and Inanda Seminary.
What to discover in Durban? From adrenaline-fueled adventures to family-orientated activities, or simply a relaxed holiday on the beach, Durban offers something for everyone. Due to its mild climate, Durban has a laid-back outdoor lifestyle, providing fun-filled activities ranging from mountain-biking and diving to deep-
P
sea fishing, game viewing, or historical battlefield tours. For those looking for a relaxed beach holiday, Durban’s
art of the visitor strategy that Durban focuses on
long stretch of coastline provides a multitude of golden
is to grow the city’s brand in key source markets
beaches that will leave visitors spoiled for choice. Hiking or
by leveraging off the city’s infrastructure and their
visits to cultural villages? Just half an hour’s drive out of the
experience in hosting both local and international
city will have visitors where they want to be!
visitors. This was emphasised through the launch of the Discover Durban – #durbanhasmore campaign in November
Beachfront and ocean
2017. The campaign seeks to unpack the hidden tourism gems
Grab a board and surf some of the country’s best waves,
in Durban and the KwaZulu-Natal (KZN) province. The city
lounge on the golden beach, cycle or walk on the promenade,
of Durban aims to showcase its products while promoting
grab a bite to eat, fish, snorkel, scuba dive, canoe or kitesurf
domestic tourism, and encouraging South African citizens and
on Durban’s ocean playground.
expatriates to visit this local destination. Tourism remains one of the fastest growing branches of
uShaka Marine World
the economy. It is central to job creation, youth employment
Visit a magical world of sea and marine life, hair-raising
and creates various economic opportunities. Tourism is
water slides, dolphin shows, deadly creatures, fun kids’ zone,
estimated to bring in 30 per cent of KZN’s GDP and is one of
great food and unforgettable shopping.
Creative Feel / August 2018 / 67
Moses Mabhida Stadium Take a trip on the SkyCar or make the 550-step adventure
happiness that makes Durban a must-visit destination. Pack
walk for the best view of the city from the top of the arch;
your picnic basket, meet up with friends, or simply unwind
jump into the void on the largest swing in the world.
in our parks to experience the tranquillity that comes with nature, and the humility of the people of Durban.
Ricksha Bus Hop aboard the Ricksha Bus for a scenic three-hour overview
Nightlife
of Durban’s major attractions for R100 per person. To book
Durban has a mix of interesting products from gastropubs
contact 031 322 4205
and gin bars to art galleries, clubs and a plethora of restaurants catering for every palette – from vegan to
Zulu culture and township tours
halaal and kosher, from bunny chows to shisa nyama, from
Explore the rich history of traditional Zulu culture in The
intercontinental to rustic. Durban has it all.
Valley of a Thousand Hills or visit a township for a new view of urban African culture.
Culture and heritage
The Florida Road entertainment precinct saw local outlets like RocoMamas and international brands such as Starbucks and Pizza Hut, growing in 2017. Davenport Square, with its unique and artistic blend
The Inanda Heritage Route takes in some of the most
of antique stores, art galleries and pubs are frequented by
important, albeit little-known, historical sites of Durban.
locals, domestic travellers and international tourists.
Winding its way through the Inanda Valley, it provides a
In the townships, Zazi Street in Clermont; Eyadini and
snapshot of critical South African history as well as, perhaps
Max’s Lifestyle in Umlazi; and Artizen in Inanda, showcase
surprisingly, India’s past. It has a wealth of history that starts
authentic local (kazi) flavour that adds profoundly to the mix
in the Phoenix Settlement, established in 1904 by Gandhi. Here
of leisure products that Durban has to offer.
you can see Gandhi’s house, and his International Printing Press and Museum. Next, it moves on to the Ohlange Institute,
Discover the Berg
Dr Dube’s house – a national monument – and his grave.
Discover the majestic Drakensberg mountains, scenic valley bushveld, gorges, cascading waterfalls, forested pathways
Wildlife
and ancient tracks through the wilderness, forested dunes
While Durban itself is a busy urban centre, visitors will
and brilliant coral reefs of St Lucia.
find a number of outstanding wildlife destinations within a
With custodianship of 110 protected areas, our guests
few hours’ drive from the city. KwaZulu-Natal is a leading
can satisfy their every desire for discovery, adventure or
conservation area with a multitude of game parks and
relaxation in some of Africa’s most exciting and scenic
reserves. In the north are Hluhluwe-Imfolozi Park and the
natural surroundings.
iSimangaliso Wetland Park, a World Heritage site. A few hours inland is the uKhahlamba-Drakensberg Park,
Sports lifestyle
another World Heritage Site that is home to abundant plant
Durban’s year-round sunny climate and lush, natural
and birdlife. A number of smaller boutique game reserves
environment provide a pleasant backdrop for the numerous
such as Tala and GwaHumbe lie in the mid-Illovo region.
golf courses that can be found close to the city. From sea views to indigenous forest and even some courses with wild
Parks and recreation
game, golfers will find many challenges and memorable
Fall in love once again. Taking a walk in one of Durban’s
holes to test their abilities. You could spend a week or more
parks, whether you are at How Long Park, Japanese Gardens
in Durban and play a different 18-hole course every day. The
or Mitchell Park Zoo, you will truly experience the love and
19th-holes are also legendary. CF
68 / Creative Feel / August 2018
discover durban
Durban’s people are friendly and laid-back, and reflect a rich cultural diversity that includes Africa, Eastern and Western influences. Perhaps it’s this blend of culture, art, cuisine and environment that makes Durban so unique. There’s nowhere else quite like it. A little further north, the Big 5 game reserves are just a few hours’ drive away from the city centre. Our cultural influences have given us some unique experiences that are just to important to miss. There’s no shortage of restaurants in Durban for a wide variety of global cuisine. You name it, we’ve got it. Simple and homely to high end gourmet – you’ll be spoilt for choice. In 1994, Inanda’s outlook changed as democracy was born in South Africa. To mark the occasion, Nelson Mandela casted his vote in the historic election at Inanda. After casting his vote, he went to Dr JL Dube’s grave and said, “Mr President, I have come to report that South Africa is now FREE.”
#durbanhasmore
Tel: 031 322 4164
www.visitdurban.travel
@dbntourism
‘Thank you for acquiring so special and unique land in the beloved Karoo. You have saved part of the soul of South Africa so that others will experience the heartbeat of the wilderness.’
The late Dr Ian Player, legendary conservationist
70 / Creative Feel / August 2018
Samara
A catalyst for change in the Great Karoo region of South Africa. Samara is so much more than a Luxury Private Game Reserve in
a unique setting in South Africa’s Eastern Cape. It is a passionate conservation undertaking, the leader in its area and ‘heart-stoppingly beautiful’ in the Great Karoo region of South Africa.
Creative Feel / August 2018 / 71
S
teeped in history, the Samara Private Game Reserve
mountain complex, part of the Great Escarpment, down into
offers visitors a glimpse into what life on the great
the sweeping plains typical of this unique area. It includes
plains of the Karoo was once like. General Manager
four of South Africa’s seven biomes, and is slowly being
Marnus Ochse talks with passion about the dream
restored to its pristine state.
that he shares with owners Sarah and Mark Tompkins. ‘Once
It is ideally located in the middle of a chain of
upon a time, before the settlers came in the early 1800s, this
conservation areas, from the Camdeboo National Park
land teemed with game – rhino, buffalo, cheetah, elephant,
in the west to the Mountain Zebra National Park in the
lion and eland. The story goes that when the millions of
east. The vision is to connect the two parks through
springbok were migrating on the plains of Camdeboo, they
ecological corridors. Samara is a key stepping stone in
kicked up such a cloud of dust that it took days to dissipate.’
this project, and has served as an important catalyst for
Samara lies just 20 km southeast of Graaff-Reinet in the Eastern Cape and stretches from the heights of the Karoo
Samara’s 70 000 acres are home to over 65 species of mammal, 220 species of bird and 50 types of reptile and amphibian. Many of these species are specially adapted to the Karoo’s harsh semi-arid environment
this grand vision. This mega-park of 1.3 million acres, not traversed by a single main tarred road, will create a
vast mosaic of conservation-friendly land uses in which biodiversity can thrive. Passionate conservationists Sarah and Mark Tompkins spent more than a decade buying up eleven rundown farmsteads in the remote Great Karoo to turn the land wild again and provide a sanctuary for endangered cheetahs. In 2003, the De Wildt Cheetah and Wildlife Trust rescued Sibella – the very first cheetah at Samara – after her life was nearly ended at the hands of hunters and brought her to Samara along with two male cheetahs who were rescued from conflict with farmers. Today, visitors can walk in the wild at Samara and observe some of Sibella’s offspring up close; a really amazing experience. Samara’s 70 000 acres are home to over 65 species of mammal, 220 species of bird and 50 types of reptile and amphibian. Many of these species are specially adapted to the Karoo’s harsh semi-arid environment. One example is
72 / Creative Feel / August 2018
the oryx (or gemsbok) whose nasal circulation system allows
within one of the most beautiful landscapes in South
this striking antelope to cool the blood flowing to its brain
Africa. What makes Samara so special is the feeling of
through capillaries in its nose as it breathes.
history preserved and, at the same time, being spoiled
Elephants have also returned to Samara after a 200-year
with wonderful food, served some days within the lodge
absence, marking a conservation milestone and entrenching
or, on others, outside in the reserve. Lunch on the top
Samara’s status as one of the leading conservation areas in
of the mountain with a view of the entire plains of the
the Karoo. The founder herd that has been introduced to
Camdeboo, or a delicious Karoo dinner under a clear
Samara comprises a small family group of six individuals
star-filled sky. Five-star accommodation with wonderful
from Kwandwe Game Reserve near Grahamstown in the
staff, and early morning to late evening special game
Eastern Cape. Once they are settled, a mature bull will
drives led by most the knowledgeable rangers and
join them. In time, another small family group may also be
trackers, observing brown hyena, aardvark (at night
introduced to the reserve.
and during the winter months), the beautiful white
Ochse explains that ‘exciting as the reintroductions
rhinoceros and desert-adapted black rhinoceros and,
have been, the real measure of Samara’s conservation
of course, the more common springbok, klipspringer,
success has been the wildlife species that have returned
steenbok, kudu, eland, oryx/gemsbok, the common
of their own accord. In 2014, a leopard was spotted in a
duiker, the gracious giraffe, zebra, waterbuck, warthog
camera trap on the property. Persecuted for decades by
and wildebeest.
farmers due to their perceived threat to livestock, the few
The accommodation is authentic Karoo farm-style,
leopards that remain in the region tend to stick to remote
consisting of the gorgeous six-suite Karoo Lodge,
mountainous areas, where they roam across vast territories.
incorporating a historic homestead and its surrounding
The camera trap and subsequent spoor sightings give us
outbuildings. The Tompkinses also converted a second
hope that these beautiful cats may one day return for good.
derelict 1920s homestead on the reserve into the four-
‘Our most thrilling conservation success to-date,
bedroom Manor. After a truly eventful day, sleep in this
however, has been the discovery of ten Cape vultures on the
luxurious surrounding is guaranteed before setting out the
mountain grasslands section of the reserve. These birds of
next day for another adventure within the Great Karoo.
prey are classified by the IUCN as endangered, with fewer
The Samara Private Game Reserve is a place that has in
than 10 000 individuals remaining worldwide.’
recent years rightly come to the attention of local and
But Samara is not only about conservation; it is also about experiencing authentic luxurious Karoo hospitality
international tourists, a place to experience true South African hospitality. CF
Creative Feel / August 2018 / 73
THE WIFE DIRECTOR: Björn Runge STARRING: Glenn Close, Jonathan Pryce Joan Castleman (Glenn Close) is the perfect devoted wife. A highly intelligent and still-striking beauty, she is the great woman behind one of America’s pre-eminent novelists and her husband, Joe (Jonathan Pryce). Their fateful pact built a marriage upon uneven compromises: Joan spent 40 years sacrificing her own literary talent, dreams and ambitions to fan the flames of her charismatic husband and his skyrocketing literary career and, oftentimes, ignoring his infidelities and excuses because of his ‘art’. After learning that Joe is to be awarded the Nobel Prize for Literature, the Castlemans journey to Sweden for the festivities. Then, on the evening of the Nobel Prize ceremony, Joan reaches her breaking point: she and Joe have a heated exchange that culminates in a surprising and unforgettable conclusion, revealing a decades-old, carefully kept secret. The Wife releases in select cinemas on 24 August.
16DLSV
AT CINEMAS 24 AUGUST Creative Feel / August 2018 / 75
LITERARY LANDSCAPES |
INDRA WUSSOW
Diverse People Remember
T
he Sylt Foundation’s new international long-term
negotiate the different approaches to revising our histories,
project, Diverse People Remember, aims to share
and creating transformation through the means of art. How
approaches to trauma and reconciliation through
do different countries, whose histories have been marked by
the arts.
huge social upheavals and violence, deal with their pasts? Or
Telling our stories is fundamental to catharsis, healing
with the resulting trauma and how it is perceived differently
and reconciliation on an individual, community, national
by different generations? In what way is the future informed
and international level. Narrative is a critical instrument
by the past, and how do artists and curators experience the
of human agency and there is an enormous amount of
processes of transformation, of shifting identities, of trauma
literature on the devastating effects of silence. According to
and reconciliation? Are there common experiences that we
sociologist Aleida Assmann, ‘there is the speechless silence
all share despite our different cultural codices and historical
of the victims as an expression of a continuation of paralysis
asynchronicity. What connects us and what separates us?
and there is the silence of the perpetrators that preserves the secret and therewith is an expression of power.’ The Sylt Foundation, an internationally operating arts foundation, is developing a new programme, titled ‘Diverse People Remember’. This arts-related social programme will investigate how we deal with the burden of our histories, and with the transformation and trauma that result from it. The Sylt Foundation has already sent artists, writers, storytellers, dancers and counsellors to work in communities in six countries (Cambodia, Chile, Colombia, Germany, Myanmar and South Africa) as part of another successful project that was entirely focused on the arts and the production of artworks to
76 / Creative Feel / August 2018
Diverse People Remember, however, aims to work with artists on a community level; to engage in stories and dialogues, offer healing and an understanding that our past informs our future and that wounds are not healed
through silence. The underlying idea of it is to give back the agency that allows a dialogue with other communities. And thereafter, to build an archive of shared lives, to share experiences about transformation and the difficult legacy of the past among artists and community members. Diverse People Remember will send small teams of writers, dancers, artists and psychologists into chosen communities in the six countries we work in, with the task to collect and share memories, to address and heal trauma, to learn from our pasts and to share with other communities in
"In what way is the future informed by the past, and how do artists and curators experience the processes of transformation, of shifting identities, of trauma and reconciliation?"
other areas and countries. Independent artists will be loosely connected to the team to independently work on their own
artists (two in each project) to produce an art product related
art production.
to their experiences while observing the community work.
The project is deeply inspired by Germany’s engaging
Niklas Luhmann postulated, ‘what is at stake in art is not a
Erinnerungskultur (culture of memory), which was one of
problem to be solved once and for all but a provocation – the
the cornerstones of post-war Germany since the 1970s. It
provocation of a search for meaning that is constrained by the
focused on the victims of World War II and the devastation
work of art without necessarily being determined in its results.’
of the Holocaust. This German recognition of past wrongs
Artists are the perfect agents provocateur or interventionists
and the consequences of it for the next generations offers
and with their deep internal insights and highly acute sensing of
enormous insight into how we can enable change in
‘unjust equilibria’ of our systems and their environment, they are
transforming environments. Using the extensive knowledge
apt to foresee change, transformation and shifting parameters.
about collective memory and cultures of commemoration
The knowledge of how arts can contribute to change is
that the foundation has been gathering, especially in South
essential to anticipating where to leverage change and the
Africa, Chile and Myanmar, over the past years through our
artistic creative mind is an integral part of the Diverse People
work with artists and scientists, Diverse People Remember
Remember holistic approach. It is the conviction that the arts
will engage on a communal level to achieve higher social
can empower our awareness of transformation processes,
relevance and trigger a bigger change.
can help to honour the stories of the people and initiate a
For the project’s initial phase, this July two teams of South African and Chilean artists and experts will work with 20 selected youth between the ages of 14 to 18 in
dialogue around historical revisions and the futures along with psychologists, scientists and communities. In the 1950s, South African writer and journalist Nat
two different communities in South Africa and Chile. The
Nakaza wrote, ‘I may shut up for some time because of fear,
youth will be asked to tell their grandparents/parents
yet even this will not make me feel ashamed. For I know
stories. These stories will be written down and then
that as long as the ideas remain unchanged within me,
discussed together in the community in workshops and
there will always be the possibility that, one day, I shall
also in individual sessions with the team. In this stage,
burst out and say everything that I wish to say in a loud and
there is a possibility to offer healing through the arts and
thunderous voice.’ This powerful statement encourages our
through counselling. Both teams already share expertise in
determination to try the impossible, to break the silence and
community work. In addition to the communal aspect, two
to give the people the agency for their lives and their future,
international artists will be observers of this process and will
the courage to deal with the wounds of their pasts. CF
work individually on their own artwork, which deals with the topic and the experiences observed. Soon communities in Cambodia, Myanmar, Colombia and Germany will follow and therewith an international interaction. Our goals in this initial phase in the four communities are: to collect 20 stories in each of the two country’s projects
Literary Landscapes is a monthly column by
INDRA WUSSOW, a writer, translator and director of the Sylt Foundation.
and facilitate workshops with these 20 families, using dance, art, writing and counselling; and to invite four international
Creative Feel / August 2018 / 77
The cellist who stole hearts Sheku Kanneh-Mason wowed the world at the Royal Wedding of Prince Harry and Meghan Markle, and has since been dominating the charts on both sides of the Atlantic – hitting No.1 on the US and UK Amazon charts and No.1 on the US iTunes charts with his debut album Inspiration.
S
heku Kanneh-Mason’s album Inspiration is
fans. What’s more, his stunning performance, dapper outfit and
currently at No.11 on the Official UK Album Chart
endearing personality earned him the nickname #CelloBae,
– the highest ever chart position for a cello player –
which rapidly swept across social media platforms.
and it’s set to reach the Top 20 on the US Billboard
Kanneh-Mason says, ‘The reaction to my performance
Album Chart too, the first time a British classical cellist has
has been incredible and it feels amazing to have my album in
ever achieved this feat.
the pop charts internationally. I’m so happy that people are
Kanneh-Mason performed three pieces at the Royal Wedding, having been personally invited to play by the bride and groom. The 19-year-old musician took centre stage at St
enjoying my music and really grateful for all the support I’ve received... it’s been fantastic.’ Kanneh-Mason first garnered public attention as
George’s Chapel, Windsor Castle, for the all-important signing
winner of BBC Young Musician 2016. He made his BBC
of the register. He gave moving performances of Sicilienne by
Proms debut the following year, and became one of this
von Paradis, Schubert’s Ave Maria, and Après Un Rêve by Fauré.
year’s biggest breakthrough artists – across any genre. His
Decca is releasing The Royal Wedding: The Official Album,
beautiful cello arrangement of Bob Marley’s ‘No Woman,
which features the entire ceremony, and is an opportunity to
No Cry’ went viral worldwide.
appreciate Kanneh-Mason’s performances again. The phenomenal reaction to Kanneh-Mason’s performance at the Royal Wedding has also earned him thousands of new
Kanneh-Mason has been on a whirlwind adventure over the past few years – performing twice at the BAFTAs, playing at 10 Downing Street for the thirtieth anniversary of Black History Month, making his Carnegie Hall debut, performing at Paris Fashion Week, as well as high-profile TV appearances (including two BBC documentaries) and a busy international concert career. Kanneh-Mason is currently studying at the Royal Academy of Music. He is passionate about making classical music accessible to all and is Junior Ambassador for the music education charity London Music Masters. He comes from an incredibly musical family in which all six of his siblings (he is the third child of seven) play instruments to a phenomenally high standard – yet neither of his parents are musicians. CF
78 / Creative Feel / August 2018
THE RECORD-BREAKING DEBUT ALBUM FROM THE ROYAL WEDDING CELLIST
OUT NOW!
Creative Feel / August 2018 / 79
CD REVIEWS |
R E C E N T LY R E L E A S E D
Preghiera – Rachmaninov: Piano Trios | Gidon Kremer, Giedrè Dirvanauskaitè, Daniil Trifonov | Deutsche Grammophon | 4796979 Gidon Kremer celebrates his 70th birthday with a special chamber music programme together with outstanding young pianist Daniil Trifonov and renowned cellist Giedrè Dirvanauskaitè, both of whom he personally chose for this recording. Rachmaninov's two piano trios, both bearing the subtitle élégiaque (elegiac), are dark, passionate works, composed under the influence of Tchaikovsky. The first is a short, one-movement piece rich in typically Slavic sentimentality. The second was written as a personal memorial to Tchaikovsky himself, alternately celebrating the life and grieving the loss of the great Russian composer of whom Rachmaninov said, ‘Of all the people and artists whom I have had occasion to meet, Tchaikovsky was the most enchanting. His delicacy of spirit was unique.’
Alfred Brendel: Live in Vienna | Alfred Brendel, Wiener Philharmoniker, Sir Simon Rattle | Decca | 4833288 Live recordings from Austrian Radio broadcasts (ORF) released for the very first time by one of the greatest musicians of all time. The Schumann Piano Concerto requires virtually everything a pianist should have to offer: poetry, virtuosity, poised restraint – Alfred Brendel passes the test on all accounts with his passionate, insightful and refreshing interpretation. Brahms’ Handel Variations are what many consider to be the most imposing piece of its kind composed in the four decades that separate it from Beethoven’s Diabelli Variations. Brendel has never recorded Brahms’ Handel Variations in studio, which makes this his first commercially available recording of the work. ‘These unedited live recordings were a happy find, and I’m delighted to see them published,’ says Brendel.
Bernstein on Broadway | Leonard Bernstein | Deutsche Grammophon | 4799834 Leonard Bernstein was both a brilliant orchestrator and a gifted tunesmith, and his lyrics, often penned by Stephen Sondheim, are memorable, razor sharp and brilliantly apposite. West Side Story, Candide and On the Town have taken their rightful places at the top of Bernstein’s creative canon. Now, as part of Deutsche Grammophon’s celebrations of his centenary, the best-loved numbers from these Broadway shows are brought together in one indispensable collection. DG’s recording of West Side Story, made in New York, in September 1984, represents Bernstein’s final vision for his great American musical. Bernstein had never conducted the work before, so it was an opportunity to explore the work as he had envisioned it. Michael Tilson Thomas’s recording of On the Town features an inspired cast, and the performances from Candide are drawn from Bernstein’s last-ever studio sessions and represent the composer’s final thoughts.
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BOOK REVIEWS |
R E C E N T LY P U B L I S H E D
THE BURNING CHAMBERS By Kate Mosse | Publisher: Pan Macmillan | ISBN: 9781509806836 The Burning Chambers is the first novel in Kate Mosse’s new historical series, which will cover three centuries and travel the world from Carcassonne to Southern Africa. ‘Several years ago, during an inspiring visit to the Franschhoek Literary Festival in South Africa, I visited the fantastic Huguenot Memorial Museum on the outskirts of the town,’ says Mosse. ‘There, on the wall, was the name of a family I’d written about in my first historical novel, Labyrinth. It was a shiver-down-the-spine moment. Straight away, the idea for a Romeo and Juliet story of two families – one Catholic and one Protestant – started to take shape: a story of love, loss and adventure, of inheritance and a priceless relic, a story of displacement, war and faith, spanning 300 years from Languedoc in 1562 to the beautiful mountainous landscape of Franschhoek in 1862 (via Toulouse, La Rochelle, Paris and Amsterdam). ‘Five years later, after that first inspiration (and after many, many months in libraries, museums and tramping the streets and hillsides in the name of research), I sat down at my desk to start writing the story of Minou and her Piet. Now, the first of the series is ready to share with readers. I'm excited, terrified, delighted, hopeful.’ Carcassonne 1562: 19-year-old Minou Joubert receives an anonymous letter at her father’s bookshop. Sealed with a distinctive family crest, it contains just five words: ‘She knows that you live’. But before Minou can decipher the mysterious message, a chance encounter with a young Huguenot convert, Piet Reydon, changes her destiny forever. For Piet has a dangerous mission of his own, and he will need Minou’s help if he is to get out of La Cité alive. Toulouse: As the religious divide deepens in the Midi, and old friends become enemies, Minou and Piet both find themselves trapped in Toulouse, facing new dangers as sectarian tensions ignite across the city, the battle-lines are drawn in blood and the conspiracy darkens further. Meanwhile, as a long-hidden document threatens to resurface, the mistress of Puivert is obsessed with uncovering its secret and strengthening her power… Kate Mosse is an international bestselling author with sales of more than five million copies in 38 languages. She is the co-founder and chair of the board of the Baileys Women’s Prize for Fiction, and in June 2013 was granted an OBE in the Queen’s Birthday Honours List for services to literature.
YES, REALLY! – A LIFE By Kate Turkington | Publisher: Tafelberg Publishers Ltd | ISBN: 9780624083672 ‘There are a lot of good things about getting older. When you’re young you want everyone to like you and to make an impression. When you’re old you don’t give a damn.’ Kate Turkington is fearless and fun, even now in her 80s. From the war-worn East End of London to raising a young family in a remote part of eastern Nigeria and building a career as one of South Africa’s most loved broadcasters, Turkington’s story is remarkable and revealing. You’ll laugh. You’ll cry. You will cheer. You may well be shocked. Kate Turkington is one of South Africa’s best-known broadcasters, travellers and travel writers. Her weekly Sunday night three-hour live Talk Radio 702/CapeTalk talk show, Believe It Or Not, which came to an end in early 2013, was South Africa’s longest-running radio talk show with the same host in the same time slot. She continues to broadcast as a regular guest on travel shows where she talks about the when, where, why, what and how of travel, both locally and internationally, from her vast personal experience.
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ENCORE ZOË MODIGA is a singer/songwriter/performer. She has been nominated for two South African Music Awards (SAMAs), for Best African Artist and Best Jazz Album for her debut album Yellow: The Novel, which she wrote, arranged and produced.
Name three artists that you love and why.
government investing more importance in the role of art
Nina Simone – she is the essence of expression
and art creators in the South African culture; and the
and transcendence.
entertainment industry balancing the relationship they
Jean-Michel Basquiat – he is such a fascinating character.
have with celebrities to art creators.
Mam Busi Mhlongo – she embodies all I’m looking to understand about life and expressing oneself from the heart.
What is your most treasured possession? My guitar and my soul.
What are you reading at the moment? Collective Amnesia by author and poet, Koleka Putuma.
What do you regard as the lowest depth of misery? Lack of peace of mind.
What is in your car’s CD player? Azealia Banks, Oumou Sangaré and a lot of backtracks.
What is it that makes you happy? I love to feel a sense of contentment in everything I do
If you could change one thing about yourself, what
and in every part of my life. Being able to maintain this
would it be?
balance is happiness to me.
I wouldn’t change anything… in the past it would’ve been my sensitivity but I am seeing so much worth in it.
Describe a defining moment in your life. Performing at the South African World Cup in 2010
How have the arts industries in South Africa changed
defined my journey and reminded me that being ‘silly’
over the last ten years?
enough to dream and plan my goals is going to be the
Artists have a lot more control over what they want to
beginning of every beautiful thing I do.
put into the world and more resources to accomplish this personally. There is a lot of global thinking among artists
What projects will you be busy with during 2018 and
as well as creating outside the lines.
into 2019? I don’t kiss and tell :) but I am full of surprises...
What do you think would improve the arts and culture industry in South Africa?
Name one goal you would like to achieve in the next
Radio stations playing diverse music in prime slots;
twelve months.
gatekeepers taking healthy risks on our artists; the
A consistent gym routine would be great. CF
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Creative Feel / August 2018 / 83
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If I had to imagine what it is like to fly, I’d think of singing, full-throttle over an orchestra. That, to me, is the embodiment of freedom. Elza van den Heever
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I am passionate about us as Africans appreciating the plethora of gifted people we have on our home ground.
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Zoë Modiga
In concert with RMB
In concert with RMB
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I am inspired by African people and our stories, our challenges and our triumphs. Nhlanhla Nciza
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CELEBRATING THE POWERFUL VOICE OF FEMALE TALENT This spring, four exceptionally talented women will take to the stage to celebrate the 20th anniversary of RMB Starlight Classics: Mafikizolo’s multi-award winning Nhlanhla Nciza (herself celebrating 20 years of performing); SAMA-nominated jazz singer Zoë Modiga; internationally-acclaimed soprano Elza van den Heever; and RMB Starlight Classics’ first female conductor, Unathi Malunga. This impressive line-up puts the spotlight on transforming lives through music and celebrating the power of women in the arts. 84 / Creative Feel / August 2018
Rand Merchant Bank is a division of FirstRand Bank Limited. An Authorised Financial Service Provider.
I tried to run from it – music, that is. “Do the responsible thing,” they told me. But it wouldn’t let me go. Now, I am home. Unathi Malunga
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