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Left to right: Igshaan Adams (Visual Art) Chuma Sopotela (Performance Art) Musa Hlatshwayo (Dance) Jemma Kahn (Theatre) Thandi Ntuli (Jazz) Guy Buttery (Music) #SBYA2018
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Celebrating artists that break through
S O U T H A F R I C A N C U LT U R A L O B S E R V AT O R Y 2018 NATIONAL CONFERENCE
TRENDS AND ISSUES IN NATIONAL AND REGIONAL ECONOMIES DATE :
7-8 MARCH 2018
VENUE :
NELSON MANDELA BAY STADIUM
PORT ELIZABETH
I
SOUTH AFRICA
D e a d l i n e f o r a b s t r a c t s u b m i s s i o n s : W e d n e s d a y , 3 1 s t J a n u a r y 2 0 1 8 , 1 7 : 0 0 S AT.
All abstracts and motivations to be submitted online. For more information contact the S O U T H A F R I C A N C U LT U R A L O B S E R V AT O R Y email sacoconference@mandela.ac.za or call 041 504 4930.
8 / Creative Feel / December 2017 / January 2018
Cover image:
a way that is open and accessible to all. In celebration, the
PHOTO Leshchenko Dmytro
iconic theatre has launched its 40/80 Campaign.
cover story 28
GOING BEYOND Embracing the theme ‘Beyond the creative economy? Trends and Issues in National and Regional Economies’ the South African Cultural Observatory conference will explore the roles and challenges facing the arts, culture and heritage
26 NELSON MANDELA BAY’S RENOVATED CAMPANILE PLAYS HOST TO THE ARTS One of Port Elizabeth’s most visible skyline and audible heritage landmarks, the Campanile, has been unveiled and opened to the public after renovations and upgrades.
32 ZIKULISE ENRICHES COMMUNITY Zikulise Community Upliftment Project is a non profit company dedicated to the upliftment of the unemployed and impoverished community in
contents sectors and the creative industries.
arts and culture 18 FESTIVE SPIRIT ABOUNDS AT THE PLAYHOUSE THIS DECEMBER! Back by popular demand, The Playhouse Company presents A Christmas Celebration, a festive extravaganza for the whole family!
20 THE COLOR PURPLE Award-winning South African director Janice Honeyman has signed on to helm an original production of The Color Purple in South Africa in 2018.
22 SUPPORT THE ‘PEOPLE’S THEATRE’ AS THE BAXTER TURNS 40! Over the last 40 years, the Baxter Theatre Centre has been unwavering in its commitment to presenting theatre in
Empangeni, KwaZulu-Natal.
34 UJ PUTS ITS MONEY WHERE ITS MOUTH IS The newly appointed head of UJ Arts & Culture, Pieter Jacobs, brings a wealth of knowledge and experience to the position. Creative Feel caught up with him to find out about his new challenges at UJ.
38 SAMRO SPECIAL BURSARIES HELP YOUNG MUSIC STUDENTS TO ‘REALISE OUR DREAMS’ The SAMRO Foundation has cemented its commitment to investing in South African music by awarding five special bursaries to high-calibre students.
42 THE NATIONAL YOUTH MUSIC COMPETITION Creative Feel spoke to talented young violinist, Gilah Kellner, who won the competition’s top prize.
10 / Creative Feel / December 2017 / January 2018
44 STANDARD BANK YOUNG ARTIST AWARD WINNERS FOR 2018 Igshaan Adams, Chuma Sopotela, Jemma Kahn,
around the themes of 16 Days of Activism against gender-based violence and child abuse
Thandi Ntuli, Guy Buttery and Musa Hlatshwayo are
66 JIL SANDER: THE QUEEN OF LESS
the next break-through creatives.
The Museum Angewandte Kunst (The Museum for Applied Art) has dedicated an extensive exhibition to Jil
52 #ARTMYJOZI: PLACE MAKING THROUGH ART The Johannesburg Development Agency (JDA) has
Sander, one of the most influential fashion designers of her generation.
for a number of years been passionately engaged in
70 THE LOUVRE ABU DHABI
producing Public Art on behalf of the City of Joburg.
The Emirate of Abu Dhabi launched the development of a major universal art museum project.
56 ASPIRE ART AUCTIONS LEADS CONTEMPORARY MARKET Contemporary art is an area in which Aspire has consistently led the secondary auction market, and forms a strategic focus area for the company.
lifestyle and entertainment
contents 58 INDIGO | PASSAGE TO HEALING Berman Contemporary recently showcased the collaborative exhibition, Indigo | Passage to Healing, by artists Robyn Denny and Mamela Nyamza.
60 IRMA STERN’S PORTRAITS OF FREDA FELDMAN
84 87
contributors 76
ARTLOOKS & ARTLINES
Helen Martins: Eccentric or Sufi-Spiritualist?
78
BUSINESS & ARTS
Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts
The fourth and final live auction of 2017 held at
South Africa (BASA).
Strauss & Co in Johannesburg confirmed once again that collectors’ desire for important works by Irma Stern remains strong when the two Stern portraits performed solidly.
64 THE MTN ACTIVISM & AWARENESS EXHIBITION 2017 The MTN Activism & Awareness Exhibition is curated
BOOK REVIEWS CD REVIEWS
80
THE ART OF PERFORMANCE
Dave Mann looks at a year of performance.
82
LITERARY LANDSCAPES Indra Wussow looks at the paradoxes of transformation in Myanmar.
EDITOR’S NOTE A passion to pursue
‘T
aking the time to sit down and put your entire year into perspective is a strange practice, but it has its benefits,’ writes Dave Mann in his column, and I was going to agree and do just that. But the danger of this is that one ends up not only praising, but also to complaining.
Complaining is simply not good for me. I get rather angry and anger does not
solve problems, it just plays havoc with my health. To protect my health, I thought I would dedicate the last column of the year to something I feel passionate about and what I feel could make a difference to the world, South Africa and specifically to the arts and culture scene everywhere. How about that for a statement? The Chinese curse ‘may you live in interesting times’ applies right now to the whole world, with the southern tip of Africa perhaps having some rather more interesting times than other parts in the world. We not only have ‘interesting times’, we have some of the most amazing places to encourage tourism, or, more specifically, cultural tourism, which is becoming generally more popular throughout the world. A recent report by the Organisation for Economic Co-operation and Development has highlighted the role that cultural tourism can play in regional development in different world regions. Cultural tourism has been defined as ‘the movement of persons to cultural attractions away from their normal place of residence, with the intention to gather new information and experiences to satisfy their cultural needs, specifically the lifestyle of the people in those geographical areas, the history of those people, their art, architecture, religion, and other elements that helped shape their way of life. Cultural tourism includes tourism in urban areas, particularly historic or large cities and their cultural facilities such as museums and theatres. It can also include tourism in rural areas showcasing the traditions of indigenous cultural communities, and their values and lifestyle.’ It is generally agreed that cultural tourists spend substantially more than standard tourists do and South Africa has the most amazing list of cultural attractions, from Mapungubwe to Robben Island, the rock art of uKhahlambaSylvaine Strike Drakensberg Park, the Richtersveld to the Cradle of Humankind. The Apartheid Museum, Soweto’s Vilakazi Street, the Zeitz Museum of Contemporary Art Africa (MOCAA), the Origins Centre and festivals like the National Arts Festival in Grahamstown all are high on the list of visitors. Not to forget the amazing live performances attracting international visitors. I could fill page after page with amazing attractions and I do feel passionate about how cultural tourism can play a big role in a better life for all, with youth development and job creation, as well as providing a great platform for understanding each other better, and perhaps reducing the rather interesting times and bring on better times for us all next year. A wonderful example of cultural tourism destinations: the new Louvre Abu Dhabiís plaza © Louvre Abu Dhabi, PHOTO Mohamed Somji
Creative Feel will certainly look at cultural tourism even more next year and a big thank you to all our amazing supporters and readers, you have made it all possible.
Lore
Daniel Stompie Selibe: Please | 1400x1200 | Mixed media on canvas | 2017
EXPONENTS OF CONTEMPORARY ART 11 ALICE LANE | SANDTON | SOUTH AFRICA gallery@bermancontemporary.co.za | +2710 880 2580
T
E
A
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PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za
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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 DESIGN Leigh Forrest; leigh@desklink.co.za DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION subs@creativefeel.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za PRINTING Raptor Print (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.
Performance artist Manthe Ribane in Marianne Fassler’s latex neoprene coat, inspired by the Ottoman kaftan and Japanese fashion label Comme Des Garçons. Shown as part of Marianne Fassler’s Spring/Summer 2017 range ‘CONSIDER(ED)’ at African Fashion International. PHOTO: Simon Deiner / SDR Photo
While every last effort has been made to check that the information in this magazine is correct at the time of going to press, the publisher and their agents will not be held liable for any damages incurred through any inaccuracies.
BAXTER THEATRE CENTRE FESTIVE SEASON & NEW YEAR’S EVE ’s
Marc
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ring Lotte
, the Merle
Book for any of these shows and be part of the highly popular, usually sold-out
sical
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30 NOV - 13 JAN
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11 DEC - 13 JAN
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19 DEC - 6 JAN 16 / Creative Feel / December 2017 / January 2018
Baxter New Year’s Eve bash Book now at Computicket, Shoprite or Checkers Call 0861 915 8000 or www.computicket.co.za For more information visit www.baxter.co.za
COMPETITORS ANNOUNCED
Ágnes Bazsinka
Anna-Lucia Rupp
Thembinkosi Magagula
The prestigious sixth Unisa International Voice Competition is taking place from 23 January to 3 February 2018 in the ZK Matthews Great Hall at Unisa. The competitors in the Classical Category are Leah Gunter (South Africa), Justin Kroll (USA), Megan Kahts (South Africa), Frances du Plessis (South Africa), Caroline Nkwe (South Africa), Julia Brzhetskaya (Russia), Prosper Makhanya (South Africa), Nombuso Ndlandla (South Africa), Leo Williams (USA), Thembinkosi Magagula (South Africa) and Siphokazi Molteno (South Africa). The competitors in the Jazz Category are Emma de Goede (South Africa), Elena Friedrich Sciubba (Germany-Italy), Jekaterina Sarigina (Latvia), Tahira Clayton (USA), Ágnes Bazsinka (Hungary), Amy Campbell (South Africa), Ellie Bignall (UK), Cynthia Abraham (France), Anna-Lucia Rupp (Germany), Ganna Gryniva (Ukraine) and Lauren Scales (USA). The finalists of the recent Unisa National Voice Competition gain automatic entry into the upcoming competition. Sopranos Palesa Malieloa and Cecilia Rangwanasha will compete in the Classical Category while Daniella Hart and Tshepo Tshabalala will take part in the Jazz Category. Two panels will adjudicate the two categories. Barbara Hill-Moore (USA), Oswaldo Iraheta (El Salvador), Sibongile Khumalo (South Africa), Damon Nestor Ploumis (Germany) and Tomoko Takeuchi (Japan) will adjudicate the Classical Category. The jury members for the Jazz Category are Humphrey Campbell (The Netherlands), Carla Cook (USA), Trudy Kerr (Australia/UK), Judy Niemack (Germany) and Jeff Ramsey (USA). ‘We are delighted that so many South African singers have passed the stringent requirements and have accepted the invitation to compete. Their qualification for the competition is a testament to the high quality of South African performers who surpassed several international applications. The Unisa Music Foundation is extremely proud to offer these young musicians an opportunity to perform at an international event. The prize money usually provides much-needed funding for further music studies,’ says Prof Karendra Devroop, Director of the Unisa Music Foundation. CF Creative Feel / December 2017 / January 2018 / 17
As 2018 looms… 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.
A
s stores and shopping malls fill up with ‘Christmas Cheer’ and all the associated madness, Casta Diva Boutique Hotel offers a hidden
sanctuary in north of Pretoria where you and a few friends can escape the consumer-driven holiday season – your place to retreat. Casta Diva now boasts a total of 27 beautifully decorated, elegant accommodations. Visit the Casta Diva listing on Tripadvisor.com to view some of the reviews and experiences of other guests who have found tranquillity at the hidden gem on the slopes of the Magaliesberg mountain range. In addition to four-star accommodation, this boutique hotel offers the culinary skills of their Charisma Restaurant kitchen team. Here, the
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.
food is excellent, the ambience is elegant and the experience is always memorable. Book a table for a romantic dinner, a small family function or just a special meal. If you enjoy supporting local, up-and-coming artists, book tickets to one of the events hosted in the intimate Vissi d’Arte Theatre/Art Gallery on a Saturday evening. You can visit Casta Diva’s Vissi d’Arte Facebook page for updates on events. So, whether it be a break-away from the Christmas madness, a relaxed Christmas lunch or a rejuvenation to start and prepare for the New Year, or just before work starts and life commences, why not find peace at an oasis in the city? Take time for yourself and enjoy the peaceful beauty of the best-kept secret in Gauteng – Casta Diva Boutique Hotel, the place to… enjoy life.
COMPOSE YOUR FUTURE Apply for a SAMRO Music Bursary! I www.samrofoundation.org.za
SAMRO FOUNDATION
MUSIC EDUCATION
Festive Spirit abounds AT THE PLAYHOUSE THIS DECEMBER!
Back by popular demand, The Playhouse Company presents A Christmas Celebration, a festive extravaganza for the whole family!
A
Christmas Celebration is set to light up the Playhouse Opera Theatre stage from 21 to 24 December. Directed by renowned theatre giant Ralph Lawson, A Christmas Celebration promises to
deliver festive sizzle and spectacle. With stunning music and dance, a top-notch cast, and the KwaZulu-Natal Philharmonic Orchestra – this is one festive treat surely not to be missed! A Christmas Celebration will also feature popular gospel sensation, Dr Tumi, the well-loved Timothy Moloi, as well as songbird Khanyo Maphumulo, Darren Maule and Thandeka Dawn King. The renowned KZN Philharmonic Orchestra,
20 / Creative Feel / December 2017 / January 2018
Wesleyan University in the USA. His critically-acclaimed debut album Love That Music was nominated for two SAMAs. In December 2016, he performed in both Moscow and Saint Petersburg as part of the SA-Russia Cultural Exchange. Moloi will also be taking part in the first Great South African Bake Off Celebrity Special which airs on 19 December 2017 on BBC Lifestyle on DStv. Khanyo Maphumulo was born into a musical family of six. She started singing professionally at the tender age of 13 when she was cast as a lead in the musical play Sarafina! By the age of 17, Maphumulo had already lent her sweet and powerful voice to the recordings of South Africa’s the award-winning Playhouse Dance Residency and The
leading talents such as Rebecca Malope, Jonas Gwangwa,
Playhouse Chorale are all on board for an awe-inspiring
Lucky Dube and the legendary Afro-Jazz group, Bayete. To
festive offering.
date, Maphumulo has featured on more than 50 local and
A seasoned minister of song, Dr Tumi is known for
international albums and toured with the likes of Hugh
belting out in-season gospel melodies. The award-winning
Masekela, Busi Mhlongo and Mango Groove, Juluka, Ringo
artist stands out as one who writes biblical songs that are
Madlingozi, as well as international artists such as Oleta
bridging the gap. A former lead singer for award-winning
Adams, Angelique Kidjo, Patti Austin and Simply Red. She
gospel group Intense, Dr Tumi composed all the songs for
has recently been working on the play Songs of Migration
the group’s album Heart2Heart, save one. He also wrote all
by James Ngcobo and the legendary Bra Hugh Masekela,
16 tracks for his debut album Heart of a King, which won Best
featuring the likes of Sibongile Khumalo and Gloria Bosman.
R&B Gospel Award at the SABC Crown Gospel Music Awards
A Christmas Celebration runs from 21 to 24 December
in 2012, where he was also nominated in four categories. Dr
only! Tickets range from R80 to R120 and are available from
Tumi recently released his latest live offering called Love and
Computicket or from the Playhouse Box Office on
Grace, a 15-track album packed with fresh new songs that he
(031) 369 9596 / 9540. For block booking specials, call
wrote and produced. The album reached gold status within
(031) 369 9407. Playhouse patrons receive discounted
two months of its release.
parking at The Royal Hotel Parkade. The Playhouse coffee
Born and raised in Soweto, Timothy Moloi has led a busy performance schedule since completing his studies at Ohio
shop offers a variety of light meals and drinks, while the Playhouse bar is open for every performance. CF
Creative Feel / December 2017 / January 2018 / 21
Janice Honeyman directs South African production of
The Color Purple Following hot-on-the-heels of the musical’s 2016 Tony Award in New York for Best Musical Revival, comes the exciting news that award-winning South African director Janice Honeyman has signed on to helm an original production of The Color Purple in South Africa in 2018.
22 / Creative Feel / December 2017 / January 2018
“This gut-wrenching but beautiful human story triumphs and towers over hardship, abuse, discrimination and poverty. But it is clearly not all pity and pain – it has a robust vibrancy and a lifeaffirming resonance that thrills and excites my sense of musical theatre!”
E
xecutive Producer Bernard Jay is delighted that one of the country’s most respected and acclaimed theatre directors, Janice Honeyman, whose recent musical theatre successes include The Boys in the
Photograph, Starlight Express and Sister Act – will lead the allSouth African creative team and cast of The Color Purple. Of her latest project, Honeyman says: ‘Alice Walker’s book is a series of intimate letters that, in my first reading of it many years ago, cried out to be brought to life onstage through performance. And now it has been turned into a musical – emotionally breathtaking, alive and profoundly moving. On my first hearing of the CD, I was touched to my soul. It strikes a chord which can be felt in a very deep and vulnerable heart-place in all women. ‘This gut-wrenching but beautiful human story triumphs and towers over hardship, abuse, discrimination and poverty. But it is clearly not all pity and pain – it has a robust vibrancy and a life-affirming resonance that thrills and excites my sense of musical theatre! ‘The characters and the music shift between sassy, soulful, lyrical, spiritual and jazzy, but at all times they show a passionate and heartfelt energy. In The Color Purple, there are wonderful opportunities for our truly talented acting and musical community to shine, and I can’t wait to embark on telling this multi-layered story to our sensitive and receptive theatre-going public.’ The Color Purple is presented by Joburg Theatre and Bernard Jay, in association with MNET, 702 and Boma Magazine and officially opens on the stage of The Mandela at Joburg Theatre on Sunday 4 February 2018. Tickets are available at www.joburgtheatre.com CF
Creative Feel / December 2017 / January 2018 / 23
SUPPORT THE ‘PEOPLE’S THEATRE’ AS THE BAXTER TURNS 40! Over the last 40 years, the Baxter Theatre Centre has been unwavering in its commitment to presenting theatre in a way that is open and accessible to all. In celebration of this milestone, the iconic theatre has launched its 40/80 Campaign to secure funds and a future for the arts. Creative Feel spoke to the CEO and Director, Lara Foot, and her team to find out how we can ensure that this important cultural space continues to thrive for the next 40 years.
24 / Creative Feel / December 2017 / January 2018
T
he Baxter Theatre Centre, designed by the award-winning architect Jack Barnett, opened on 1 August 1977. It came into being as the result of a bequest from the late Dr William Baxter who, in his will, bequeathed R553 866 to the University of Cape Town for the purpose of establishing a theatre. Throughout its history, the
Baxter has been home to almost all of South Africa’s and other international leading actors, producers and directors, presenting programmes from local and international repertoires – from classics to cutting-edge. The theatre has been home to some of South Africa’s most loved productions. John Kani and Winston Ntshona performed Waiting for Godot, Sizwe Banzi is Dead and The Island, while Kani also performed Waiting for Godot with Pieter-Dirk Uys – this was Uys’ first appearance at the Baxter in 1979. Winston Ntshona and Peter Piccolo were also in the cast. In 1985, Kani performed Miss Julie with Sandra Prinsloo, which caused great uproar in apartheid South Africa – it was the very first on-stage kiss between and black man and white woman. With death threats and banning orders, the government tried everything in their power to prevent the production from being staged in local theatres. The play went on to become the first SA production to be invited for performance at the Edinburgh Festival. The Baxter’s production of Mies Julie scooped all the top awards at the festival in 2012. Creative Feel: The Baxter has historically been associated with the University of Cape Town (UCT) to enable ALL South Africans to be part of the audience. What type of plays did the Baxter Theatre focus on in the early years? The Baxter: During the apartheid years, the Baxter provided an alternative to the government-run Nico Malan Theatre Centre (now the Artscape Theatre Centre). While the Nationalist government could prevent the Nico Malan from staging productions that challenged its views, they could not exert the same degree of control over the Baxter, which was protected by the university’s academic freedom charter. This has allowed the Baxter to truly be a theatre for the people, accommodating all the cultures and people of South Africa. Dr John Kani wrote, ‘The Baxter Theatre opened its doors during the most difficult time of our country’s history. There were no theatres in Cape Town in the 1980s that would take the risk of presenting works by black artists. The Baxter became the only theatre that allowed the alternative voice to be heard, especially from the black communities. Because of its fortunate location, situated inside the grounds of the University of Cape Town, they could present and produce the “Protest Theatre” plays. Both Sizwe Banzi is Dead and The Island played for many seasons at the Baxter to all the surrounding
Artist’s impression of the Baxter Creative Feel / December 2017 / January 2018 / 25
communities of the Western Cape. The Baxter Theatre created
through the renting of the spaces and venues and through our
the exchange corridor with other main theatres in South Africa.’
fundraising efforts.
The Baxter was also one of the first ‘established’ theatres to build a relationship with local township groups. The Cape
CF: How long has Lara Foot been at the helm of the Baxter
Flats Players, who mainly performed their own original works,
Theatre? And how do you go about finding plays and
opened many of their plays at the Baxter, which would then
performances that bring people into the auditorium? Are
go on to play at the Market Theatre in Johannesburg.
there any particular genres that are ‘sure winners’?
The Baxter has unwaveringly continued this tradition
Baxter: In 2005 Lara relocated to Cape Town from Johannesburg
of showcasing South African talent as is evidenced by
to take up the position of Resident Director and Dramaturge
the productions that have won awards and acclaim both
– a post that she held until 2007. She was appointed CEO and
nationally and internationally such as Mies Julie, Solomon and
Director at the Baxter Theatre Centre in January 2010.
Marion, Karoo Moose, Tshepang and The Fall in which South
She has directed over 50 professional productions, 38 of
African and African themes are given voice and visibility by
which have been new South African plays. Lara is a former
South African directors, producers, actors and designers.
Rolex protégé to Sir Peter Hall in the prestigious Rolex Mentor and Protégé programme as well as a Sundance Fellow. She
CF: The Baxter is still connected to UCT (though only
has previously worked at The Market Theatre under the
partially funded by them). How do you cover your operating
mentorship of Barney Simon and in 1996 became Resident
costs and what portion of your expenditure is funded?
Director and from 1998 to 2000 she was the Associate Artistic
Baxter: UCT covers approximately 40% of our operational
Director. In 2016 she was the Featured Artist at the National
costs and we have to raise the remainder ourselves. The
Arts Festival. With a host of theatre accolades to her name, her
Baxter is a UCT project and we get considerable support
own hard-hitting plays tackle social issues in South Africa and
from the university. However, they cannot give us all that
these have earned her great respect and recognition locally
we need to do our work. The university meets all the costs
and internationally. Lara’s passion is the development of
associated with the Concert Hall – one of the complex’s five
indigenous work, young writers and directors.
stages. As a result, the Concert Hall’s primary purpose is to
Integral to the Baxter’s vision is that its productions
serve as a teaching and performance venue for the South
cater to diverse audiences and that the artistic programme
African College of Music. The university also covers part of
includes a range of music, dance and theatre productions.
the infrastructure costs through an annual operating grant.
In addition, community development projects, arts festivals
This means, therefore, that the Baxter has to find 60% of the
and workshops entertain and educate patrons and make
funding to cover everything else such as all salaries, including
the theatre and the art of theatre-making a genuinely
security, cleaning, production staff and ad hoc artists, as
collaborative and communal activity. The Baxter maintains
well as electricity, maintenance, publicity, marketing, staff
a careful balance between popular productions and more
transport home at night and all artistic projects. This is done
progressive works and encourages the presentation of original
26 / Creative Feel / December 2017 / January 2018
by visiting the Baxter’s website where there is a ‘Donate’ icon on the homepage, making it easy and simple to give generously; subscribe to the online newsletter or like the facebook page and for just R100, enter the monthly competition with great prizes to be won; a Snapscan payment option has also been introduced -the QR code can be found throughout the foyers or on the website; when buying tickets online there is the option of donating an extra R10 or R20 each time a booking is made and finally, the Name-a-seat option offers the public the opportunity to do just that – the perfect birthday, anniversary or retirement gift, or a very special tribute in memory of a loved one will be displayed on a plaque. The corporate and business sectors who wish to align their brands with the Baxter’s vision and success and in turn, create additional exposure to larger diverse audience. That means that benefits that stretch far beyond the signage will include constant exposure to over 2 000 patrons who visit the theatre daily. Should any businesses want to take up this opportunity they can contact the Baxter’s CEO, Lara Foot. All South African dramatic writing, increasingly producing
contributions to the Baxter are eligible for Tax Deductions under
original South African work.
Section 18A of the Income Tax Act.
There is a strong commitment to local communities in and around Cape Town, evident through its education programmes,
CF: In the past you have collaborated with other theatres
community theatre and community programmes.
in South Africa and even overseas. Are these partnerships/
The Baxter’s Zabalaza Theatre Festival has become
collaborations still ongoing? And which festivals are you
recognised and respected as one of the most vital and
involved with?
important platforms of its kind in South Africa.
Baxter: Yes we have collaborated with other theatres locally, nationally and internationally and we strive to keep these
CF: How do you approach fundraising? What can the ‘friends
collaborations ongoing to make sure that we are able to
of the Baxter’ do to aid in making the theatre sustainable?
provide the best theatre.
Baxter: The Baxter Theatre has had to fundraise and
As part of its 40th anniversary celebrations, the Baxter was
generate its own income in order to support its theatrical
invited to showcase six award-winning, cutting-edge, South
and creative activities.
African productions at the 2017 Edinburgh Assembly Fringe
The theatre currently does not receive a subsidy from
Festival in Scotland, in August, to great success. The Fall,
national government and funding is thus reliant on non-
Tshepang: The Third Testament, Karoo Moose – No Fathers, The
government foundations and trusts, provincial departments
Inconvenience of Wings, Tobacco and Mies Julie each received
such as the Department of Cultural Affairs and Sport, national
at least one (and in some cases more) five-star reviews and
parastatals such as the National Arts Council, individual
standing ovations in Edinburgh with The Fall scooping the
donations, corporate sponsorship and fundraising campaigns.
Scotsman Fringe First Award and The Stage Cast Award.
The Baxter pursues a number of avenues in raising support. Grants, sponsorships, individual donations, bequests, and
CF: You’ve had a successful year while celebrating the
special project fundraising all work together to grow not only
Baxter’s 40th anniversary. What are the plans for 2018 and
our funding base, but even more importantly, the involvement
hopefully the next 40 years?
of all our patrons and partners in building a theatre legacy
Baxter: Lara Foot’s vision is for the Baxter to be one of the
that is creatively outstanding, technically superb and wholly
top theatres in the world. It is this declaration of intent
reflective of the diverse richness of all our experiences.
that drives the staff to excellence every day. The Baxter is
Leading up to its 40th birthday, the Baxter embarked on an innovative initiative called the 40/80 Campaign, a simple and accessible fundraising drive inviting the public and the
surrounded by the talent, the motivation and the opportunity to make this vision a reality. The main aim of the 40/80 campaign, and her vision for
business sector to join us in turning a 40-year legacy into an
the next 40 years, is to grow our endowment fund so that
80-year commitment. There are five simple ways to contribute
we may secure a vibrant and crucial theatre for our future
towards the campaign. Donations of any amount can be made
audiences and artists. CF To find out how to donate to the Baxter Theatre or to participate in their 40/80 Campaign visit www.baxter.co.za
Nelson Mandela Bay’s renovated
CAMPANILE
PLAYS HOST TO THE ARTS
Words: Luvuyo Bangazi | MBDA Spokesperson
One of Port Elizabeth’s most visible skyline and audible heritage landmarks, the Campanile, has been unveiled and opened to the public after renovations and upgrades.
Local artworks displayed inside a gallery at the Campanile
T
he Campanile Memorial has a climb of 204 steps
Art exhibition currently on at the Campanile A special computerised, purpose-built, electro-
that takes one to the Observation Room, offering a
mechanical bell ringing system has also been installed for
magnificent view of the harbour and surroundings,
the Campanile’s 17-tonne bell carillon that was removed,
more than 52 metres above the city. It contains
restored and reinstalled by the MBDA over the last year to
the largest carillon of bells in the country in addition to its
ensure that the crispness of each bell is pitch perfect. The
chiming clock.
Campanile bell can now play any melody that is programmed
Some of the new features of the Campanile include an interactive visual-technology array, dubbed ‘Ghost Bells’ – bell
into its state-of-the-art digital interface. The Campanile has also been upgraded and developed
proxies installed under the actual bell carillon. These visually
to be an economic asset to grow, develop and promote
light up during chiming or when visitors press the keys of an
Mandela Bay’s creative and arts economy, according to the
interactive silver console to match the pitch of a key with the
Executive Mayor.
corresponding bell. Another addition includes the harbour-
Pointing to recent studies by the South African Cultural
viewing window – an observation deck capsule at the top of
Observatory (SACO), the Executive Mayor said the cultural
the 50-metre Campanile memorial, suspending visitors in the
and creative industries grow at a faster rate than non-
sky as they overlook the Port Elizabeth harbour.
cultural sectors of the economy.
A new reception area, which will act as an information
‘To keep with this growth trend and to ensure that the
desk, and several exhibition areas within the Campanile have
city provides ample opportunities for creative and arts
been developed for the city’s creative communities. Other
communities, several galleries and exhibition spaces have been
features include a silver plaque on the 67th step of the 204-
incorporated on various floors of the Campanile memorial.
step spiralling staircase to acknowledge Nelson Mandela’s 67 years in service of democracy. The new upgrades and renovations introduce a host of innovative new features and activities, with the potential to revive tourism experiences at other heritage sites.
28 / Creative Feel / December 2017 / January 2018
‘The inclusion of these spaces will ensure that the city’s arts, culture and heritage communities benefit from heritage tourism and urban renewal,’ he said. The Executive Mayor said that while the upgrades and renovations of the Campanile focused on fixing a
THE TRAMWAYS CATERS FOR: • CONFERENCES • EXHIBITIONS • MUSIC EVENTS • CRAFT SHOWS • FOOD MARKETS View of the Campanile tower from the City Square memorial site that had begun falling into disrepair, the city simultaneously had to explore how it would decolonise the heritage landscape of the Campanile. ‘A strategic imperative was to construct a new heritage identity for the Campanile,’
• NIGHT MARKETS • PRODUCT / SERVICE LAUNCHES • ART EXHIBITIONS • COCKTAIL EVENTS AND SO MUCH MORE
he said. The Executive Mayor also noted inscriptions in Afrikaans and isiXhosa were made on some bells – all but six bells were contributed chiefly by descendants of the 1820 settlers as tribute to their forebears. Through new inscriptions, the bells have been rededicated to all people of Nelson Mandela Bay and also the deceased crew of the SS Mendi, a ship which sank in 1917 in the English Channel and resulted in the deaths of 646 people, most of whom were black South African troops. He also indicated that the addition of the art galleries allowed the NMBM to move the Campanile from a colonial artefact into an inclusive public space as ‘the creative power of arts and culture remains a vehicle of democracy, an instrument to address current challenges and issues facing all South Africans and a tool to engender new narratives and transformation.’ The Campanile also provides ample opportunities for creative and arts communities with several galleries and exhibition spaces incorporated on various floors. All of these new features offer a welcoming start to the city’s iconic Route 67 – a public art urban meander dedicated to Nelson Mandela which has its starting point at the Campanile. CF The Campanile is open to the public Monday to Saturday from 08:00 to 17:00 weekdays and until 15:00 on Saturdays. For
The newly revamped historic and iconic building is now ready to host your bespoke events. With easy access at market related rates, The Tramways offers a more than 1000m2 canvas to create your own masterpiece, as well as a secure and guarded parking lot. We are less than 10 minutes away from the Port Elizabeth International Airport, Beach Front, City Centre and Heritage routes criss-crossing Nelson Mandela Bay.
in less than a year been a hive of activity, hosting a wide range of events that attract and cater for various target markets within the Nelson Mandela Bay area. Our most popular events to-date include the Valley Market that is hosted on the first Saturday of every month, the Good Night Market every third Thursday of the month, the Traditional Shotokan Karate Alliance competitions and many more.
We look forward to partnering with you in creating memorable events. For more information contact: Vuyiseka Skepe on 041 811 8236 or email tramways@mbda.co.za or connect with us on Facebook at: https://www.facebook.com/TheTramwaysNMB/ or Instagram @thetramwaysbuilding
Boasting a rich history from being a tram and bus depot and then an ice rink, The Tramways Building has
more info visit www.route67tours.co.za
Creative Feel / December 2017 / January 2018 / 29
A proud development by
1st Floor, Tramways Building, Cnr Valley Road & South Union Street
GOING BEYOND The South African Cultural Observatory will host its third annual international conference in Nelson Mandela Bay in March 2018. Embracing the theme ‘Beyond the creative economy? Trends and Issues in National and Regional Economies’ the conference will explore the roles and challenges facing the arts, culture and heritage sectors and the creative industries, in contributing to social and economic development.
T
he future of creativity and its role in our society will be a key focus area of the South African Cultural Observatory’s (SACO) third international conference, which returns to Nelson Mandela Bay in March 2018, the research institute recently announced. Embracing the theme ‘Beyond the creative economy? Trends and Issues in
International and Regional Economies’ the 2018 conference will run over two days on 7 and 8 March 2018, at the Nelson Mandela Bay Stadium in Port Elizabeth. ‘The conference will explore the roles and challenges facing the arts, culture and heritage sectors and the creative industries, in contributing to social and economic development. It takes cognisance of new trends and emerging debates regarding the dynamics, working and social effects of the creative economy on a national and international scale,’ says Prof Richard Haines, Chief Executive Officer of the South African Cultural Observatory. ‘What that economy means and who it serves has changed radically in the past 25 years. We are more interconnected, intertwined and inter-reliant than ever before. Yet, social and economic divisions prevent efforts to establish real collaboration and effect real meaningful change. It is now, more than ever, that we need to begin to explore the future and economic potential of creative solutions. ‘The upcoming SACO conference will examine policy issues; the nature and scope of cultural participation and cultural rights will also be considered, as will questions regarding the institutional and social embeddedness of creative economies,’ says Haines. ‘The impact of new technologies and the restructuring of popular culture in terms of production and consumption will constitute an important emphasis,’ he adds. This is the SACO’s third international conference since it was established in 2014 by the Department of Arts and Culture (DAC) to advance research in the field of cultural information systems. SACO is hosted by Nelson Mandela University, in partnership with Rhodes University and the University of Fort Hare. ‘We are equally thrilled to welcome the conference back to Nelson Mandela Bay, the home of SACO, to contribute to the economic development of the Eastern Cape. We look forward to showcasing the vibrant creative sectors that the city has to offer as well as framing important debates for our future,’ Haines concludes. The Conference is scheduled to take place at the Nelson Mandela Bay Stadium in Port Elizabeth on 7 and 8 March 2018. The standard rate for the conference is R750.00. Registration is now open, with early bird registrations closing on 12 January 2018. For more information, please visit www.southafricanculturalobservatory.co.za
30 / Creative Feel / December 2017 / January 2018
SOUTH AFRICAN CULTURAL OBSERVATORY 2018 INTERNATIONAL CONFERENCE
First Call For Papers And Presentations The South African Cultural Observatory (SACO) invites all local and international academics; industry professionals and practitioners; public managers and intellectuals; researchers and consultants; private sector sponsors and practitioners; NGOs; organisations working in Cultural and Creative Industries (CCIs); and organisers of cultural festivals and events to submit abstracts and proposals for consideration for the SACO’s third International Conference on 7 and 8 March 2018, at the Nelson Mandela Bay Stadium in Port Elizabeth.
P
roposals from relevant disciplinary and
‘Beyond the creative economy? Trends and Issues in
interdisciplinary fields that are relevant to the
National and Regional Economies’
themes and subject matter outlined below will
While the nature and pace of the embeddedness of the
be considered. Proposals from practitioners,
creative economy varies considerably on an international
organisations and interested parties in all cultural domains –
scale, there is little doubt that the notion and impact of the
and particularly case studies – are welcome.
creative economy has become distinctly more significant to
Proposals for papers and presentations should take the
policy makers. While the creative economy continues to gain
form of an abstract of between 200-400 words
traction within national and regional economies, new sets of
Proposals for popular or academic panel discussions
questions and challenges are emerging. Although countries
should be accompanied by a short rationale, abstract
and their peoples are increasingly connected within the
or motivation, under 500 words, and a short outline of
global community and economy, social inequalities are
the speaker/s’ experience in the field.
deepening. In addition, prescriptions for the promotion of
Prompt consideration will be given to all
the creative classes may well lack the necessary element of
submissions, and applicants will be notified within
social inclusiveness. And with changing public spending
two weeks whether their submissions have been
priorities and the increased recourse to neo-liberal options
accepted.
in regard to public funding of the arts, culture and heritage sectors and institutional support for the creative economy,
Creative Feel / December 2017 / January 2018 / 31
effective policy making becomes more challenging.
In support of the major theme, papers, presentations
Moreover, for many countries in the global ‘South’, the
and panel discussions are invited within the following
benefits of social media, cultural production, the expansion
broad thematic areas. These will be refined in line with
of profit-making around intellectual property, often seem
abstracts and papers accepted:
to flow asymmetrically to the ‘North’ and other developed economies. As new scholarship shows, sustaining and
Re-visioning the Creative Economy
directing the creative economy requires new, sustainable and
The Future of Work in the Creative Economy
citizen-oriented prescriptions, policies and interventions.
Creative Classes: New Directions
The South African Cultural Observatory’s 2018
Cultural Occupations and Employment –
International Conference considers these and other important
Transformation and Job Creation in the CCIs
trends and debates. It will explore the roles and challenges
The Labour Process in the new Creative Economy
facing the arts, culture and heritage (ACH) sectors and the
Innovation, Technology, Online Culture and Creativity:
creative and cultural industries (CCI), in contributing to social
New Digital Pathways
and economic development. It will also take cognisance of new
International Trade in Cultural Goods & Services:
trends and emerging debates regarding the dynamics, working
Potential Economic Growth Drivers?
and social effects of the creative economy on a national and
Whose Creativity?: Copyright and Ownership in the
international scale. Policy issues and the nature and scope of
CCIs
cultural participation and cultural rights will be considered, as will be questions regarding the institutional and social
Funding Arts, Culture and Heritage: Current Concerns
embeddedness of creative economies. The impact of new
and New Options
technologies and the restructuring of popular culture in terms
Public and private funding for Arts, Culture and
of production and consumption will be an important emphasis.
Heritage in an Era of Low Economic Growth
32 / Creative Feel / December 2017 / January 2018
Funding Partnerships for Sustainability The Knowledge Economy and the Cultural Sector: Crowdsourcing, New Funding and Cultural Innovation Funding Flows: The Role of Monitoring & Evaluation in Promoting & Evaluating the Impact and Effectiveness of Cultural Funding Culture & the Creative Economy: Area Studies BRICS: Partnerships, Collaboration and Comparative Studies The CCIs and Africa The Potential of the CCIs in Developing Countries & the Global South Local Economic Development and the Cultural & Creative Industries Creative Cities and Urban Development Cultural Policy in the Age of Neo-Liberalism: Theories and Applications Civic Engagement and Local Culture Space, Place and the Role Of Arts & Culture Soft Power: Real Cultural Diplomacy At Work Regional Cultural Policy, Growth and Development National Cultural Policy Debates: Economic, Cultural and Social Goals Arts, Culture and Heritage Policy: Country and Case Studies Popular Culture and the Creative Economy Theorising Contemporary Popular Culture Class and Culture: New Departures? Big Data’s Role in Understanding the CCIs The Film, Television, Animation & On-Demand Sector: Africa Rising? The Audio-Visual Sector: Online Distribution, Piracy and the Impact on Value Chains and Access to Cultural Goods and Services. Going Social? Social Media, Advertising, Audience Development and the Creative Economy Cultural Rights & Participation Leveraging Heritage: New frontiers Arts and Cultural Education Cultural Rights Audience, Education and Participation in Arts, Culture and Heritage Social Cohesion – the Glue? Measuring Social Cohesion and the Link between the Arts, Culture and Heritage Sectors, National Identity and Wellbeing. Charting the Creative Economy: Past, Present and Future Growth and Development of Cultural Events and Festivals: Competition Studies in the Contemporary History of Cultural Policy in South Africa Developing and Developed Countries Deadline for abstract submissions: Wednesday, 31 January 2018, 17:00 SAT. All abstracts and motivations to be submitted online. For more information contact the South African Cultural Observatory conference team via email sacoconference@mandela.ac.za or call 041 504 4930. CF
MEASURING & VALUING SOUTH AFRICA’S CULTURAL & CREATIVE ECONOMY Creative Feel / December 2017 / January 2018 / 33
ENRICHES COMMUNITY Zikulise Community Upliftment Project is a nonprofit company dedicated to the upliftment of the unemployed and impoverished community in Empangeni, KwaZulu-Natal.
B
y now, most of us are probably aware of the old saying
bead weaving to ceramics and baking, are covered by grants
that goes: ‘Give a man a fish and you feed him for a day;
and donations made to Zikulise by sponsors. The NAC was
teach a man to fish and you feed him for a lifetime.’ In
the first funder of the project in 2004, which enabled it to get
essence, this adage highlights the importance and long-
off the ground and register as a non-profit company in 2005.
term viability of knowledge and skills sharing, and at its very core
More than a decade later, the NAC again approved funding
speaks to development and growth. In the South African context,
for the project in 2017.
where poverty, unemployment and inequality are rampant, it’s
‘Zikulise develops and contributes to the South African
somewhat comforting to know there are organisations out there
arts landscape as its courses relate to traditional bead
that are acting on this profound saying.
weaving, textile art and ceramics. Textile art includes
Zikulise Community Upliftment Project’s founder and
working with fabrics (embroidery, embellishing and fabric
executive director, Julie Jonson, says: ‘We focus on providing
painting) and grass weaving; and working with wool, yarn
sponsored income-generating skills training to unemployed
and recycled materials,’ says Jonson.
individuals, enabling them to become self-supporting and
One of Zikulise’s greatest achievements in terms of
self-sustainable, thereby also adding to the local economic
how its courses are structured is that they are all coupled
development of the region.’
with training in business skills. ‘The grant funding
According to Jonson, the costs for the training, which ranges from foundation and advanced courses in sewing and
34 / Creative Feel / December 2017 / January 2018
approved by the NAC for 2017 assisted Zikulise in providing seven young, unemployed individuals valuable income-
generating skills training in textile and bead art, coupled with business skills, over a period of one month. An incubation phase of one month was included and was also funded by the NAC. The total duration of the skills training is two months,’ says Jonson. With a strong emphasis on making products that are marketable, unemployed individuals from the local community received incomegenerating skills training via the NAC grant, and were also exposed to creating products that focused on design and innovation. Another important element, according to Jonson, was that the trainees were made aware of the importance of using recycled materials in creating their products. The benefits of projects such as Zikulise are far-reaching and sustainable, and shed light on how skills training and knowledge sharing can lead to grassroots development with an exponential and compounding effect. As an organisation with a mandate to promote socioeconomic development through the arts, the NAC is proud to be involved with Zikulise, as it gives expression and realises many of the values the NAC upholds and sees as crucial to a prosperous future. CF
Creative Feel / December 2017 / January 2018 / 35
UJ PUTS ITS MONEY WHERE ITS MOUTH IS UJ Arts & Culture, a division of the University of Johannesburg’s (UJ) Faculty of Arts, Design & Architecture (FADA), produces and presents world-class student and professional arts programmes aligned to the university’s vision. A vision that sees the university as an international university of choice, anchored in Africa, dynamically shaping the future. The newly appointed head of UJ Arts & Culture, Pieter Jacobs, comes highly qualified, with a degree Pieter Jacobs PHOTO Suzy Bernstein
36 / Creative Feel / December 2017 / January 2018
The Con Cowan Theatre
U
J’s strategic objectives aim to achieve ‘excellence
African Gothic PHOTO Jan Potgieter
in acting/performing arts from Tshwane University of Technology (TUT), completed a business management programme at Unisa and a Master’s in Creative Writing from Wits University. As the very successful CEO of the Arts & Culture Trust
in research, innovation, teaching and learning, an international profile for global excellence and stature, and an enriching student learning,
friendly learning and living experience in a national and global reputation.’ UJ Arts & Culture plays a vital role in this, providing a robust range of art platforms on all four UJ campuses so that students, staff, alumni and the general public can experience and engage with emerging and established Pan-African and international artists, drawn from the full spectrum of the arts. With regards to actual student experience, UJ Arts &
for seven years, Jacobs brings a wealth of
Culture plays a notable role in terms of the programmes
knowledge and experience to the position.
that the university offers students. Pieter Jacobs points out
Creative Feel caught up with him to find
that the norm at most universities is that unless students specifically study the arts, they don’t get the chance to
out about his new challenges at UJ.
take part in arts programmes in the way that they would at UJ. While the UJ Arts & Culture department does not
Creative Feel / December 2017 / January 2018 / 37
offer accredited courses at present, they do contribute to a holistic student environment in a vital way. The department is multi-layered, with highly demanding theatre and music productions, the UJ Art Gallery – which also shows external exhibitions such as the recent Shifting Conversations, a collaboration between UJ and MTN Foundation – and the remarkable UJ Choir, to name a few. Part of Jacobs’ plan is to have more of the same opportunities across all campuses, while some art platforms remain on a particular campus – drumming, for example, is only available on the Doornfontein campus. Jacobs has also facilitated a partnership between UJ Arts & Culture and Moving into Dance Mophatong (MIDM), who will present Afrofusion, contemporary and hip-hop classes across all campuses. Poetry slamming and the poetry festival, which is hugely popular at the university, will also be available across all four campuses in the future. Jacobs will also be reinstating acting classes so that even if a student doesn’t end up in one of the productions, they can still take acting lessons. The aim is to create a platform for all of these students, who are in a production or in the choir or in the jazz band, to have the opportunity to perform at the planned student art festival at the end of the year. For a two-week period, UJ Arts & Culture venues will see dance
38 / Creative Feel / December 2017 / January 2018
THE DEPARTMENT IS MULTILAYERED, WITH HIGHLY DEMANDING THEATRE AND MUSIC PRODUCTIONS, THE UJ ART GALLERY, AND THE REMARKABLE UJ CHOIR, TO NAME A FEW
and theatre productions, musicals, student productions, as well as an acting and a dance showcase for those students not part of the productions. Something Jacobs is also exploring is casting students and professionals in the same productions as part of the theatre season. The highlight of this will be the production of African Gothic (a successful development run was staged in October). Three hundred second year students from across FADA’s different departments (Graphic Design, Architecture, Jewellery Design, Interior Decorating and Industrial Design) were divided into groups and worked on the different elements of African Gothic. The winning group then designed and created the actual stage set that was mounted. The costumes and posters also came out of this process. Over the five-day development run, audience surveys tested what worked and what didn’t work – all of which will be implemented for the 2018 production of African Gothic that UJ Arts & Culture will be taking to the National Arts Festival in Grahamstown. At the same time, a new project is under way for 2019. Students will be given a ‘theatre one-on-one’ course, which includes two weeks of master classes on design for theatre, costume design and set design. Industry professionals, such as Sarah Roberts who is a theatre designer and Wits lecturer, are brought in to ensure students receive a high standard of training. They also take part in a master class on marketing for theatre. They are then taken through the production brief and told what the scope of the project is, before being given a week to physically build the models, create marketing campaigns and other collateral. There is also, of course, the comedy series, which is done in collaboration with POPArt and Goliath&Goliath. This hugely successful series is always a hit with the students, says Jacobs. ‘That’s one thing that does not need to be advertised. If they know when it is, where it is, they come. They fill the Con Cowan.’ The music season, which leads up to the muchanticipated Dean’s concert (a fundraiser for the Dean’s bursary fund), is also always a hit. One change that Jacobs will be bringing in, though, are jazz concerts during the year, as well as a UJ weekend of jazz, which will focus on urban jazz and young, emerging jazz musicians. Fittingly, the jazz weekend will take place during Africa Month, starting on 18 May. All in all, this will be a full programme for the UJ Arts & Culture department and an embodiment of UJ’s belief in a holistic lifestyle for its students. As Jacobs says, ‘it’s amazing that for so long, they really have put their money where their mouth are by giving their students these opportunities.’ CF
Creative Feel / December 2017 / January 2018 / 39
The SAMRO Foundation has cemented its commitment to investing in South African music by awarding five special bursaries to high-calibre students.
SAMRO special bursaries help young music students to ‘realise our dreams’
T
hese awards are in addition to the approximately R1 million worth of music bursaries SAMRO disburses to dozens of deserving students around the country every year. Thanks to generous bequests, this year the SAMRO
Foundation was able to make more special bursaries available, focusing on the under-serviced field of indigenous African music research, as well as on jazz and Western Art Music composition. As one of the recipients, Féroll-Jon Davids, pointed out, these awards help young musicians ‘to realise our dreams and to build sustainable careers by pursuing what we love’. Here are this year’s recipients of SAMRO’s special bursaries:
40 / Creative Feel / December 2017 / January 2018
“Receiving [the SAMRO/Mzilikazi Khumalo Bursary] is an honour and I hope that through [my] research I can honour [Professor Khumalo’s] legacy with pride” – Nandipha Mnyani
SAMRO/Mzilikazi Khumalo Bursary (R30 000): Nandipha Mnyani (MMus – University of the Witwatersrand) Nandie, a jazz singer with the Mnandi Blue Jazz Band, will use the bursary to pursue her Master’s degree research into indigenous African music and, ultimately, a PhD to ‘decolonise music education in our country’. ‘Through this research’s findings, I am hoping to gather data that will help me to develop teaching methods that can be used to teach indigenous African music in our schools. I also hope the research will inspire other music educators to consider teaching indigenous African music as well, because it is required by education policy.’ Saying that Prof Khumalo has long been her inspiration, Nandie hopes that ‘through this research, I can honour his legacy with pride’.
Anriette Chorn with Mrs Rose Khumalo and Prof Mzilikazi Khumalo
Creative Feel / December 2017 / January 2018 / 41
“Receiving the SAMRO/RIESA Bursary has had a positive impact on my life… not only by encouraging me to study harder, but also… it does encourage a generous mindset in general” – Férrol-Jon Davids
SAMRO/Roodepoort International Eisteddfod Competition (RIESA) Bursary (R20 000): Féroll-Jon Davids (BMus: 2nd year – University of Stellenbosch) Féroll-Jon says he was planning to become an accountant before discovering ‘a deep love and passion for music’ through his interactions with professional musicians. He will be using the bursary to jump-start his postgraduate studies, hopefully abroad. ‘My passion and skills are seated in creating music in a group context, whether it be orchestral or as a member of a small ensemble. There is nothing more enjoyable than interacting with other passionate musicians. However, to keep this interaction fresh and of a high quality, one must be versatile, well-rounded, knowledgeable and exude craftsmanship as a musician.’
SAMRO/RIESA Bursary (R20 000): Mihi Matshingana (BMus: 3rd year – University of the Witwatersrand) Jazz vocalist and composer Mihi says she didn’t choose music – music chose her – and that after completing her degree, she will concentrate on performing and teaching. She was in ‘complete disbelief’ when hearing about her bursary, and ‘immediately called my mother. Upon hearing her tears of joy, mine were also released. My family and I have gone through the most difficult time in the past two years, especially financially. I was certain that I would have to give up my dream of obtaining my degree. Receiving this bursary gave me hope that maybe I won’t have to.’
“My desire is to also inspire other people to become the best musicians they can be – leading by example and sharing the knowledge I have received” – Mihi Matshingana 42 / Creative Feel / December 2017 / January 2018
For more information, visit www.samrofoundation.co.za, or follow the SAMRO Foundation on Facebook or Twitter.
SAMRO/RIESA Bursary (R20 000): Slindile Dlamini (BMus in African Music & Dance: 2nd year – University of KwaZulu-Natal) Slindile has always been passionate about music: ‘Since I was young, I have seen myself as a master of music and a teacher – and now I can say that all my dreams are coming true.’ She hopes to continue her music studies overseas – and to ‘change people’s lives through music. As I come from a disadvantaged family, I want to make them proud.’ Expressing her gratitude for the bursary, Slindile adds: ‘I really appreciate their generous support. Their gesture will also encourage other students to excel in their studies.’
Ralph Trewhela Bursary (R11 000): Conrad Asman (BMus: 3rd year – University of Cape Town) In his first year of study, Conrad won the Cone Composition Competition, open to all students at the South African College of Music. Professor Hendrik Hofmeyr describes him as ‘one of the most promising young composers I have encountered in my university career.’ For his part, Conrad believes that composition competitions and masterclasses ‘have significantly enhanced my compositional skills and portfolio.’ He plans to use his bursary to further his Master’s degree studies abroad, and hopes to participate in the next SAMRO Overseas Scholarships Competition for composers. ‘I hope to follow in the light of Ralph Trewhela and give back to our national arts community through my compositional output,’ says Conrad.
“I hope to follow on in the light of Ralph Trewhela and give back to our national arts community through my compositional output” – Conrad Asman
THE NATIONAL YOUTH MUSIC COMPETITION:
Gilah Kellner
From 10 to 14 October 2017, 21 young musicians between the age of 14 and 19 competed in the 33rd National Youth Music Competition. Creative Feel spoke to talented young violinist, Gilah Kellner, who won the competition’s top prize.
A
t just 14, Gilah Kellner was the youngest musician
Op. 48. ‘It was an incredible experience and privilege to
competing in this year’s National Youth Music
perform with the Cape Town Philharmonic Orchestra
Competition, which took place at the Hugo
and maestro Brandon Phillips. For receiving the Polina
Lambrechts Auditorium in Parow, Cape Town.
Burdukova Prize, I performed the “Grand Waltz” in E
In addition to clinching the prestigious gold medal, which
minor from the ballet Cinderella, by S. Prokofiev, in the
includes R30 000 and an invitation to perform at Overstrand
semi-final round.’
Arts in Hermanus and at the Darling Music Experience, the violinist was also awarded the Polina Burdukova Prize of
Kellner, who is home-schooled in order to accommodate her rigorous practising schedule, practises, on average,
R4 000 for the best performance by a string instrumentalist of
for six hours a day – taking a break on Sundays. This
a classical work by a Russian composer.
dedication, along with immense talent, saw her become the
In the final round, Kellner performed the three movements of the Kabalevsky Violin Concerto in C major,
44 / Creative Feel / December 2017 / January 2018
clear winner of the competition – surpassing musicians five years her senior.
‘Winning the National Youth Music Competition 2017
‘To be selected for the competition is already an
was absolutely incredible,’ she says. ‘I did not think I would
achievement for each of the contestants,’ says Michael
win the gold medal, and when they called out my name for
Maas, Founder and Chairman of the National Youth Music
the first prize, it was like a dream come true. I could never
Foundation. ‘Over the past 33 years, these young musicians
have managed that stressful, tough, and daunting week
have raised the bar annually, proving that there is a healthy
without God, who sustained me until the end. I performed
growth culture of classical music throughout South Africa.’
on a donated violin, generously provided by the Cluley family. I am very grateful to them. I am also thankful to my
Over the past three decades, the event has produced top musicians such as Pieter Schoeman (leader of the London Philharmonic Orchestra); Jeffrey Armstrong (former leader of the Cape Town Philharmonic Youth Orchestra); Sakhile Humbane (studying at the SA College of Music, University of Cape Town); Eben Wagenstroom (studying in Cincinnati, USA); and Myles Roberts (currently studying in Milan, Italy, and who will perform as guest artists at this year’s Finalists Gala Concert). Other established musicians who emanate from the competition are Nina Schumann, Petronel Malan, and Thapelo Masita, to name a few. But it’s not just all music for Kellner, whose other hobbies include: ‘reading, writing, listening to music, and playing chamber and orchestral music. I was a member of the Embrace String Quartet, which sadly ended recently. I also play in the South African National Youth Orchestra. I love other cultural things such as drama, literature and language. I am learning French as a second language at the Alliance Francaise.’ And her favourite composer? ‘P.I. Tchaikovsky. I love his music because it has so much passion and emotion. I also love Romantic music.’
Winners Eike Coetzee (3rd), Gilah Kellner (1st), Emilio February (2nd) with Michael Maas
This rising young star is definitely someone to watch in future competitions – we are sure her talent will take her far! CF All the winners of the National Youth Music Competition: Gilah Kellner (14, overall winner and Polina Burdukova Prize); Emilio
teacher, Irene Tsoniff. Without her teaching, patience and
February (19, second prize; best performance of a concerto
encouragement, my entering and winning the competition
in the final round; best performance of a South African work
would not have been possible. I also have the kindest
in any round); Eike Coetzee (15, third prize; runner-up in the
godmother in the world, Lorraine Emery, who makes my
string category); David Cyster (17, winner of wind instruments
beautiful dresses and is tirelessly supportive and generous.
category; Leon Hartshorne for best winds instrumentalist);
‘I started playing the violin at the age of 8, and have
Jolandi Schaap (19, winner of piano category); Nicholas
been with Irene for the last two years. Prior to beginning the
Bruiners (19, runner-up in the string category); Ah-Young
violin, I played the recorder for a year. My recorder teacher’s
Moon (14, runner-up in the piano category); Althea Steynberg
daughter played the violin, and when I heard her perform a
(18, runner-up in the wind instruments category); Rosemarie
lively piece at my teacher’s studio concert, I fell in love with
Lemmer (19, Unisa Shadow Jury Prize for best semi-finalist);
the sound of the instrument.’
Michael Masote prize for most promising contestant in piano
With an average age of 16.7 years, 21 contestants were
category); Zoe Coetzee (17, Michael Masote prize for most
selected to compete in the competition, following auditions
promising contestant in strings category); Beate Boshoff (16,
across the country. Following three rigorous rounds, six
Pauline Nossel prize for best performance of a classical work
young musicians were chosen to take place in the finals.
by a pianist)..
Creative Feel / December 2017 / January 2018 / 45
STANDARD BANK YOUNG ARTIST AWARD WINNERS FOR 2018 ANNOUNCED 46 / Creative Feel / December 2017 / January 2018
N
ow in its 36th year, the Standard Bank Young Artist (SBYA) Awards are the country’s leading arts award, conferred by the National Arts Festival and Standard Bank on deserving young South
African artists. This year the honours go to Igshaan Adams (Visual Art), Chuma Sopotela (Performance Art), Jemma Kahn (Theatre), Thandi Ntuli (Jazz), Guy Buttery (Music) and Musa Hlatshwayo (Dance). These budding stars join a prestigious pantheon of award winning artists who have gone on to shape South Africa’s creative economy and art history. The strong partnership between Standard Bank, which has sponsored the award since 1984, and the National Arts Festival has helped develop South Africa’s cultural treasury, which reflects the country’s artistic past as well as serves to inspire new generations of artists, performers and musicians. Hazel Chimhandamba, Head of Group Sponsorships at Standard Bank notes that: ‘Over the years, the Standard Bank Young Artist Awards have grown in stature and continue to provide a wonderful platform and opportunity for the winning artists to bring their work to a national and international arena. It has created a rich legacy while providing role models for future generations to value, respect and aspire to whilst enriching and expanding the country’s cultural landscape.’ National Arts Festival Executive Producer Ashraf Johaardien adds, ‘The Standard Bank Young Artist platform is about securing and investing in the future of the arts. The list of illustrious Awards alumni dating back to 1984 includes iconic creatives like William Kentridge, Mbongeni Ngema, Johnny Clegg, Lara Foot, Helen Sebidi, Marthinus Basson, Robyn Orlin, Darrell Roodt and others like them whose practice and artistic vision have helped shape the South African cultural landscape. Every year when we deliberate on the next crop of winners, our purpose is to find the next generation of artists whose work holds the promise of that kind of impact. Having had the opportunity to engage with each of the 2018 winners and their current body of work, I am confident that the Artistic Advisory Committee have succeeded in doing just that.’ The award winners in the various artistic genres are
Igshaan Adams, Chuma Sopotela,
selected by the National Arts Festival Committee, chaired by
Jemma Kahn, Thandi Ntuli, Guy Buttery
Brett Bailey. All decisions regarding winners are made jointly
and Musa Hlatshwayo are the next break-through creatives.
by the committee. The winners receive a cash incentive, and are given support to develop and premiere new works that will be featured on the Main Programme of the 2018 National Arts Festival in Grahamstown next year. CF
Creative Feel / December 2017 / January 2018 / 47
STANDARD BANK WINNERS | THEATRE
H
aving started her university studies in fine art before changing to drama, Jemma Kahn’s style of storytelling is visually unusual and her use of the Japanese art of Kamishibai makes it distinct and
instantly recognisable. Kamishibai, which is a form of ‘paper drama’ storytelling that originated in Japanese Buddhist temples in the 12th century, where monks used emakimono (picture scrolls) to convey stories with moral lessons. ‘When I saw it in Japan I realised I was watching something my country had never seen before,’ she says. ‘That is an extremely powerful thing and I wanted to do it as quickly as possible before someone else did. It was such a mesmerising medium. I thought I had to be the box lady. I don’t undervalue the importance of that uniqueness.’ Kahn is best known for her kamishibai trilogy, which consists of The Epicene Butcher and Other Stories for Consenting Adults, We Didn’t Come to Hell for the Croissants and In Bocca Al Lupo. The productions combine her love for illustration and design with her passion for theatre, with hand drawn storyboards displayed in a frame being central to this kind of storytelling – serving as a prop, set and backdrop. She combines hyper-realistic sketches with the abstract. Quirky anime-style cartoons meet satirical caricatures. These works, which are often created with her ‘fantasy football team of collaborators’, have become world-wide cult hits, with The Epicene Butcher being performed over 400 times, with numerous critics (and Annie Lennox) calling Kahn ‘brilliant’ and her work ‘unique and mindblowing’, ‘raunchy and subversive’. For Kahn, the Standard Bank Young Artist Award is ‘a wonderful affirmation that the thing I want to do – other people also want me to do it. I think every artist has periods of their life where they wonder if it’s the right thing that
’THE BOX LADY’
they’re doing.’ Will this award change the way she makes theatre? ‘That’s the tough thing, because working primarily in fringe theatre, the biggest obstacle you face is money and funding and so with the scale of the award you obviously start
Known for her ‘titillating and seductive theatre’, Jemma Kahn has been recognised for her inimitable contribution to the industry with the 2018 Standard Bank Young Artist Award for Theatre.
thinking a lot bigger. For me, it was quite an important step to remember the kind of work that I make – and its sort of quirkiness. The biggest change is that I will be able to pay collaborators well. That’s very valuable to me.’ Though she isn’t ready (or able) to let too much out of the bag just yet, Kahn is currently working on her next piece, which is sure to deliver that unique quirkiness we have come to expect from her. CF
48 / Creative Feel / December 2017 / January 2018
STANDARD BANK WINNERS | VISUAL ARTS
ACHIEVING THE UNACHIEVABLE Weaving together an abstract narrative of personal experiences and histories, Igshaan Adams’ work questions the self and his ‘hybrid identity’. His Standard Bank Young Artist Award for Visual Art 2017 cements his place as one of the country’s top young artists.
I
gshaan Adams was born in 1982 in Cape Town. Combining aspects of performance, weaving, sculpture and installation that draw upon his upbringing, his crossdisciplinary practice is an ongoing investigation into
hybrid identity, particularly in relation to race and sexuality. Raised by Christian grandparents in a community racially classified as ‘coloured’ under apartheid legislature, he is an observant but liberal Muslim who occupies a precarious place in his religious community because of his homosexuality. As such, the quiet activism of Adams’ work speaks to his experiences of racial, religious and sexual liminality, while breaking with the strong representational convention found in recent South African art. He uses the material and formal iconographies of Islam and ‘coloured’ culture to develop a more equivocal, phenomenological approach towards these concerns and offer a novel, affective view of cultural hybridity. To date, Adams has held seven solo exhibitions at various galleries in South Africa and The Netherlands. He has also participated in numerous group shows, both locally and internationally, including Les jour qui vient (2017) at the Galerie des Galeries in Paris, Sacre du Printemps (2015) at the Grazer Kunstverein in Graz and Barriers (2015) at the
this was one of the top ones. So this is quite an amazing
Wanås Foundation in Knislinge, Sweden. Adams has been
moment for me.
selected for a number of artist residencies, among them the Sommerakademie im Zentrum Paul Klee in Bern, Switzerland and the IAAB / Pro Helvetia residency in Basel, Switzerland. What the Standard Bank Young Artist Award means to him is ‘difficult to pin down,’ says Adams. ‘I think, for any young artist in South Africa, this is the one – certainly for
‘I mean, it’s the recognition of the people, your own people, you know?’ Adams also emphasises the prestige that comes with the award in that it is not something you can apply for – you have to be chosen. Currently, Adams is preparing for his solo exhibition
me. When I started out many years ago, this was the one
at blank projects in January 2018, which he says ‘will be a
award I wanted more than any other award, because I felt
little more simplified in its presentation’ than his previous
that this one was almost unachievable at that point. I felt
exhibition, which was ‘noisy and organic’. For his Standard
like it was the biggest one. I wanted to go big and so I had a
Bank Young Artist exhibition, Adams is considering using
list early on of things I wanted to achieve in my career and
scents and smell as his inspiration, a starting point. CF
Creative Feel / December 2017 / January 2018 / 49
STANDARD BANK WINNERS | DANCE
M
usa Hlatshwayo was born and raised in Maphumulo in KwaZulu-Natal. He holds a BA (Hons) in Performance Studies from the University of KwaZulu-Natal (UKZN), a Dance
and Choreography Diploma from the Copenhagen School of Modern Dance (Denmark), a Postgraduate Certificate in Dance Education from UKZN, and a BA in Media and Communication from UKZN. Hlatshwayo is a performing artist, choreographer and director who works under Mhayise Productions – his own initiative – as well as the Movement Laboratory, his own training programme. He has appeared with various local and international dance and theatre companies, including Flatfoot Dance Company (where he began his dance training), Fantastic Flying Fish Dance Company, Siwela Sonke Dance Theatre, Lebohang Dance Theatre, First Physical Theatre Company, Moving Hands Theatre Company and the Birmingham Repertory Theatre in the UK. He was FNB Vita’s Most Promising Male Contemporary Dancer in 2001 and was KZN Dancelink and Durban Dance Awards’ Best Performer for the year 2004/5. He is currently KZN Dancelink’s Choreographer of the Year for 2008/2009 and was awarded the Eric Shabalala Contemporary Dance Champion Award at JOMBA! in 2016. Speaking of the Standard Bank Young Artist Award, Hlatshwayo says, ‘this award offers me an opportunity to create and stage work that will hopefully address the socio-political ills that we are currently going through,
A SOCIAL AGENT OF CHANGE
particularly in KwaZulu-Natal, without forgetting to celebrate and embrace that which we are successfully achieving and thriving for as South Africans. This is an opportunity for my artistic voice as a young black man from rural Maphumulo, to continue being heard and perhaps to be introduced to a wider audience. I also take it as a challenge and an invitation for me
Celebrated choreographer and dancer, Musa
to stand taller, speak louder and walk bolder towards a wider
Hlatshwayo, has toured extensively across
brand, as well as the National Arts Festival as a platform for
Africa, Europe and the Americas, receiving
global community that associates with Standard Bank as a world class critical arts. ‘This is also a chance for me to represent the dance
numerous awards and accolades along the
sector and perhaps to invite the attention and intervention
way. He has been awarded the Standard
of a wider community of contributors to the state of dance
Bank Young Artist Award for Dance 2018 in
and the role of the dance makers, particularly in the province and the communities where I come from. It is an opportunity
recognition of a professional practice that is
for the spotlight to shine on the dance sector in KZN and
as focused on creative rigour as it is invested
an opportunity for us to be seen for what we stand for, what
in grassroots community development work.
we are capable of and what we should be received as; social scientists and agents of change.’ CF
50 / Creative Feel / December 2017 / January 2018
STANDARD BANK WINNERS | PERFORMANCE
THE FUTURE IS TOO BRIGHT! The Standard Bank Young Artist for Performance Art 2018, Chuma Sopotela, is a multi-talented performer, having taken to the stage in various guises.
C
huma Sopotela is an actress, dancer, puppeteer, performance artist, activist and educator. She obtained her Performer’s Diploma at the University of Cape Town, majoring in acting,
movement and voice. Her breakout role was in Lara Foot’s Karoo Moose, for which she received the Fleur du cap Best Actress Award and the Naledi Best Newcomer Award for the lead role. ‘Lara was the first director to give me a shot on a professional stage,’ she says. ‘I was fresh out of university and she gave me a lead role. I will forever be grateful for her belief in me and all she has taught me, and continues to teach me still. She is forever giving and teaching. I would say that we are blessed to have directors and storytellers such as her.’ Sopotela has also won a Spier Contemporary award for Unyawo aluna mpumlo, which was created in collaboration with Mwenya Kabwe and Kemang Wa Lehulere. Some of her recent works include Neo Muyanga’s The Flower of Shembe, Lig by Jaco Bouwer, Exhibit A by Brett Bailey, Waiting for the Barbarians by Alexandre Marine, Being by Owen Manamela and Kabi Thulo, and Those Ghels with Buhlebezwe Siwani. Her performance piece inkukhu Ibeke Iqanda was commissioned by the Zurich Theatre Spektakel, and Limathu-mbantaka and Ngokomzekeliso wakhe were commissioned by Artscape Theatre, Cape Town. One of her career highlights was performing for Nelson Mandela at his home eQunu for his 90th birthday. ‘I can finally say that I made it to be a Standard Bank
‘Everything is possible. Years ago, I spoke of being a master of a performance technique that I am working on. Now, people can see that I am working on something. I am not just acting and taking roles but I am working on the
Young Artist Award winner! It has been a dream of mine
technique of performance from a more personal, identity
for a long time,’ she says. ‘I didn’t know it would happen, I
driven, spiritual approach. Looking at Africa as the base
hoped it would but I didn’t know how. I love my work and
of performance and home of the performer and what this
I love working on the body. For me, it is the basis of the
information of past and present inform the performer in his
conversation – what we see, how we are seen and how we
or her training, practice, preparation, performance and post.
want to be seen. Let us borrow each other’s glasses – sun glasses – because now the future is too bright!
‘It means I can have more confidence in what I do, that people are watching and are listening. It is truly a gift.’ CF
Creative Feel / December 2017 / January 2018 / 51
STANDARD BANK WINNERS | MUSIC
G
uy Buttery is widely regarded as one of South Africa’s most influential artists, with a distinct acoustic style that is influenced by traditional South African culture, music and instrumentation.
Called a ‘national treasure’, his unmistakable sound is a ‘musical advocate for everything positive and beautiful about the place he calls home.’ Born in a small coastal town outside of Durban, KwaZulu-Natal, Buttery started touring and doing concerts while still in high school. His debut album When I Grow Up, released when he was 18, earned him SAMA Nominations for Best Instrumental and Best Newcomer. This was just the start of what has been an illustrious career that has seen the composer and guitar player collecting numerous accolades and consistently releasing critically acclaimed albums. Buttery’s touring schedule is consistently busy, with the multi-instrumentalist regularly playing sellout performances all over the globe. He has performed, recorded and collaborated with numerous South African and international musicians, including Nibs van der Spuy, Vusi Mahlasela, Kesivan Naidoo, Gito Baloi, Syd Kitchen, Dan Patlansky, The Violent Femmes, Jethro Tull, Missy Higgins, Bob Brozman and Dave Matthews. The Standard Bank Young Artist Award for Music has over the years been traditionally awarded to musicians playing classical music or opera, with Buttery being the first to be awarded outside of these genres. ‘I must admit it
A NATIONAL TREASURE Internationally recognised musician and one of South Africa’s musical phenomenons, Guy Buttery, has been awarded the prestigious Standard Bank Young Artist Award for Music 2018.
was totally unexpected because obviously I’ve had quite a few friends who have won awards over the years, primarily in the jazz field or in the theatre field, but I think this was the first time they’ve given it to a musician outside of the classical realm, so it was totally unexpected. I always followed and was aware of the awards itself but didn’t ever think it would be bestowed on a musician such as myself, so I was totally surprised and massively honoured. It’s a super cool opportunity and an accolade of course and I’m very happy to be wafting in the realms of all those fantastic previous award winners.’ At the moment, Buttery is in the middle of a hectic touring schedule. When we spoke to him, he had just arrived back from touring in Brazil, had a concert the next day, was then off to Gauteng for some shows, before going straight to New Zealand for performances there. CF
52 / Creative Feel / December 2017 / January 2018
STANDARD BANK WINNERS | JAZZ
A DIFFERENT LEVEL OF OPERATING Pianist Thandi Ntuli has been awarded the coveted Standard Bank Young Artist Award for Jazz 2018, joining an illustrious group who represent some of the country’s top jazz musicians.
B
orn in Soshanguve, Pretoria, 30-year-old Thandi Ntuli comes from a family with a rich musical heritage. Her uncle, Selby Ntuli, was a guitarist, pianist and vocalist, best known as founder and
band leader of 1970s pop fusion band Harari (The Beaters). Ntuli’s musical talent was nurtured from a young age, having started piano lessons under the tutelage of Ada Levkowitz at the age of 4. Her passion for jazz, however, was only ignited in high school, leading her to enrol in and complete a Bachelor of Music in Jazz Performance at the University of Cape Town. Her career so far has seen the young artist winning numerous accolades and awards, including the 2015 ImpACT Award for Music and Singing. She was a semi-finalist in the highly competitive 2017 SAMRO Overseas Scholarships, and her 2014 debut album The Offering (which she released independently) garnered her critical acclaim and numerous
‘I don’t take it for granted that there’s still lots of people
awards, including a MetroFM Award nomination for Best
who probably haven’t heard my music, so I hope it’s going
Urban Jazz.
to open me up to more audiences. Also, on a very practical
‘I’m very honoured to have the Standard Bank Young
level, having finances for what you do, because most of
Artist Award,’ says Ntuli. ‘A lot of people whom I’ve looked
the time you dream or do things within the parameters of
up to have been recipients of this award in the past. It’s just
what is available to you so it just opens up a little bit more
very special to me, being recognised in the same way.
opportunity.’
‘I think it’s definitely going to push me to a different
Currently, Ntuli is working on her sophomore album,
level of operating… it’s put me on a different level for
Exiled, to be released in the next few months and is
myself in my own mind. We obviously don’t do what we do
working towards possibly touring abroad – ‘I think it’ll
for recognition, but when you get it, it really changes your
be really good for me to get a bit more exposure to an
perspective of certain things.
international market.’ CF
Creative Feel / December 2017 / January 2018 / 53
#ArtMyJozi: Place making through art The Johannesburg Development Agency (JDA) has for a number of years been passionately engaged in producing Public Art on behalf of the City of Joburg, with the guidance and collaboration of the City’s Directorate of Arts, Culture and Heritage and with the support of the Department of Development Planning.
T
he Johannesburg Development Agency (JDA),
The programme, dubbed ArtMyJozi, for 2017-2018 looks
as lead implementing agent of the City of
at the diverse and layered sociocultural interrelationships of
Johannesburg, has appointed the Trinity
the Empire/Perth and Louis Botha Development Corridors
Session as curator/co-ordinator for all place
and their respective upgrade sites, which include: the
making processes: emphasising collective, community-
Noordgesig, Brixton and Paterson Park social clusters, and
oriented artistic projects for the next three years. With an
the Rea Vaya Bus Rapid Transit Stations along the Louis
emphasis on community-level co-production and collective
Botha Corridor.
participatory design processes, the artworks programme
Through actively engaging with local communities
seeks to breathe life into the streets of Johannesburg
and building on the heritage impact assessment studies
through a refreshed approach to place.
conducted in the Development Corridors, the artworks
54 / Creative Feel / December 2017 / January 2018
programme has drawn out individual and collective narratives, through multidisciplinary workshops, public space activations and exhibitions. The creative outcomes of these workshops are in the process of being developed as final designs to be used during the implementation phases in each of the upgrade areas mentioned. This place making process was a fine-grained approach to celebrating the city and its local communities, where the creative process worked to intensify the experience of community and place. The process followed by the JDA is not about artwork for large-scale iconic monuments but rather about local people co-producing special places through functional and creative installations in the public realm. In this sense, a local community street parade, coupled with a mural painting programme intersecting with sidewalk furniture providing shade and free Wi-Fi access, potentially enhances the logistics of connectivity and place making along the corridors.
Creative Feel / December 2017 / January 2018 / 55
‘
Through actively engaging with local communities and building on the heritage impact assessment studies conducted in the Development Corridors, the artworks programme has drawn out individual and collective narratives, through multidisciplinary workshops, public space activations and exhibitions
During July-August 2017, 23 public activations took place along the Transit Oriented Corridor, forming the basis of the initial research phase. Residents and commuters were welcomed to join a conversation about creative place making, providing the project with a wealth of special stories and insights, which will inspire the design and delivery of the next phase of the project. The programme for August, September and October was supported by social media campaigns, which served as both a documentary process and creative device in the development of creative content. The development of the #ArtMyJozi social media campaign was complemented by an on-the-ground poster campaign, provoking audience attendance and engagement, and a special media crew of poets, photographers and filmmakers’ collected special stories in and around the sites of activation. Community participation was encouraged at all levels of the process, in particular a cross pollination of ideas and experiences, underpinned by an awareness and enthusiasm for shared narratives and a celebration of new configurations of public expression in Johannesburg. CF
#ArtMyJozi
ArtMyJozi
City of Johannesburg Johannesburg Development Agency No 3 Helen Joseph Street The Bus Factory Newtown Johannesburg, 2000
PO Box 61877 Marshalltown 2107
Tel +27(0) 11 688 7851 (O) Fax +27(0) 11 688 7899/63 www.joburg.org.za
Aspire Art Auctions leads contemporary market with upcoming Cape Town sale Contemporary art is an area in which Aspire has consistently led the secondary auction market, and also forms a strategic focus area for the company. At its most recent Johannesburg auction, held at the Gordon Institute of Business Science on November 12, 2017, a stunning new South African sales record was achieved for a drawing by the doyen of SA contemporary artists, William Kentridge.
W
illiam Kentridge’s Drawing from Mine (Soho with coffee plunger and cup) (1991), sold for R5 456 640. Not only is this a record price for a drawing by Kentridge in South Africa,
by a margin of some 25% over the previous best, it beat the high estimate for the work by more than double. The performance in this segment was truly well ahead of the game on this auction. Two works by European-based Cape Town artist Mustafa Maluka earned their highest ever prices at auction; The smell of fear is thicker than you think (2007) fetched R272 832, and One day it will all make sense (2007) fetched an impressive R318 304. A work by Pierre Fouché, Peter of the Galatea (2007), attained a very respectable price of R68 208, over double its high estimate. It is testament to Aspire’s expertise in the contemporary arena that, in his first time at auction, Fouché fetched this serious price in a very competitive bidding war. A stalwart figure of the contemporary market, Robert Hodgins, again did well, his Office Hours (2006) attaining R728 920. A rare work on auction by Willie Bester, renowned anti-apartheid multimedia artist, did very well, fetching over a quarter of a million rand, which equalled his best price ever at auction. Untitled (1: 96), Zander Blom
58 / Creative Feel / December 2017 / January 2018
Upcoming Auction details: Aspire’s Summer sale in March 2018, at the Avenue, V&A Waterfront offers a breath of fresh air. Visit this beautiful venue to enjoy some choice works, sure to delight viewers and collectors. For gratis and obligation-free valuations, and to consign works of art to the upcoming Cape Town auction, before end January, please contact: Cape Town Emma Bedford | emma@aspireart.net +27 83 391 7235 Marelize van Zyl | marelize@aspireart.net +27 83 283 7427 Johannesburg Jacqui Carney | jacqui@aspireart.net Uzukile the elder, Athi-Patra Ruga
+27 71 675 2991 Mary-Jane Darroll | mj@aspireart.net +27 82 567 1925 Ruarc Peffers | ruarc@aspireart.net
In Aspire’s forthcoming Cape Town auction in March 2018, the focus on
+27 84 444 8004
contemporary work continues, with an exciting line-up of South African art. One of the highlights at this auction is the tapestry work by Athi-Patra Ruga
About Aspire Art Auctions
from 2013, Uzukile the elder. This arresting piece is newly arrived on consignment
Aspire Art Auctions is a South African-
from the prestigious Fondation Louis Vuitton show in Paris entitled Being There,
based, specialist auctioneering company
which featured new contemporary South African talent.
formed to respond to the requirements of
Another significant work on auction is by one of the most exciting contemporary artists in the country at the moment, Mohau Modisakeng. whose
the country’s rapidly growing art industry. Specialising in historical, modern and
star continues to rise. He is fresh from a highly successful solo show in Cape
contemporary art, the company is headed
Town, and from a critically well-received exhibition as one of two SA artists at
by a grouping of partners with formidable
the SA Pavilion in Venice. The work on auction is from 2012’s Frames series,
collective knowledge and expertise
Untitled (Frame X).
– together representing the longest
A contemporary highlight to look out for is Zander Blom’s dynamic abstract painting Untitled (1: 96). The prolific Blom, now based in Cape Town, is a prominent painter with an international reputation. He was the recipient of the Jean-François Prat prize for contemporary art in France in 2014. Emma Bedford is Director, Senior Art Specialist and head of Aspire’s Cape
combined secondary art market presence in South Africa. With collective art industry experience of more than eighty years, Art Specialists Emma Bedford, Jacqui Carney, Mary-Jane Darroll,
Town office. She was also the Senior Curator of Contemporary Art at Iziko
Ruarc Peffers and Marelize van Zyl produce
South African National Gallery, where she worked for 25 years. She comments:
curated auctions of top-quality international,
‘We are delighted to be doing so well with this kind of contemporary work,
African and South African art.
given our commitment to the contemporary and our expertise in the area.’ The
What makes Aspire Art Auctions
contemporary field is one in which many living South African artists who sell on
unique in the local auction world is this
Aspire’s auctions gain the benefit of the company’s self-generated and managed
knowledgeable team whose exclusive focus
Artist’s Resale Rights (ARR) scheme. ‘Aspire remains committed to pioneering the
on fine art ensures that works of art are
Artist’s Resale Rights in South Africa,’ says Bedford, ‘because we have an abiding
presented in comprehensive historical and
commitment to the development of the industry and support of emerging and
cultural contexts and on the best possible
established artists.’ CF
display platforms.
Creative Feel / December 2017 / January 2018 / 59
INDIGO
| PASSAGE TO HEALING Berman Contemporary recently showcased the collaborative exhibition, Indigo | Passage to Healing, by artists Robyn Denny and Mamela Nyamza.
Robyn Denny and Mamela Nyamza with the Indigo | Passage to Healing exhibition
and a ritual to begin cleansing and finding collective healing of bodies and memory in the present.’ Candice Berman says that it is the pairing of the visually provocative canvas works by Robyn Denny with the dynamic performance piece by Mamela Nyamza, an internationally acclaimed performance artist and choreographer, that brings together two compelling female, South African artists in their exploration of the historic dialogue around the indigo trade. They look at this underworld of the indigo trade and its historic significance on women and culture in South Africa. The monumental canvases were seamlessly hung from the exhibition stand at the 2017 Also Known As Africa (AKAA) art fair, which took place in November 2017 in Paris. This was Berman Contemporary’s inaugural international showing with two strong, female, South African artists. ‘The work boldly explores memory and history within the context of a contemporary interrogation of de-coloniality in Africa,’ writes Mgoza Baker. ‘It beautifully tracks the history of empire and within that history, the ideological domination and material extraction that defined the oppression of women. Curator Beathur Mgoza Baker says the exhibition recalls the invisibility of women from the Cape right up the West Coast of Africa, through Mali, Benin, Nigeria and Ghana to remember their contribution because there are bodies everywhere – bodies in the gaping holes of our history, littering colonial-era narratives and choking the pages of historical texts that have excluded them, their bodies and names. This work is a beautiful ode to those bodies of African women who quietly enabled vast profits through their enslavement and sweat.’ CF
The INDIGO AFRICA Team Collaborating Artists & Performers: Mamela Nyamza Robyn Denny
I
Costume Design & Installation: KLUK CGDT ndigo | Passage to Healing has been termed ‘an archival
Representing Gallery:
interrogation, it is a quest, an unexplored journey
Berman Contemporary
through painting and performance into history, and a
Curator:
narrative exploring colonial-era enslavement and the
Beathur Mgoza Baker
commercial indigo and fabric trade,’ by curator Beathur Mgoza Baker who continues that ‘Indigo | Passage to
Images Courtesy of Robyn Denny
Healing is simultaneously a deep form of remembering,
Photographer Mario Todeschini
Creative Feel / December 2017 / January 2018 / 61
IRMA STERN’S
Freda in Khaki Dress, Irma Stern Portrait of Freda Feldman in a Basuto Hat, Irma Stern
Freda with Roses, Irma Stern
PORTRAITS OF FREDA FELDMAN The fourth and final live auction of 2017 held at Strauss & Co in Johannesburg confirmed once again that collectors’ desire for important works by Irma Stern remains strong when the two Stern portraits, part of a trio from 1943 depicting the artist’s friend and patron Freda Feldman, performed solidly. Freda with Roses sold for R3 524 080 and Freda in Khaki Dress fetched R3 410 400. The third, Portrait of Freda Feldman in a Basuto Hat, had been sold in May 2016. Mona Berman, the daughter of Freda Feldman, was present in Johannesburg and shared the deep connection between her family and Irma Stern. Prof. Federico Freschi delves into the background of these fascinating portraits.
I
n the final chapter of her ‘memoir with letters’,
celadon green – better to offset her still-lifes and portraits –
Remembering Irma, Mona Berman imagines a dinner
at the artist’s behest. Over the years, the Feldmans collected
party that might have taken place at her mother Freda
many works by Stern, and sat for numerous portraits.
Feldman’s Johannesburg apartment in 1986, a year before
By Berman’s telling, the assembled dinner guests –
Freda’s death. Stern had been a close friend of the Feldmans
comprising artists, an art historian, a curator and a collector
for many years, and was a frequent visitor at their gracious
– inevitably began discussing the Irma Stern portraits to
Houghton home – a hub of Johannesburg Jewish intellectual
which the walls of Freda’s dining room had been given over.
and cultural life – when she was at the height of her career
Of particular interest to the guests were three portraits of
from the 1930s to the ‘50s. Indeed, during her extended
Freda painted during the war years, in 1943, when she was
visits, the dining room of the house would be converted into
33 years old. Two of these portraits were presented on the
a temporary studio for Stern, its walls having been painted
November sale, with the third, Portrait of Freda Feldman in a
62 / Creative Feel / December 2017 / January 2018
A collection of photographs of Freda Feldman from the family album SOURCE Mona Berman
Freda and Richard Feldman
Basuto Hat, having been sold at Strauss’s Johannesburg sale
moral, enlightened man who taught her about life, world
in May 2016.
affairs, literature, art, culture, Yiddishkeit, community
Although Berman’s narrative is fictional (as she grew more frail towards the end of her life, Freda rarely
organisations and the political reality of South Africa.’ Encouraged by Richard, Freda learned public speaking,
entertained) Berman’s recounting of Freda’s responses
and together they established the South African chapter
to the guests is based on her first-hand accounts of her
of the ORT organisation, a non-profit global Jewish
mother’s relationship with Stern. A certain amount of
organisation devoted to community-based education and
poetic licence notwithstanding, it thus gives a fascinating
training. Freda was elected to the World ORT Union, and
insight into the primary reception of these works both by
became an important and respected leader in the South
the sitter and the artist. It also provides a powerful context
African Jewish community. She used her natural sense
for understanding their significance both as portraits of an
of style to her best advantage, and channelled her love
elegant and interesting woman, and as exceptional examples
of beautiful clothes and accessories into constructing an
of Stern’s skill as a painter.
elegant public persona, ‘not with the idea of showing off to
Freda shared with her husband Richard a strong sense of social justice. Richard, who came from humble beginnings as a Lithuanian immigrant, went on to become a successful
others’, but rather to lend distinctiveness and grace to the countless charitable events she organised. It was also Richard who introduced Freda to Irma Stern,
businessman. He was also a prolific public speaker and
whom he had met in Johannesburg in 1925. Despite the
writer, in English and Yiddish, on topics of social concern.
16-year age difference between the two women, as well as
He had a particular interest in race relations, and his
their differences in appearance, temperament and outlook,
writings convey a deep concern with the social and cultural
they became firm friends. As Mona Berman puts it, they
realities of black people in South African cities. Freda, whom
‘seemed to complement each other and be stimulated by the
he married in 1931, was born in Johannesburg. The oldest of
diversity of their experiences.’ Much of the strength of this
ten children, she grew up in the rural setting of Amersfoort
relationship is evident in the portraits that Stern painted
(Mpumalanga) where her father ran a grocery store. Berman
of Freda. Berman argues that Stern found ‘the attractive
describes Freda’s story as that of ‘a young woman who was
features of my charismatic mother the perfect subject to
awakened by the love and passion of a sensitive, highly
express her own moods that allowed her to imagine herself
Creative Feel / December 2017 / January 2018 / 63
Prof. Federico Freschi
Mona Berman with her four daughters at Strauss & Co
with the appearance and bearing possessed by my mother.
of unease. Indeed, in its melancholy introspectiveness, it is
In every portrait she did of my mother, four oils, several
in many ways atypical of Stern’s work of the period.
charcoals and a gouache, she showed a completely different aspect of Freda.’ Freda with Roses, the first to be painted in the series
Interestingly, this portrait only came into Freda’s possession shortly before Stern’s death. Although all three portraits date from the same visit to their home in 1943,
of three portraits, brings together Stern’s love of flowers
this portrait was produced later in Stern’s studio from
(which was shared by Freda) and skill as a portraitist with
drawings, without Freda’s knowledge. In fact, Freda was
dazzling intensity. The almost garish lime-green background
only alerted to its existence by the Adler-Fielding Galleries
vividly offsets Freda’s blazing blue eyes and red lips, while
in 1966, who sent it to her for verification. She bought it as
the pale rose in her immaculately manicured hand creates a
she ‘couldn’t bear the idea of it being shown in a gallery or
visual link between the rose orange, pink and yellow roses
hung in a stranger’s home’. She wrote to Stern enquiring
in the vase and the bright flecks of colour against the black
after it, but Stern, in one of the last letters she ever wrote to
of her dress. While, for one of the fictitious dinner guests
Freda, denied ‘ever selling a picture of yours to anybody but
at Freda’s party the painting ‘holds no joy… as though the
yourself.’ Berman writes that Freda ‘suspected Irma knew
roses were being placed on the graves of fallen soldiers,’ one
that Richard would have disliked [the painting] – which
could equally argue that this is Stern at her most audacious
he did when he eventually saw it – and so had stashed it
as a painter, the strident colours and confident, vigorous
away in her storeroom cupboard. A dealer may have come
brushstrokes combining in a flamboyant celebration of
in the months before she died, and bought a number of her
friendship and femininity.
discarded paintings.’
The third of the series to be painted, Freda in a Khaki
Given both the relationship of the sitter to the artist, and
Dress, is very different, both in colour and in mood. The
in resisting the usual epithets applied to Stern’s paintings
formal severity and drab colour of the dress in question is
of the 1940s, this painting is a compelling testimony to the
barely mitigated by a blue and orange brooch in the form
intensity of a ‘friendship and mutual dependence [that] had
of a jewelled cockerel. The blue tones of the brooch in turn
endured through time and circumstance.’ In deflecting us for
offset the pale wistfulness of Freda’s eyes, which no longer
a moment into a space of unquiet intimacy, it also has the
blaze with the bright intensity of the previous painting,
effect of rendering more visible and poignant the dazzling
while the distorted elongation of the neck adds to the sense
sensuousness of Stern’s oeuvre. CF
64 / Creative Feel / December 2017 / January 2018
STRAUSS & CO’S BUMPER YEAR ENDS ON A RESOUNDING HIGH NOTE
Fleurs du Mal, Alexis Preller
Strauss & Co’s fourth and final live auction of 2017 ended on a high note in Johannesburg, with combined sales totalling R76 million. The exceptional result, achieved on a solid 84.32% value sell-through rate, helped push the company’s annual turnover into record territory. Combined sales for the financial year to date are R322 584 601. ‘Consistency lies at the heart of our excellent results,’ says
Co’s joint managing director, who knocked down Fleurs
Strauss & Co’s chairperson Frank Kilbourn. ‘Throughout the
du Mal. Genovese additionally handled Flower King, a
year, Strauss & Co has dependably brought top quality works
handsome allegorical portrait from 1968 that sold for
to the market at realistic estimates, enabling our clients,
R3 296 720; Horseman, a small oil from 1950 that achieved
both buyers and sellers, to benefit from high sell-through
R1 932 560; and Sea Amphora, a 1962 work depicting
rates and several record prices. We are committed to keep
a vessel-like form that brought in R1 705 200. Adds
on innovating to expand both the range of works offered and
Genovese: ‘Strauss & Co continues to play a leading role in
the audience we serve.’
giving this leading artist the prominence he deserves.’
A day of lively bidding saw exceptional prices achieved for
STRAUSS & CO JOHANNESBURG SALE IN BRIEF:
blue-chip artists like Alexis Preller, Irma Stern and Gerard Sekoto. There was great anticipation around Preller’s
Total sales: R75 822 357
transformative study of a wounded soldier, Fleurs du Mal,
Value sell-through rate: 84.32%
which drew on the painter’s experiences as a stretcherbearer and medic in World War Two. The work sold for
Top lot: Alexis Preller, Fleurs du Mal, sold for R8 184 960
R8 184 960, well above the high estimate.
Artist highlights: exceptional prices achieved for Breyten Breyetenbach, Ernst de Jongh, William Kentridge, Gerard
‘In the last two years, Preller has emerged as South Africa’s
Sekoto, Mary Sibande, Moses Tladi, Harold Voigt and
leading post-war painter,’ says Bina Genovese, Strauss &
Gordon Vortser. CF
Creative Feel / December 2017 / January 2018 / 65
Proud Survivors: Battle against Power I, Beverley Samler and Lisa van Wyk, 2004. Mixed media on canvas, 420 x 596 mm, MTN Art Collection
THE MTN
ACTIVISM & AWARENESS EXHIBITION 2017 While the MTN SA Foundation’s core focus has been education and socioeconomic upliftment of communities through ICT, they have recognised that there are other initiatives deserving of support that align with MTN’s position as a socially conscious company. Many of these projects allow the MTN Foundation to make a contribution to priorities of national importance that benefit the broader South African community. Among others, these priorities include an awareness of the HIV/Aids epidemic, acting against gender-based violence and child abuse and raising awareness for people with disabilities.
I
n September 1997, MTN decided to support South African artists. This marked the beginning of what was to become a leading corporate collection of South African and African art. Now, 20 years later, the Art Collection comprises some 1 500 African and South African works by
African artists from across the continent and abroad in most of the currently explored mediums. With this diverse art collection, the MTN SA Foundation has, since 1998, initiated many arts-focused CSI projects in skills training, publishing, awards, national touring exhibitions and internal exhibitions at MTN’s head offices. One such internal exhibition, the MTN Activism & Awareness Exhibition, is curated around the themes of 16 Days of Activism against genderbased violence and child abuse – which starts on 25 November, HIV/Aids Awareness Day on 1 December and International Awareness for Persons with Disabilities Day on 3 December.
66 / Creative Feel / December 2017 / January 2018
God Wants His People, Trevor Makhoba, 2000. Linocut, 420 x 593 mm, MTN Art Collection The MTN Activism & Awareness Exhibition allows an opportunity for staff and visitors to MTN’s head offices on 14th Avenue in Fairland to engage with artworks that include the following: Break the Silence was a collaborative project coordinated by the Durban-based NGO, Art for Humanity (AFH) in 2000 and culminated in the production of a portfolio of prints by South African and international printmakers who aimed to raise awareness about the worldwide HIV/Aids epidemic. Proud Survivors is a body of work produced in 2004 by Beverley Samler and Lisa van Wyk in collaboration with women from peri-urban areas around East London who were not only acknowledged as victims but also celebrated as proud survivors of gender-based violence and abuse. The Ukwelapha: Healing series of six linocuts by late artist and prolific activist against gender-based violence and child abuse, Gabisile Nkosi, also features on this exhibition. In a fate of tragic irony, Nkosi herself was murdered, allegedly by her boyfriend, in 2008. In recognition of persons with disabilities, the MTN Foundation is also proud to feature the Blind Alphabet (Babery – Bigeminate) installation of sculptural pieces produced by renowned South African artist, Willem Boshoff, created between 1993 and 1994. This series of sculptures enables the visually impaired viewer to become an enlightened informer to the sighted viewer experiencing the same artwork. The MTN Activism & Awareness Exhibition is open for viewing, by appointment only, from the 25 November 2017 to the end of February 2018, at MTN’s head offices on 14th Avenue in Fairland, Johannesburg. Please contact Niel Nortje on niel.nortje@mtn.com for further enquiries. CF
Creative Feel / December 2017 / January 2018 / 67
Jil Sander MODEL Edie Campbell PHOTO David Sims
JIL SANDER: THE QUEEN OF LESS Jil Sander, one of the most influential fashion designers of her generation, may have come from Northern Germany and be at home on the international catwalks of Paris, Milan and New York, but it is Frankfurt that is now mounting a memorial to her. Museum fĂźr Angewandte Kunst (The Museum for Applied Art) has dedicated an extensive exhibition to the 73-year-old using almost the entire house. It spreads throughout the museum building on some 3 000 square metres of exhibition space and will be on view until May 2018.
68 / Creative Feel / December 2017 / January 2018
‘
I think there is always a need for pure design. With pure design, you don’t need so much decoration
‘
Jil Sander Showroom Milan PHOTO Paul Warchol
H
er first solo exhibition ever, Jil Sander: Present Tense consists of large-scale, multimedia installations and tableaux devoted to the impact of her design approach on the aesthetics, material
and form of fashion and product design, architecture and garden art. Ultimately, it was the architecture that decided that Sander chose Frankfurt: Richard Meier’s building on Frankfurt’s Museumsufer fits in perfectly with the designer’s aesthetics, according to Museum Director Matthias K Wagner. ‘Her purism changed the idea of beauty.’ Jil Sander, born in rural Schleswig-Holstein in 1943 as Heidemarie Jiline Sander, studied textile engineering at the Krefeld Textile School of Engineering. In 1964, she went to Los Angeles as an exchange student and on her return to Hamburg worked as a fashion editor for various women’s magazines. What she saw and was asked to photograph did not correspond with her ideas of fashion. It didn’t correspond with her understanding of proportion and
Portrait Jil Sander PHOTO Peter Lindbergh, Marie Claire Germany 1991
material, nor with her image of women, or her intuitions as
Creative Feel / December 2017 / January 2018 / 69
Jil Sander MODEL Lily Donaldson PHOTO David Sims to the shifts in the aesthetic demands of a rapidly changing
craftsmanship and industrial production. She supports
society. She, therefore, began designing fashion herself, with
teamwork, enlightened sycophancy, prototype art as well
her creations being distinguished by subdued colours and
as easily comprehensible and accessible structures. Even
formal rigour. She first presented them in 1973 at the prêt-
the ideas of German Classicism find reflections in her work.
à-porter shop she opened five years earlier in the Pöseldorf
What Goethe called ‘style’, differentiating it from simple
district of Hamburg. In 1979, the designer undertook the
imitation and mannerism, returns in Jil Sander’s concept of
development of her own perfume and body-care product
purism. In her campaign photography, she is inspired by the
ranges, starting with Jil Sander Woman Pure and Jil Sander
art of graphic reduction typical of the Neue Sachlichkeit (New
Man Pure. These fragrances – as well as Jil Sander Sun,
Objectivity) movement.
launched in 1989 – became classics. In contrast to the typical Parisian couture aesthetics,
Sander’s design leads, by way of new cutting, weaving, processing and manufacturing techniques, to a new way
Jil Sander refers to German concepts of modernity. Her
of dressing. It is always the material itself that remains at
aesthetics go back to the Bauhaus vision of joining
the centre of her attention. She devotes herself intensively
70 / Creative Feel / December 2017 / January 2018
Jil Sander Flagship Store London, 2002 © Paul Warchol to the research of fabrics, imports state-of-the-art high-
Sander was heavily involved in designing the show and
tech weaves from Japan and works with Italian producers
her influence is clearly visible. The show could almost be
on the development of new materials with sculptural
a flagship store. The cooperation does not always seem to
tractability. Materials and techniques that cannot be
have been easy. K Wagner experienced Sander as someone
found in Europe must be invented anew, or traced back
who always gives her all. He is known for working hard, but
to remote locations of the world. Her design principles –
she is on another level.
harmony of proportion, sophisticated three-dimensionality,
She was never interested in a museum exhibition, Sander
understatement and dynamic elegance – have always
told the Frankfurter Allgemeine. She was always ‘against a doll
remained the same. And yet she has presented the
parade,’ because ‘clothes, when not worn, lose their energy.’ But
fundamentals of her aesthetics in each of her collections in
now she has asked herself: ‘How do I see what I have done so
completely new ways.
far, with my eyes of today, how do I judge what I see?’
Jil Sander: Present Tense sheds light on its aesthetics, says
At the preview of the exhibition, the 73-year-old designer
K Wagner, who curated the show with Sander. In one room,
was silent. Although she was in the museum, she did not sit on
cut-outs from catwalk shows run on floor-to-ceiling screens,
the podium at the press conference. K Wagner apologised for
while in others, photo spreads hang on the walls. In a bare
the rigours of the preparations and referred to a photo shoot
room are black dresses, jackets and coats on abstract dolls. In
on the second floor. Hoping for a few words, photographers and
another, colourfully patterned creations disappear in front of
camera crews, journalists and fashion bloggers trotted up the
equally patterned walls.
ramps – where Sander appeared in black with sunglasses for a
All of this is airily arranged, simply and elegantly staged. Hypnotic music, fed by classical and electronic music,
few seconds and disappeared without a word. With her decision to exhibit her work at the Museum
floods the light spaces. From the inside, illuminated glass
Angewandte für Kunst in Frankfurt am Main, Jil Sander
showcases display perfume bottles as prized treasures, fabric
has turned her attention to the past. This is quite a new
patterns arranged by colour and cut pieces arranged as a
experience for someone who has always preferred to look at
collage, look like works of art.
the up-and-coming. CF
Creative Feel / December 2017 / January 2018 / 71
THE LOUVRE ABU DHABI To make their country a top cultural destination that is internationally recognised for art, education and culture, the leaders of the Emirate of Abu Dhabi launched the development of a major universal art museum project.
72 / Creative Feel / December 2017 / January 2018
B
uilt on Saadiyat Island (the island of happiness),
The Louvre Abu Dhabi ‘museum city’ covers nearly
a natural 27-km² island the size of a third of
64 000 m², with 6 000 m² devoted to the permanent
Paris, the cultural district will house a number of
collection and 2 000 m² for temporary exhibitions.
renowned cultural establishments: the Louvre Abu
A dome of 180 metres in diameter (the same size as the
Dhabi, designed by architect Jean Nouvel; the Zayed National
Louvre’s Cour Carrée) covers two thirds of the museum,
Museum by Norman Foster; and the Guggenheim Abu Dhabi
providing shade and reducing energy consumption.
by Frank Gehry. The Cultural District will be integrated into
Echoing the mosque, mausoleum, caravanserai, and
a new urban complex just outside the historic Abu Dhabi
madrasa, its shape is not bound by any literal inspiration:
city centre, with housing for 150 000 residents. All of these
resting on four points of contact and slightly low-slung, it is
projects are intended to feed the new artistic expressions
the embodiment of a completely contemporary style. Pierced
inherent to a rapidly growing region. The Louvre Abu Dhabi
with openings to look like interwoven palm leaves, a traditional
aims to complement the other Emirati museums and help
roofing material in the Emirates, the dome resembles silver
transform the art and cultural scene in the Middle East.
lace. A geometric template of stars repeated in different sizes
Jean Nouvel, a Pritzker Architecture Prize winner
and at different angles in a complex arrangement forms eight
selected to design the museum, was inspired by the special
distinct layers, four external and four internal. Sun filters
features of the Saadiyat site: a virgin lagoon island between
through the dome like a delicate, protective rain of light, similar
sand and sea, shade and light. His design will offer future
to a claustra lattice of mashrabiyas, reflecting the constant
visitors a high-impact architectural and museum experience
interplay of light and shadow in the country.
that fosters dialogue between cultures. Nouvel wanted
Below, Nouvel has designed a complex of buildings
his building to have ‘a form that matches its function as a
with harmonious proportions, embraced by the sea. Freely
sanctuary for the most valuable works of art.’
inspired by buried cities and the prototypical Oriental city,
Creative Feel / December 2017 / January 2018 / 73
“The Louvre Abu Dhabi museum is not, in any way, a copy of the French Louvre; it is an individual institution offering its own interpretation of a universal museum, reflecting its era and the local traditions of the country it lies in�
74 / Creative Feel / December 2017 / January 2018
a large part of the museum complex is sheltered under the comfort of this shadow. This urban and geometric ‘medina’ of rooms appears like a city neighborhood, with some 30 buildings visible along a promenade. Rising up to heights of 4 to 12 metres, they each feature a different façade decorated with a variety of piercings, combining unique transitions and passages. The museum city creates a space that plays with the multiple connections between indoor and outdoor, everchanging and poetic, to kindle curiosity and invite visitors to explore new routes and pathways, guided by the light. Inspired by the ancient falaj system of Arab engineering, a water channel runs through the museum, making the space into a refreshing oasis that encourages strolling along the waterside. So-called ‘passive’ design strategies take advantage of the natural shape of the buildings and the properties of the materials selected to improve outdoor conditions. The museum’s roof is perforated to capture daylight without letting in too much sun; light-reflecting materials in pale colors have been used to repel rather than absorb heat; reduced-flow plumbing and water facilities were selected to reduce the building’s demand for drinkable water. The Louvre Abu Dhabi museum is not, in any way, a copy of the French Louvre; it is an individual institution offering its own interpretation of a universal museum, reflecting its era and the local traditions of the country it lies in. Its collection, which will include loans from French institutions (rotated on a tenyear basis), as well as works from its own currently-developing compilation, will be presented in an original manner. Its uniqueness is based on an overarching vision of artistic creation. Museums traditionally organise their collections by school, technique, and materials, and while this approach does highlight the unique characteristics of a series, it does nothing to show the influences, exchanges, and circulation of ideas and know-how. The Louvre Abu Dhabi’s unique exhibition design explores the connections between civilisations and cultures that may, at first, appear to be far separated by time and geography. Visitors will be guided through a chronological and theme-based display, traversing different periods and civilisations. The display picks out universal themes and common influences to illustrate the similarities that grow out of a shared human experience, beyond any geographical, historical, or cultural boundaries. The result is a truly universal museum. The Louvre Abu Dhabi’s collection began with a blank slate and is growing gradually; it comprises ancient and contemporary works from different countries. The Louvre
Creative Feel / December 2017 / January 2018 / 75
Abu Dhabi’s ambition is to acquire high-quality works and build up a first-class collection worthy of international recognition. An Acquisitions Committee following the model of the Musée du Louvre’s own committee has been formed. The teams within TCA Abu Dhabi and Agence France-Muséums study proposals and follow acquisition practices. Works are chosen according to the strictest ethical considerations, and their origins are closely scrutinised. The Committee must endorse each acquisition. These exceptional works include a gold bracelet with lion figures made in Iran nearly 3 000 years ago, an Italian gold and garnet fibula (brooch) from the 5th century BC, a superb Virgin and Child by Bellini, paintings by Jordaens, Caillebotte, Manet, Gauguin, and Magritte, a paper collage by Picasso never seen in the public domain, and nine canvasses by the recently deceased American painter Cy Twombly. The collection not only includes pieces from the Middle East and the West but also works such as a Soninke/Djennenke figure from Mali, a dancing Shiva from India, and an octagonal box from China, all bringing influence from other geographical regions. The collection is multidisciplinary and spans every medium: in addition to painting, sculpture, tapestry, goldwork, paper collage, etc., the Louvre Abu Dhabi will also showcase a photography collection and works from the decorative arts, such as a decanter by Christopher Dresser. The Louvre Abu Dhabi sets out to be the focal point of a dialogue between civilisations and cultures, symbolically continuing the age-old history of the Arabian Peninsula as a land of convergence and exchange. It is essential for it to convey this spirit of openness and intercultural dialogue. Abu Dhabi’s ambition is to create a platform for education and culture. The museum is located just a few hours from India, in the heart of the Middle East, in a capital of the modern world; it is truly at the crossroads of civilisations. Its own permanent collection is being developed for residents as well as regional and international visitors to admire: a national art collection with something for everyone. In the very first article of the intergovernmental agreement, the Louvre Abu Dhabi states its ambition to become a place that ‘fosters dialogue between East and West.’ This dialogue, embodied by the relationships between works of art, sculptures, and objects, will invite visitors to explore shared influences and surprising connections between different cultures around the world. The Louvre Abu Dhabi’s ambition is to form a new major museum with its own collection and eventually become an independent player on the world museum scene. It will draw on French expertise and be built based on a true skilltransfer approach. CF
76 / Creative Feel / December 2017 / January 2018
Creative Feel / December 2017 / January 2018 / 77
Artlooks & Artlines Artlooks & Artlines is a monthly column written by Ismail Mahomed, CEO of the Market Theatre Foundation.
Helen Martins: Eccentric or Sufi-Spiritualist
T
he Owl House, Helen Martins’ sculpture garden
dancing. Their outstretched hands form the same pattern that
in Nieu Bethesda, is a fascinating place. It exudes
is so familiar with the mystical dance of the dervishes.
an eccentric kind of freedom. My reading of Athol Fugard’s play The Road to Mecca first ignited my
My interest in exploring any possibility that Helen Martins may have been inspired by Sufi spirituality was
interest in Helen Martins’ quest for freedom. Interestingly,
intensified by an introductory video at the Visitor’s Centre
Fugard’s play shares the same title with the part-travelogue,
in Nieu Bethesda that highlights Helen Martins’ fascination
part-autobiography written by Sufi writer Muhammad Asad.
with the writings of Khayyam. The video goes no further
Asad’s early 20th-century compelling story is about his adventures in the Middle East, Afghanistan, India and Arabia. His inner awakening, and his relationships with
to explore if Khayyam’s writings could have influenced the creation of Helen Martins’ sculpture garden. When the film The Road to Mecca, based on Fugard’s play
nomads and royalty alike, set in the wake of the First World
about Helen’s life, was screened, reviewers in the USA made
War can be read on many levels as a eulogy to a lost world,
much about Helen Martins’ sculpture of a mosque that is built
and as the poignant account of a man’s search for meaning.
on glass beer bottles. Reviewers rightly pointed out that most
It is also a love story, defying convention and steeped in loss.
orthodox/conservative Muslims will be shocked by this image.
Similarly, as one ventures into the Owl House to take a
Sufi adherents, however, were not appalled by the sculpture. For
closer look at Nieu Bethesda’s eccentric artist, one discovers
them, the beer-bottled mosque had a fascinating connection
a feisty woman who defied convention and was alienated
with Khayyam’s writings: ‘Drink! for you know not whence you
from her community. Her sculptures of the holy men in their
came nor why: drink! for you know not why you go, nor where.’
flowing garments and turbaned heads on their pilgrimage (or
Sufi adherents might even find a more significant connection
their ‘Road to Mecca’) represent more than just her eccentric
in Sufi philosopher Rumi’s writings in his Quatrain 305 of the
freedom. It is a poignant tale about her own quest for meaning
Rubaiyat: ‘On the seeker’s path, wise men and fools are one. In
and for acceptance in a world from which she had been lost
His love, brothers and strangers are one. Go on! Drink the wine of
and, interestingly, it is one to which she returns to live forever.
the Beloved! In that faith, Muslims and pagans are one.’
Helen Martins’ Owl House and sculpture garden are
The way in which Helen Martins painted her house and
rooted in an extraordinary and enlightening spirituality. It
the three colours that she used might add some interest for
is an attempt to both unpack and challenge the formality
Sufi scholars: green, yellow and red. These colours represent
of religion. Helen Martins’ interest in the writing of the
the three states of consciousness in Sufism. Yellow represents
celebrated 11th-century Sufi poet, Omar Khayyam may
the psyche/mind. Red represents the spiritual heart. Green
have certainly influenced her to delve deeper into eastern
represents the soul. Could Helen Martins have found this from
mysticism. Her artworks seem to have a deeper spiritual
her reading/fascination with Khayyam’s writings?
experience that she may have wanted to create for perpetuity. To anyone who is familiar with Sufi thought or the dance
Before her father’s death, Helen Martins painted his room all black. The general trend of thought is that she did it to
of the dervishes, it is impossible not to notice from the
punish him because he was known for abusing her. When
doorway of her house the three sculptures in her garden, each
one considers this within the context of Sufism, the black
wearing Sufi-styled hats. Their wide skirts are of dervishes
room also offers some meaning. Black in Sufism symbolises
78 / Creative Feel / December 2017 / January 2018
Archway, The Owl House, Nieu Bethesda
epiphany/realisation. It is the colour from which all other
small, conservatively-oppressive, Christian-dominated town
light reflects/emerges. There is a school of Sufism that
of Volksrust to return to Nieu Bethesda where she found
meditates in a darkened (blacked out) room. It is believed
her new wings to fly again. These lines of Rumi’s poem are
that the darkened room helps them to focus and see the light
synonymous with the kind of freedom that Helen Martins
(metaphorically). Could Helen Martins have put her father in
found after falling out of a social circle that increasingly saw
the black room hoping that he too would be able to meditate
her as eccentric, nuts and weird: ‘Birds make great sky-circles
on how he abused her and hence have his epiphany?
of their freedom. How do they learn it? They fall, and falling,
The Owl House is now the name by which this interesting home of the eccentric South African artist is known. The name is
they’re given wings.’ I can only guess, that Helen Martins drew inspiration
derived from Helen’s fascination with owls. Idries Shah, a leading
from another of Rumi’s wise words: ‘When I die, I shall
scholar of Sufi thought, writes in his book, The Way Of The Sufi:
soar with angels, and when I die to the angels, what I shall
‘Owls, the most shrilled voiced birds aren’t imprisoned. Owls are
become you cannot imagine.’ Who would have imagined
not kept in cages.’ Compare that with what western art historians
that this mad, weird, eccentric women shunned by the small
write about Helen Martins being an ‘uncaged eccentric’.
village would one day become a ‘mystic’ herself, her home
Westerners consider the owl to be a symbol of wisdom. In
would become a ‘shrine’ to which ‘arts worshippers’ would
Sufi thinking, the owl is the mystical bird that transcends the
descend and like all mausoleums/shrines/ashrams, the poor
physical world. In 12th-century Sufi writer, Farid ud-Din Attar’s,
folk around it would beg and sell their wares to earn a living
book, The Conference of the Birds, he makes reference to the
while the more entrepreneurial would settle in around the
uncaged, mystical bird. He refers to a creature that is outside of
precinct to sell food, accommodation and mementoes to the
this world and which exists in the spirit world. He refers to this
wealthy ‘worshippers’ who come to pay homage to her.
bird as the Simorgh – a word with Persian derivatives. It means
My fascination with the idea that Sufi thought may
a gathering of 30 birds. I wonder if anyone has counted the
have influenced Helen Martins is untested. It needs to be
number of owls in Helen Martins’ garden?
challenged. It will also probably be scorned by art historians
In Attar’s book, he also refers to the ponds in which the birds see their own reflection as they try to reach new forms of spirituality. Did Helen Martins also build the little ponds in
and scholars of Helen Martins’ work. But it doesn’t deter me from exploring further ‘The Untold Wisdom of the Owls’. This year is the 40th anniversary of Helen Martins’
her garden for the birds to see their own reflection? Attar also
suicide. This year marks her 120th birthday. I am hoping that
refers to the seven states that one transcends to find true Sufi
the 120th birthday of the grand old lady of Nieu Bethesda
spirituality. In Helen Martins’ garden, she has built a sculpture
might just unearth some insights which have not yet been
of a church, mosque, temple, etc. Could each of these represent
explored far enough by South African art academics who
the seven states of spirituality?
are groomed in western schools of thought. I am no art
Helen Martins found greater freedom after she ended her tumultuous marriage and literally ‘flew away’ from the
historian so I have no theoretical background to support my observations. I will leave that for art academics to do. CF
Creative Feel / December 2017 / January 2018 / 79
Business & Arts Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).
T
he saying ‘standing on the shoulders of giants’
through as they flee the violence of their home countries,
is often used when describing an individual’s
but also demonstrating their resilience.
successes. Of course it recognises past greatness, it ensures humility is noted, but it sometimes blinds
While working on these partnerships, I was introduced to the headmaster of the school, Colin Northmore. It was
us to the hard work that the individual has put in, alongside
in meeting him that I wondered if the ‘shoulders of giants’
colleagues and team members.
metaphor really held. Northmore, in his humility, is quick
This came to mind recently when I attended a
to suggest that his activities in the school are borne from
fundraising event for Sacred Heart College (a Marist
‘the giant shoulders’ that came before him, and yet there
Brothers school in Observatory, Johannesburg), sitting
is no doubt that his leadership is both transformative and
on a panel with the title ‘In Order to Shift Mountains We
transformational. He has enabled both staff and students to
‘
Transformative Leadership invites everybody to ask what kind of a world they are creating through their thoughts, beliefs, actions and interactions, and to compare that with the kind of world they would like to create.
‘
Need to Move Stones’. The function had been facilitated
take responsibility for the direction of the school, identifying
as the school is currently raising funds for a music, art and
the idea that everyone can lead, that it is a powerful co-
drama centre.
creative experience that can happen between peers and
While BASA does not actively work with schools, we
have over the years had some interaction with Sacred Heart. The Johannesburg Stock Exchange, through their
extend more broadly outwards – a little like the flap of the butterfly wings, or a pebble in a pond. I have been reading a theory on the concept of
CSI programme, has supported the school’s Three2Six
transformative leadership by the authors Donnelly and
Project. The project sustains the children of the refugee
Montuori. The document starts with a reflection on the
community living in Yeoville, opening a space for
profound change our world is experiencing. The prefix
schooling in the afternoons. It has a particularly powerful
post, we are told, implies that what we traditionally
arts education programme – and it was this that the JSE
know, is ending – post-industrial, post-modern and,
supported, together with a small Supporting Grant from
most recently, post-normal. But there is no clear sense
BASA. The visual narratives, ‘Migrating Imaginations’,
of what comes next in this uncertain world, and so the
which came out of the arts programme, were deeply
authors describe the need for new leadership – specifically
moving, describing the horrors that young children go
transformative leadership – in society. This paradigm
80 / Creative Feel / December 2017 / January 2018
Sacred Heart College
shift in the world is of course one that is described by economist Satyajit Das in his book, A Banquet of Consequences or The Age of Stagnation. Donnelly and Montuori say, ‘The basic premise of transformative leadership is that in this transformative
‘
moment, everybody contributes to, and in fact co-creates, the world we live in. Every choice, every action, every
discussion, every interaction is a reflection of how we are leading our own lives. Transformative leadership invites everybody to ask what kind of world they are creating
through their thoughts, beliefs, actions and interactions, and to compare that with the kind of world they would like to create. This is a participatory process of creative collaboration and transformation for mutual benefit.’
Sitting on the panel at the fundraiser for Sacred Heart, I
was deeply aware that while each speaker, and indeed leader in their own right – Sim Tshabalala, Greg Maloka, Chichi
The basic premise of transformative leadership is that in this transformative moment, everybody contributes to, and in fact cocreates, the world we live in
on the art of really listening and engaging, we may see mountains shifting. At the core of the transformational leadership
‘
Maponya and Geraldine Fraser-Moleketi – came to their
discussion are Being, Relating, Knowing and Doing.
answer on the topic of moving stones differently, and from
These concepts frame the entire discussion. With this
different points of view, they each highlighted the need
in mind, we can differently consider how we engage
for doing, for being individually proactive, for being true
in the world, how we relate, co-create and collaborate
citizens in society.
(stretching beyond our easy partnerships). If we do this
For myself, I was interested in the idea that to
individually, it goes beyond standing on the shoulders of
move stones is both literal and metaphorical – perhaps
giants, but taking responsibility for nurturing the seeds
stones will move themselves if they have empathy and
and building the society we really want and need. We can
are ‘moved’ by the world around them. Perhaps if each
certainly learn a lot from Sacred Heart, its alumni, pupils
individual focuses on empathy, and cultural intelligence,
and staff. CF
Creative Feel / December 2017 / January 2018 / 81
The Art of Performance Dave Mann is an editor and award-winning arts journalist.
A year of performance
Paradise, Robin Rhode
T
African Gothic PHOTO Jan Potgieter
aking the time to sit down and put your entire year
acts across Joburg’s many pubs and clubs, saw jazz musos
into perspective is a strange practice, but it has its
play into the early hours of the morning in Cape Town, and
benefits. For the better part of this year, I’ve been
listened to writers find their voices at impromptu poetry
writing about performance and the arts for this
workshops in Durban.
magazine. It’s been important to me in many ways, not least
I had my heart broken by Steven Cohen’s solo show at
because it’s forced me to think about the performative arts
the Stevenson gallery, my boundaries tested by Robin Rhode
in ways that I haven’t previously considered. Looking back
at the FNB JoburgArtFair, and my entire world shifted by
at the shows, people and places I’ve written about, they have
a revisiting of Reza De Wet’s Diepe Grond (African Gothic)
the makings of what was truly a phenomenal year for South
at UJ’s Con Cowan Theatre. This was also the first year in
African art.
a good few years that I skipped the annual National Arts
Over the course of 2017, I saw young and passionate
Festival in Grahamstown – an event that I’ve come to rely
stand-up comics take to the stage for their first gigs in
on for getting my fix of new, inspiring work. To fill the gap,
packed-out bars, and saw artists open their debut exhibitions
I forced myself to seek out new places, spaces, and works
to massive audiences. I witnessed ground-breaking musical
in a sprawling city that’s still largely foreign to me, and
82 / Creative Feel / December 2017 / January 2018
you’re seeing, doing, or listening to. And when you start doing that, you begin to view things differently. By its nature, performance involves difference and discomfort. Difference, because each time you view a performance, it will either be an entirely foreign experience, or it will not be exactly as you saw it the first time; and discomfort, because a good performance will change your ways of seeing and understanding the spaces you tend to occupy. Perhaps the best thing about performance is that if you engage with enough of it, it begins to inspire in you both of these things. You start to actively seek out difference and discomfort in your daily routines, and depending on how you go about it, you’ll learn to embrace it. 2017 was a year of good things and of bad things if we’re looking at what the headlines tell us. If we’re looking at the performances we saw and the artworks we engaged with, however, the past year will likely take on a fuller and more positive light. Maybe you went to see your favourite band live, or finally went to see that show at the theatre you kept hearing about. Perhaps you visited an exhibition worth talking about, or you treated yourself to a really good film. It’s these Zeitz MOCCA PHOTO Iwan Baan
pieces of art and performance that leave us feeling better off for having engaged with them at the end of the day. So at the risk of coming off as a little too preachy: Go
ended up seeing truly inspiring pieces of work, both formal
and see more art this holiday season. Even if you’re dead
and spontaneous. There were muralists and graffiti writers
tired and ready to spend 15 consecutive days on the couch,
leaving their marks around town, there were dancers letting
try to commit yourself to seeing at least one new work or
loose and doing their thing right there in the middle of the
performance you’ve had on your to-do list. If you’re in Cape
street, and there were those evenings when, in search of
Town, go and visit the new Zeitz MOCCA or book a ticket
nothing more than a quick dinner and a show, I ended up
to the Kirstenbosch Summer Concerts. If you’re in Joburg
dancing and drinking and talking late into the night.
over the holidays, make use of the rare December stillness
That’s the thing about performance: It can really only
of the city and take yourself gallery-hopping, or maybe even
reach you if you’re willing to open yourself up to it, and give it
celebrate the New Year at the debut South African Afropunk
something in return. This is true for those of us who perform
Festival. If you’re in Durban, go vinyl-hunting at Kaya
as well as those of us who witness performance. Because you
Records, art-binging in Glenwood, or treat yourself to some
can’t expect to be moved – and I mean really moved – by a
live jazz at the BAT centre. Whatever you do, try and make
piece of art or music or theatre unless you’re willing to put
a habit of doing it, and get a head-start on a performance-
everything else on hold and simply engage with what it is
filled 2018. CF
Creative Feel / December 2017 / January 2018 / 83
Literary Landscapes Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.
A
ung Soung’s tiny body is emaciated, her furrowed
With ten dental chairs in a room, all of them containing
face a map of her pain and the hard life she
patients, there is no privacy at all. There is no place for
suffers. She is only 42 years old but looks 70. ‘Life
hygiene and comfort here. The dentists are well trained in
is tough here if you are poor. So much energy is
their profession but the equipment and machinery required
needed to merely survive,’ says her husband, who brings some food he bought in the street. Aung is a patient in Yangon’s biggest hospital. The red
to do a proper job are scarce. Chewing betel nut is a common custom, especially among Burmese men, despite the numerous warnings
and white, old, colonial brick building towers over the city
everywhere. It is not an easy habit to abandon. Oral
centre and has been a hospital since its inauguration in
submucous fibrosis, leukoplakia and even oral cancer are
1889 by English colonisers. Once surely a modern clinic, this
serious medical conditions that result from this habit and
building and its annexes have seen much better days.
are treated here. The chances of survival under the current
Myanmar is one of the poorest countries in the world and
circumstances are minuscule.
there is no health insurance system. Money makes the world go round and when there is none, any illness can become a death threat. To call the space where Aung has settled herself on
Change of scene Two blocks away from this purgatory, a new shopping mall recently opened its gates. In contrast, this mall
an uncomfortable raffia mat a cancer ward would be an
is frequented by the affluent new middle class and the
enormous exaggeration. She lies in front of one of the
wealthy who can afford Gucci handbags and are interested
dilapidated buildings on the concrete walkway with the
in the current BMW promotion. Shopping malls are seen
chemotherapy port in her agonised body.
as a sign of transformation and have become the symbol
Street dogs approach and sniff at her. Other patients
of this guinea pig capitalism that especially haunts the
lie close-packed next to her, and a constant stream of
major cities of Myanmar. As the electricity network has not
visitors and patients pass by – a scene out of Dante’s
been improved, these wilful wasters of power use their own
Inferno. The hopelessness of the situation is palpable and
diesel generators in order to be independent of the city’s
hard to bear.
network with its constant power cuts.
Hope is a rare commodity in Aung’s situation, her will to survive so out of place in this hell of a hospital. There is ongoing transformation in Yangon, Myanmar’s biggest city, but nothing has changed for the general
While patients in the general hospital lie in the dark for hours, the shoppers here can enjoy the bling and luxury undisturbed. In a building adjacent to the mall, a new dental clinic
hospital. In its own vastness, the hospital, this pathological
opened not long ago. Called ‘Evergreen Dental Clinic’, it is a
place of horror, serves as the epitome of futility and neglect.
private, modern dental clinic that could be found anywhere
The dental ward is crowded with patients; hundreds wait patiently outside for their turn. The waiting can sometimes
in the world. It caters to wealthy and private patients. Tun La, the dentist who founded the clinic, came from San
take two days. At night, the yard becomes an open-air
Francisco three years ago. He and his family fled Myanmar after
dormitory for those who cannot go home. Street vendors rely
the brutal and violent suppression of the People’s Democracy
on these people and make a good profit. Finally entering the
Movement in 1988 and started a new life in the United States.
dental ward and seeing a dentist is not the end of the ordeal.
He became a dentist there and later opened a prosperous clinic.
84 / Creative Feel / December 2017 / January 2018
‘
Betel nut stains teeth in Myanmar
In contrast, this mall is frequented by the affluent new middle class and the wealthy who can afford Gucci handbags and are interested in the current BMW promotion.
‘
It is one of those many paradoxes of the transformation in Myanmar: nothing can be changed without the former (and still ruling) rulers who still hold economic power. ‘Before, these people had to travel to Bangkok to be treated professionally. Now, the money stays here and enables us to employ and educate more dentists who will then open new practices and gradually the whole health system can improve this way,’ says the tireless man with an energy that belies his age of 67. Walking further along the streets, there are many shops run by Indian and Thai hospitals that pursue customers here. There is a new kind of health tourism taking place that the poor Aung Soung has no access to –
The prospect of social transformation and to giving
and doesn’t even know exists. The shop assistants know
something back to his tormented home country made him
their business and their customers well and offer tailor-
come back to Yangon after his retirement.
made trips for different budgets and needs – from cancer
He opened this flagship clinic and has employed and educated several young Burmese dentists.
A noble cause maybe, but very few Burmese can afford
his services. Those who visit him are expats and the wealthy who accumulated their riches as part of the nomenklatura during the dictatorship.
treatments to facelifts. It’s bad for the economy of the country but without political and social changes, Myanmar’s health system will remain in its current appalling state. The threat of an accident or an emergency hangs over the people’s lives like the Sword of Damocles. CF
Creative Feel / December 2017 / January 2018 / 85
Guy Du Toit:
By Carla Crafford | Publisher: Visual Books | ISBN: 9780620747394
Discovering The Object Discovering the Object is Carla Crafford’s photographic journey through the career of Guy du Toit over the past twelve years. Although not biographic in a chronological
I
n addition to Crafford’s photographs and essays, five other authors have contributed to the book. Professor Emeritus Elizabeth Rankin, sculptor and visual artist Wilma Cruise, writer and researcher Lizette Louw,
Professor Amanda du Preez, and writer and curator Adéle Adendorff each tackle a particular theme of Du Toit’s wide
sense, the aim of book is to share Du Toit’s
range of subjects. ‘Collaborations call for a broader view than
work – in and beyond gallery spaces.
state in the acknowledgements page. ‘This is especially true
a book about the work of a single artist,’ Crafford and Du Toit when one considers the extensive range of subject matters – in this case created mostly over the past twelve years, of just one artist. To have a single approach in writing about the work of Guy du Toit would limit the way in which his work may be represented. Furthermore, when two or more artists collaborate on various projects – the one commenting on, or representing the other, the outcome of such collaborations invites a diversity of written commentary.’
86 / Creative Feel / December 2017 / January 2018
Guy du Toit is an accomplished sculptor who has
Apart from lecturing in photography to students
exhibited widely, both locally and internationally. He has
in the Department of Visual Arts at the University of
been the recipient of numerous prestigious art awards, most
Pretoria since 1997, Crafford’s main interest lies in
notably the FNB Vita Award in 1993 and the Sol Plaatjies
the photography of artworks, artists and architecture.
Sculpture Award in 1989.
Whereas her photography is primarily about art,
Known for turning convention on its head, Du Toit’s
her preoccupation lies increasingly in producing
fundamental understanding of formalist and aesthetic
reflexive artwork by means of various photographic
principles entices viewers in a playful dialogue of form,
and videographic methods. Crafford has had five
material and concept. These sculptures, produced in a wide
solo exhibitions, has taken part in numerous group
range of media including bronze, wood, stone or ceramic,
exhibitions, and has works published in various local and
extend invitations for exchange through their apparent
international magazines and books. Her photography of
quotidian references and engage audiences through the
other artists’ work – for their own use or for collaborative
claims and questions they pose.
projects, is an ongoing passion.
Du Toit’s sharp-witted juxtaposition of mundane objects
All photographs in Discovering the Object were taken by
or animals and his fine sense of visual acuity, coupled with
Carla Crafford, with a few exceptions where photographs
his carefully constructed interplay of medium, process and
were taken by, or supplied by, Guy du Toit.
concept, deliver a refreshing punch that re-evaluates the
The first edition of this book (comprising 300 copies,
ordinary. While infused with a generous amount of playfulness
as well as seven hand-made copies) was launched
and pun, Du Toit’s work also puts forward existential questions
earlier this year. A portion of the sales price will be
that ponder not only the inherent nature of objects, but also
made available in a fund for a young student sculpture
the narratives of human existence threaded through these.
competition in 2018. CF
Creative Feel / December 2017 / January 2018 / 87
Book Reviews Recently published
The History of Bees | By Maja Lunde | Publisher: Scribner Simon & Schuster | ISBN: 9781471162756 England, 1852. William is a biologist and seed merchant, who sets out to build a new type of beehive – one that will give both him and his children honour and fame. United States, 2007. George is a beekeeper fighting an uphill battle against modern farming, but hopes that his son can be their salvation. China, 2098. Tao handpaints pollen onto the fruit trees now that the bees have long since disappeared. When Tao’s young son is taken away by the authorities after a tragic accident, she sets out on a gruelling journey to find out what happened to him. Haunting, illuminating, and deftly written, The History of Bees joins these three very different narratives into one gripping and thought-provoking story that is just as much about the powerful bond between children and parents as it is about our very relationship to nature and humanity.
Letters to my Comrades: Interventions and
A Guide to the Garden Route | Revised
Bare Ground | By Peter Harris | Publisher:
Excursions | By Z Pallo Jordan | Publisher:
and Updated | Publisher: Jacana |
Picador Africa, an imprint of Pan Macmillan
Jacana | ISBN: 9781431424863
ISBN: 9781431425204
South Africa | ISBN: 9781770105812
Z Pallo Jordan is the quintessential man
This ‘must have’ guide will
As the head of Wits Mining, the last major
of political letters on the one hand,
enhance your experience, and
mining company to do an empowerment
and an astute literary historian in his
certainly expand your knowledge,
deal, Max Sinclair has a mandate from the
own inimitable way, penning flowing
of the area.
board and a clear directive: to sell a share
observations, interspersed with pithy and
The Garden Route guide will
of the company to a black consortium.
yet colourful descriptions on the other hand
take you on a magical journey along
Born and bred in the city that remains, at
– while cutting to the bone in analyses
South Africa’s Garden Route while
heart, a mining camp built on gold and
and breath-taking insights, informed by
exploring the beauties and hidden
the greed of men, Max is used to being a
meticulous reading amassed over nearly
secrets of our natural heritage.
player in the high-stakes game of deals
half a century of struggle. Letters to Friends
Filled with detailed and up-to-
and political influence, and he keeps
and Comrades is the ultimate collection of
date information, this book tells
his cards close to his chest. There is no
his piercing and yet embraceable thoughts
you where to go, how to get there
shortage of takers for the deal.
and inquiries.
and what you’ll find in the area:
Bare Ground is the third book
hikes, drives, mountain bike and
authored by Peter Harris. In a Different
Z Pallo Jordan could not have been more
adventure routes; whale watching,
Time (2008; winner of the Alan Paton
timely in this critical – or should we say
birding hot spots; fauna and flora;
Non Fiction award) was about the 1980s
unfortunate – period of the promise that
maps from Still Bay to Storms River;
and an extraordinary treason trial. The
was the New Democratic Republic of South
historical, environmental, cultural
second book, Birth (2011), was about the
Africa, and published as it is on the eve of the
and geological info.
extreme challenges that South Africa
This treasure trove of the writings of
African National Congress’s general elective
This book will appeal to tourists
encountered in getting to and conducting
congress in December 2017, and interestingly
and locals, holiday makers, hikers,
the 1994 election. This novel, located in
in the aftermath of the watershed municipal
bikers, walkers, birders, outdoor
the cauldron of Johannesburg, is about the
elections of 3 August 2016.
enthusiasts, nature lovers and guides!
society we have become.
CD Review The latest releases to suit all tastes
Kgomotso le Roux and Neno new releases South Africa will experience original indigenous African music compositions by two women from
K
gomotso le Roux, whose music draws heavily from Tshivenda traditional rhythms, writes in isiZulu, Sesotho, French, English and Shona. Her debut album Unoyiwawa is titled after a mythical African super hero, the ‘Strong one who does not fall, protects communities from natural disasters and is the daughter of Nomkhubulwane, the
African goddess of rain, nature and fertility.’ Nomkhubulwane is strongly related to the origins of humankind from an African mythological perspective. Le Roux has spent 14 years in the music industry in various capacities. She began
two generations,
writing at the age of 9, started her sessions as a backing vocalist in 2003 and has gone on to
influenced by jazz, soul
Blondie Makhene, Tlale Makhene, Yonela Mnana, Theo Nhlengethwa and Tresor. Her love
work with an array of artists such as Mpumi Dlamini, RJ Benjamin, Ifani, Letoya Makhene,
and Tshivenda rhythms
for composition has seen her produce original music for children TV programmes Takalani
from Kgomotso le Roux
the State Theatre in Pretoria, September 2017.
and her mentor Rosy Morero Bulane aka Neno, whose sound is a fusion of mbaqanga, gospel and Sesotho traditional
Sesame and LEGO and recently featured as a performer at Dr Sello Gallane’s Pula Festival at Neno, who is 78 years old, will also launch her album Ha Mojela, with the support of the Khwela Factory and Le Roux, thus beginning the journey of having her compositions performed. Dressed by clothing from the Khwela Factory range, the musical duo will be backed by an amazing band that features Nhlanhla Neville Radebe (double bass), Yonela Mnana (keys), Mabeleng Moholo (percussions), Kgomotso le Roux (mbira/vocals), Vumile Mchunu and Musa Nkosi (vocals). Le Roux and Neno’s relationship dates back to Le Roux’s time as an academic researcher
music. In addition to live
at Wits University where she was exposed to Neno’s music during her ethnomusicology
performances, audiences
a successful career in the 1970s, having signed to Gallo Records. She later left the music
will also see the première of the Khwela Factory clothing range.
studies in 2006. Neno, who had an erratic recording and performing schedule, had enjoyed industry to pursue a career in acting. ‘If it wasn’t for Neno and Mme Seipati Bulane Hopa, I would have never given our music a chance and I am looking forward to the launch of our albums,’ says ecstatic Kgomotso Le Roux. Le Roux’s journey till this point has been hard as a young black woman artist and entrepreneur. Tickets to the launch cost R100 and R20 for kids under 16. Both albums Unoyiwawa and Ha Mojela will be available for sale at the launch for R150 each and performances will start at 15:00 and end at 18:00 on both days. The launches will take place at The Motlalepula Chabaku Foundation in Soweto on 2 December 2017 and at Glory in Melville, Johannesburg on 3 December 2017. CF
encore Marlene le Roux is currently Chief Executive Officer for The Artscape Theatre
Centre. She has received numerous South African and International Awards in
arts education and leadership. Le Roux started the Audience Development and Education Department at Artscape.
Name one artist you would love to meet.
previously excluded. The industry is vibrant, and up-and-
I work with a myriad of local and international artists and
coming artists have a future.
would not be able to give an unbiased answer. However, I would love to meet Barbara Hendriks and
Name one thing you think would improve the arts and
Andrea Bocelli – against all odds, they have conquered the
culture industry in South Africa.
world of the performing arts.
How the arts are being funded. Not enough emphasis on sustainable funding. Funding should be made much more
What are you reading at the moment?
accessible. Too much paperwork and bureaucracy.
I like to read numerous books at the same time: Henri J.M. Nouwen: Adam: God’s Beloved (I recently lost my
What is your most treasured possession?
son, angel, Adam); Simon Bruinders: Die Sideboard (to
Pictures of my deceased son, Adam. And my daughter Aimee.
understand our diversity more); Mongane Wally Serote: To Every Birth Its Blood (to again gain insight into our past)
What do you regard as the lowest depth of misery?
and Jacques Pauw: The President’s Keepers (to understand
The death of my son.
why history is repeating herself). What is it that makes you happy? What is in your car’s CD player?
That my 75-year-old mother is still alive.
I listen to various genres, from classical to R&B. Brenda Fassie, Barbara Hendricks, Whitney Houston, a selection of
Describe a defining moment in your life.
classical music, Nomfundo Xaluva’s album Kusile, Laurika
When I mastered the art of the slow waltz, as I am disabled.
Rauch, etc. What projects will you be busy with during 2017 and If you could change one thing about yourself, what
into 2018?
would it be?
Our schedule is done for 2018/2019 – a variety of schools/
I put too much pressure on myself.
development programmes and musicals. We are busy everyday of the year. For January 2018, Cinderella on Ice.
How have the arts industries in South Africa changed
Then all the setworks for grade 12s. We will have the
over the last ten years?
women/humanity festival, heritage, etc.
Change has occurred in leadership, which has brought an environment for change and transformation. Access, which
Our Artist in Residence is the renowned indigenous instrumentalist, Dizu Plaatjies.
had previously been denied, and places which had previously been privileged are now being opened up for all the citizens
Name one goal you would like to achieve in the next
of this country. Although change has occurred on paper, it
twelve months.
is now our mandate to bring the possibility of being patrons
I never live by goals. I take every day as it comes. But I
and contributors of art into the minds and lives of those
plan meticulously. CF
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Irma Stern, Freda in Khaki Dress
Sold R3 410 400
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