Creative Feel March 2018

SA R36,90 (incl. VAT) - March 2018

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Cape Town Opera will collaborate with Stellenbosch University’s Music and Drama Departments for the first time on a new production of Purcell’s The Fairy Queen at the US Woordfees, as part of the Naspers Grand Masters series. Following his outstanding CTO debut with Monteverdi’s Orfeo, Erik Dippenaar returns to conduct the period instrument ensemble Camerata Tinta Barocca.

A new multilingual script by award-winning writer Wessel Pretorius draws inspiration from Shakespeare’s A Midsummer Night’s Dream, wittily brought into the present day in Alan Swerdlow’s inventive production. With striking designs by Michael Mitchell, Maritha Visagie and Kobus Rossouw created for the Spier Ampitheatre, and choreography by Sibonakaliso Ndaba, The Fairy Queen promises to be an evening of Baroque opera at its most entertaining, performed under the stars in the late Cape summer.

World Symphony Series

Summer Season 2018 28 FEBRUARY - 22 MARCH 2018, LINDER AUDITORIUM, PARKTOWN, JOHANNESBURG

Concert 1

28-01

FEBRUARY - MARCH 2018

PROGRAMME Piotr Ilyich Tchaikovsky: Violin Concerto in D major, Op. 35 Sergei Rachmaninoff: Symphony No. 2 in e minor, Op. 27

Daniel Röhn

Daniel Boico

VIOLINIST

CONDUCTOR

Daniel Röhn draws on traditions of musical expression that had been virtually consigned to the past.

Describing his playing style requires more than merely mentioning his impressive technical brilliance, and needs to be heard live to be appreciated.

Described by critics as “Dynamic, vigorous, exciting and imaginative - an undisputed star who combines magnetic charisma with a skilled technique” conductor Daniel Boico is the Associate Guest Conductor of the KZN Philharmonic Orchestra, Durban, and former Assistant Conductor of the New York Philharmonic.

Concert 2

07-08 MARCH 2018

PROGRAMME George Frideric Handel: The Arrival of the Queen of Sheba Wolfgang Amadeus Mozart: Piano Concerto No. 20 in d minor Ludwig van Beethoven: Symphony No. 6 in F major, Op. 68, “Pastoral”

Pallavi Mahidhara

Kwamé Ryan

PIANIST

CONDUCTOR

Known for her artistic versatility, pianist Pallavi Mahidhara combines mature musical insight, an astounding technique, and a charismatic stage presence.

Kwamé Ryan was born in Canada and grew up on the Caribbean island of Trinidad. He was recently announced as a 2017 Laureate of the prestigious Anthony N. Sabga Award for Excellence in the field of Arts and Letters

VISIT JPO.CO.ZA FOR MORE INFO

“The action of making and sharing great music is one of the most profound and uplifting experiences known to humanity. It is the surest way of bringing people of diverse ages and cultural backgrounds together in a spirit of harmony, goodwill and understanding.”

BONGANI TEMBE - CHIEF EXECUTIVE AND ARTISTIC DIRECTOR

Concert 3

14-15 MARCH 2018

PROGRAMME Gabriel Fauré: Masques et bergamasques Suite, Op. 112 Cécile Chaminade: Concertino for Flute and Orchestra in D major, Op. 107 Claude Debussy: Prelude to the Afternoon of a Faun Georges Bizet / François Borne: Carmen Fantasy for Flute and Orchestra Camille Saint-Saëns: Symphony No. 3 in c minor, Op. 78, “Organ”

Liesl Stoltz

Lykele Temmingh

FLAUTIST

CONDUCTOR

Liesl Stoltz is the first prize winner of the 12th Frederich Kuhlau International Flute Competition. She also lectures part-time at the UCT College of Music, and is the recipient of the Humanities and Social Sciences award for best musical composition for her project: Explorations: South African flute music.

Lykele Temmingh is the resident conductor of the KZN Philharmonic and appears regularly on the orchestra’s concert podium. In 2004 he proudly accepted the role of selector and conductor of the National Youth Concerto Festival.

He is also the Artistic Director and conductor of the KZN Youth Orchestra.

Concert 4

21-22 MARCH 2018

PROGRAMME Wolfgang Amadeus Mozart: Don Giovanni Overture, K. 527 Johannes Brahms: Double Concerto for Violin and Cello in a minor, Op. 102 Jean Sibelius: Symphony No. 2 in D major, Op. 43

Max Baillie

Arjan Tien

VIOLINIST/VIOLIST

CONDUCTOR

Maverick viola and violin player Max Baillie leads a unique career as a soloist, chamber musician, director and collaborator. He excels across an exciting spectrum of musical fields and has appeared on stages from Carnegie Hall to Glastonbury.

Arjan Tien made his South African debut with the KZN Philharmonic Orchestra in 1998, shorty after winning the first prize “Rotary-Faller” at the International Conducting Master Class competition in La Chaux-de-Fonds, Switzerland, 1997.

Cover image: Hugh Masekela PHOTO Brett Rubin, art direction by Nicole Van Heerden and production by Vatic Studio

cover story 22

SNAPSHOTS OF A LEGEND Hugh Masekela was a man of many stories and,

42 WEST SIDE STORY RETURNS! W est Side Story, a production by Eric Abraham and the

according to Nicole van Heerden and Brett Rubin,

Fugard Theatre, exploded onto the Cape Town stage in the

working with him meant sharing in many of these

winter of 2015, onto the Joburg scene in early 2017 and,

stories.

due to overwhelming demand, will return to the Artscape

arts and culture 28 RMB STARLIGHT CLASSICS

Opera House stage for one final season in South Africa.

46 THE ROAD TO MECCA Eric Abraham presents a Fugard Theatre production of

contents A non-traditional musical event that’s stood the test of time.

32 A SUPERB NIGHT UNDER THE STARS RMB Starlight Classics takes place in early March at

Vergelegen Wine Estate. This Afro-symphonic tribute

The Road to Mecca in honour of iconic playwright Athol Fugard’s 85th year.

48 CIRQUE INFERNAL’S JOURNEY

BEYOND DEATH Cirque Infernal’s theatrical circus tale Mortalès, will show

to our beautiful country brings together a collection of

at the Mandela Stage of the Joburg Theatre from 6 to 23

diverse musical talent and incredible instrumentalists,

September 2018.

with a visionary selection of young talent.

36 STORIES OF AN AFRICAN CHOIR

54 INNOVATION & CUTTING-EDGE CONCEPTS

Transforming lives through music.

FADA Gallery, in association with the Contemporary Jewellery Forum, is proud to announce the launch of the

38 THE 14TH SAJE JAZZ CONFERENCE The 14th SAJE Jazz Conference takes place from 27 to 29 April 2018 in Cape Town and is the culmination of Jazz Appreciation Month (fondly known as JAM), which

first ever South African Contemporary Jewellery Awards Exhibition.

60 LUIGI DI SARRO: WORLD DISCLOSURE

draws public attention to jazz and its extraordinary

To commemorate 40 years since the death of Italian artist

heritage throughout April.

Luigi Sarro, the Istituto Italiano di Cultura in Pretoria, in collaboration with the Documentation Centre for Contemporary Art Research Luigi Di Sarro presents the exhibition Luigi Di Sarro – World Disclosure at the Edoardo Villa Gallery, University of Pretoria Museums, from 1 March to 18 May 2018.

Erik Laubscher, Still Life with Coffee Pot and Fruit (detail)

Estimate R1 500 000 - 2 000 000

Important South African and International Art, Decorative Arts and Jewellery Auction, Monday 5 March 2018, The Vineyard Hotel, Cape Town Preview 2 - 4 March

Enquiries +27 21 683 6560 ct@straussart.co.za

Strauss & Co: The global leader in the South African art market

www.straussart.co.za

62 AFRICA’S YOUNG ARTISTS CALLED TO GIVE ART LIFE AND ENTER ABSA L’ATELIER ART COMPETITION 2018

70 BREAKTHROUGH MOMENTS: STRAUSS & CO SALE INCLUDES FORMATIVE WORKS BY KEY ARTISTS

For thousands of artists across Africa whose

Important works representative of South Africa’s

creativity is their livelihood, art gives life. Now,

diverse and evolving artistic practices from the

the continent’s flagship visual arts competition

twentieth and twenty-first century will go under the

for emerging artists, Absa L’Atelier, is asking these

hammer at Strauss & Co’s much-anticipated Cape

artists to ‘Give art life’ as it calls for entries into this

Town sale in March.

year’s contest.

64 MTN FOUNDATION AND WILLIAM HUMPHREYS ART GALLERY PARTNERSHIP THRIVES

72 OLATUNJI SANUSI’S MULTICOLOURED PIECES OF PAPER Olatunji Sanusi’s third solo show set to open in Cape Town this month, he’s more confident than

contents The prosperous partnership between the MTN

ever that pursuing a career as an artist was the

Foundation and the William Humphreys Art

right choice

Gallery (WHAG) goes back to 2004.

.

66 SPEARHEADING CHANGE IN THE SA AUCTION MARKET Aspire Art Auctions brings an exciting mix of fine art to its upcoming show in Cape Town on 25 March at The Avenue, the V&A Waterfront.

68 HUMAN.NATURE Natalie Field’s highly anticipated Human.Nature opens at Berman Contemporary in Sandton on 29 March and runs until 18 April 2018. The following in-depth insight into the creation of the works and the thinking behind them is written by Natalie Field.

lifestyle and entertainment 74 CINEMA NOUVEAU 78 BOOK REVIEWS 79 MUSIC

contributors 40

THE ART OF PERFORMANCE

Musical encounters

50

ARTLOOKS & ARTLINES

Forty Years: Theatre Defeats the Ghosts of Apartheid

76

LITERARY LANDSCAPES In this second of a two-part series, Wussow writes on her visit back to Latvia.

ERIC ABRAHAM PRESENTS A FUGARD THEATRE PRODUCTION

««««« ««««« «««« «««« CITY PRESS

THE STAR TONIGHT

THE CAPE ARGUS

DIE BURGER

BASED ON A CONCEPTION OF JEROME ROBBINS

BOOK BY ARTHUR LAURENTS | MUSIC BY LEONARD BERNSTEIN | LYRICS BY STEPHEN SONDHEIM ENTIRE ORIGINAL PRODUCTION DIRECTED & CHOREOGRAPHED BY JEROME ROBBINS DIRECTED BY MATTHEW WILD ORIGINALLY PRODUCED ON THE BROADWAY STAGE BY ROBERT E.GRIFFITH AND HAROLD S. PRINCE BY ARRANGEMENT WITH ROGER L. STEVENS

FROM 7 MARCH 2018 | ARTSCAPE OPERA HOUSE BOOK NOW AT COMPUTICKET | THEFUGARD.COM

BY ARRANGEMENT WITH DALRO

EDITOR’S NOTE Magical Musical Moments

T

his month, we are proud to have found a cover that speaks to all of us and invokes our memories of Hugh Masekela – whom we admired and we mourn his recent passing by remembering his vibrant personality and his 2016 performance at RMB Starlight Classics, among others. We even changed the position of the masthead to

really show the full impact of this powerful image.

Just by chance, there is a common thread throughout the March issue of Creative Feel – music that moves us, music that is shared by all and music that transcends race, gender and age.

Like Dave Mann’s story about the Johannesburg coffee shop, where an elderly woman and a young waitress sat together and sang along to a Sean Paul song.

The woman had ordered a coffee and as it arrived, the nine-year-old single ‘Hold My Hand’ played out through the restaurant’s speakers. ‘Isn’t this a lovely song? So romantic,’ she said to the waitress. ‘Could you help me find it?’ The waitress set her things aside, took a seat and began searching for the song on the woman’s phone. Upon finding it, the two sat there and sang along to the lyrics like old friends. Another example of music uniting all – despite differences in age and background!

And then there are the RMB Starlight Classics features, which celebrate 20 years of successful concerts. Starlight Classics came about after Laurie Dippenaar, one of the co-founders of RMB, attended an orchestral concert where they had performed the 1812 Overture. The concert overture was written in 1880 by Russian composer Pyotr Ilyich Tchaikovsky to commemorate Russia’s defence of its motherland against Napoleon’s invading Grande Armée in 1812. Dippenaar told us that he was ‘moved, listening to such powerful music in great company, so I said we’d sponsor an outdoor concert at the Country Club as long as they included the 1812 Overture in the programme. Over the years, they’ve played it quite often and it never ceases to inspire me.’

As much as the trumpet given to Hugh Masekela by Louis Armstrong, a gift Trevor Huddleston had been instrumental in securing, changed the life of the young Masekela, our feature about the Mzansi Youth Choir shows how music has transformed lives of many young people and their families who have come through the ranks of this wonderful choir.

Happy 20th birthday RMB Starlight Classics!

As Carolynne Waterhouse commented, ‘We are proud of the huge success of Starlight Classics and more so how the audience leaves the concert on such a positive note, reenergised to tackle the daily magic and madness that is South Africa.’ This is particularly important today, as we send the magazine off to print and await the outcome of the Zuma Exit, it is music that provides positive, powerful energy.

Lore

10 / Creative Feel / March 2018

Willem Boshoff, Prison Hacks: Nelson Mandela, 2003, white marble, 150 x 100 x 3cm Estimates: R350 000 - R500 000 | Image courtesty of the artist.

SUMMER AUCTION IN CAPE TOWN 25 March 2018

Historic, Modern & Contemporary Art Avenue | V&A Waterfront | 40 Dock Road SALE CONTACT & ENQUIRIES: CAPE TOWN: 083 283 7427 | cpt@aspireart.ne t

JOHANNESBURG: 011 243 5243 | enquiries@aspireart.net

www.aspireart.net

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We love this!

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PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Angelia Muller; angelia@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Indra Wussow Michelle Constant Dave Mann SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Zama-Africa Mkhize; zama@desklink.co.za 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

An object can have the power to transform lives!

The trumpet given to a young Hugh Masekela by Louis Armstrong, a gift Father Trevor Huddleston had been instrumental in securing, did just that.

In 1954, Father Trevor Huddleston bought a second-hand trumpet for a 14-year-old Masekela who attended St. Peter’s Secondary School.

With Jonas Gwangwa on trombone, and other youth, Masekela and Gwangwa formed the Huddleston Jazz Band.

In 1955 after Huddleston was exiled from South Africa he travelled to the US where he met Louis Armstrong and told him about ‘his’ band.

Armstrong then donated a new trumpet for the young Hugh Masekela.

This was just the beginning of what would become a legendary career that saw Masekela release 49 albums, win 2 Grammy Awards and receive 7 Grammy Award nominations.

PRINTING Raptor Print (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.

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.

Beautiful, tranquil, true four star accommodation

C

asta Diva Boutique Hotel boasts 28 beautifully elegant guest rooms amid the lush, tropical gardens.

Take a well-deserved break, and book one of the exclusive rooms – The Dam is a particularly romantic

choice. Once a reservoir dam in the early 1900s, it is now a spacious room that has a deck overlooking the northern slopes of the Magaliesberg. Enjoy a spectacular African sunset with a glass of wine of your choice and that special someone.

If you have to be in Pretoria for business, why not spend your ‘off-time’ somewhere breathtaking? With the Village,

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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.

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Perhaps you are in need of a break away from home, but would prefer to have all the home basics at hand. Why not book one of the three self-catering units, which all offer accommodation for up to four guests, as well as a little kitchenette for that ‘home away from home’ feel.

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With on point hosts, one seldom feels forgotten in spite of the enormous grounds to ‘get lost on’.

The boutique hotel also offers their in-house guests the option of ‘dining in’ at the delightful Charisma Restaurant.

With á la carte menus for breakfast, lunch and dinner, this is the perfect spot to try a Tilapia, a Pangasius Fillet or enjoy a hearty Beef Stroganoff. Guests have a wide variety of dish choices, as well as the option of dining in the main dining hall or outside on one of the garden terraces.

Tthis venue also frequently hosts up-and-coming talent in their intimate 70-seater theatre/art gallery, Vissi d’Arte. The classically inclined might even be lucky enough to be treated to a concert in the dining hall where one can find a grand piano.

Casta Diva Boutique Hotel has taken all the best parts of life and combined them in a user-friendly environment. Do yourself a favour and spend some time at Casta Diva, the place to… be.

Visit their website at www.castadiva.co.za for more information, and keep an eye on their Facebook pages [Casta Diva the Place to | Casta Diva’s Charisma | Casta Diva’s Vissi d’Arte] to stay up-to-date with events and special offers.

So treat yourself to a getaway like no other. Visit Casta Diva – The place to… simply be. CF

Rolex Mentor and Protégé Arts Initiative names Mentors and Protégés for 2018–2019 Renowned artists David Adjaye, Zakir Hussain, Crystal Pite and Colm Toíbín will join in creative exchange with outstanding young talents Colin Barrett, Marcus Gilmore, Mariam Kamara and Khoudia Touré through the Rolex Arts Initiative.

F

our of the world’s most distinguished artists – Sir David Adjaye

(architecture), Zakir Hussain (music), Crystal Pite (dance) and Colm Toíbín (literature) – have each chosen an outstanding young talent for a period of creative exchange and personal inspiration, made possible through the Rolex Mentor and Protégé Arts Initiative.

Zakir Hussain, Mentor in Music, with his protégé Marcus Gilmore

The multidisciplinary philanthropic programme, established by Rolex, seeks

out highly talented artists in the early stages of their careers and brings them together with recognized leaders in their fields for a year or more of open-ended collaboration, so that artistry at the highest level can be transmitted across the generations.

In the mentoring period that spans 2018 and 2019, Ghana-born British architect David Adjaye has chosen to work with Mariam Kamara, 38, Niger; Indian musician Zakir Hussain with Marcus Gilmore, 31, United States; Canadian choreographer Crystal Pite with Khoudia Touré, 31, Senegal; and New York-based Irish writer Colm Toíbín with Colin Barrett, 35, Ireland. The mentor-protégé pairs are free within this period to schedule their times and places of interaction according to their particular needs.

Rolex announced the new mentors and protégés at a public ceremony in Berlin celebrating the completion of the 20162017 mentoring year, the 15th anniversary of the programme.

‘The artists who have so generously agreed to participate as mentors in the 2018-2019 Rolex Arts Initiative have influenced their disciplines profoundly and are held in the highest esteem by the public and their peers,’ said Rebecca Irvin, Head of Philanthropy at Rolex. ‘They now join a community of internationally acclaimed artists who have taken the opportunity through Rolex to pass on their passion and expertise. We extend our congratulations to the highly accomplished younger artists who have been chosen by the mentors.’ CF Creative Feel / March 2018 / 15

16 / Creative Feel / March 2018

CARMEN Promises a sizzling start to Joburg Ballet’s 2018 season, in association with the Johannesburg Philharmonic Orchestra Shannon Glover and Ruan Galdino in Carmen PHOTO Lauge Sorensen

J

oburg Ballet opens a bumper 2018 ballet year

Monja and Monike Cristina are making their debuts as

in sizzling style when the company brings

Carmen. Carmen’s lover Don José will be danced by Ruan

South African choreographer Veronica Paeper’s

Galdino (with Glover), Leusson Muniz (with both Monja and

production of Carmen to Joburg Theatre for

Kreuzhuber) and Revil Yon (with Cristina).

ten performances from 6 to 15 April. Performing to live

Joburg Ballet’s CEO Esther Nasser welcomes the

orchestral accompaniment for the first time in many years,

company’s association with the JPO, adding, ‘No matter how

the relaunched Johannesburg Philharmonic Orchestra (JPO)

fine a ballet company is, dancing to a live orchestra brings

will take its place in the orchestra pit under the baton of

a dynamic brilliance and dramatic force to performances.

conductor Brandon Phillips, bringing to life composer Georges

Joburg Ballet is thrilled to be working with the JPO in

Bizet’s famous music.

an association that brings two of Johannesburg’s most

Paeper, whose La Traviata was one of the highlights for both the company and its audiences in 2017, will return

applauded artistic companies together.’

Speaking on behalf of the orchestra, JPO Artistic

to Johannesburg to restage her celebrated production of

Director and CEO Bongani Tembe said, ‘The Johannesburg

Carmen. Commenting on working with the company, she

Philharmonic Orchestra is excited by the new

said: ‘When I produced La Traviata for Joburg Ballet, I found

collaboration with Joburg Ballet. Both organisations share

the dancers very skilled on a technical level and superb

the mission of enriching the local community by offering

dramatically, so I’m really looking forward to restaging

high calibre productions, implementing education

Carmen and fascinated to see what we can achieve.’

initiatives and offering performance opportunities to a

Last seen on the Johannesburg stage eight years ago,

wide range of artists.’

Paeper’s acclaimed full-length ballet returns to showcase a

Joburg Ballet offers a range of affordable ticketing

new generation of Joburg Ballet stars in the roles of Carmen

options for Carmen, including half price on opening night

and Don José in this searing story of passion and betrayal

and two budget-priced morning matinees at 11:00 when all

under the Spanish sun.

seats are just R100. CF

Of the season’s four ballerinas sharing the title role, Shannon Glover and Sanmarie Kreuzhuber will return to

Principal casting for Carmen is available at joburgballet.com,

a role they first danced several years ago, while Claudia

booking via webtickets.co.za

Creative Feel / March 2018 / 17

Aspire Art Auction’s unique groundbreaking house contents sale Almost R15 million raised, most of it for a new charity in the first ever house contents sale conducted by the rising star of the SA art auction world – at a sell-through rate of almost 82%.

A

spire Art Auctions’ latest sale, on 11 February 2018, was a first all-round sale for the young, dynamic auction business. Although uniquely focused on fine art, they have just had

spectacular success with their inaugural sale combining house contents. The Contents of Deodar House comprised over 100 lots of impeccably chosen fine arts, decorative items, antique and modern furniture, luxury jewellery, watches, and wine. The unique point about the sale is that the entire seller’s proceeds will be donated to seed fund a new children’s leukaemia charity, the JELUKA4Good Children’s Leukaemia Fund. This is a non-profit organisation established to provide funding for the treatment of children suffering from leukaemia who have no means. The sale achieved the phenomenal sell-through rate of 82%, well above the industry average.

Headlining the success of the auction were several significant works of art. The top seller was a sumptuous still life by Irma Stern, Hydrangeas and St Joseph lilies in the artist’s hand-made ceramic jug, which sold for R4 774 560, against estimates of R3 000 000 – 4 000 000. The sale of the fine art lots on the Deodar sale was dominated by an exceptional collection of large outdoor sculpture. Among these, a highly

Top Seller: Irma Stern’s Hydrangeas and St Joseph lilies in the artist’s hand-made ceramic jug (1950) R4 774 560

coveted piece by William Kentridge and Gerhard Marx, Fire Walker (2010) achieved a price of R3 978 800.

Other record-breaking successes on the sale were for well-known South African artists Angus Taylor and Willem

Zimbabwean artist Chenjerai Chiripanyanga, which sold for R73 892, well over double its high estimate.

The sale took place in the tranquil and tastefully

Boshoff, whose works Sit en Staan (2008) and Clast Mar (2009)

arranged surrounds of the Deodar House and Gardens,

respectively attained top prices of R2 159 920 and R682 820.

where the large sculptures and central lily pond formed the

These are world-record prices at auction for both artists,

backdrop to the fierce bidding in the garden marquee.

beating previous auction prices by significant margins. A

The furniture lots on the sale, a first for Aspire, proved a

work by respected local sculptor Dylan Lewis, Trans-figure IX,

massive success, with competitive bidding on almost every

fetched R909 440, well above a high estimate of R500 000.

lot. A pair of Paul Smith armchairs attracted much attention

Other major fine art lots to have done well on the

pre-sale, and sold for R125 048, more than double the high

auction included the beautifully subtle painting Marsh Lilies

estimate. Then, an antique French oak dining table went

by respected realist painter John Meyer, which achieved

for R136 416, also more than double its high estimate, and

a price of R500 192, above the high estimate. There were

a set of Louis Ghost Kartell dining room chairs, designed by

also pleasant surprises like the sculptural work Forms by

Phillipe Starck, did the same when they sold for R43 198. CF

18 / Creative Feel / March 2018

20 / Creative Feel / March 2018

Creative Feel / March 2018 / 21

SUMMER SYMPHONY SEASON Making music together.

THURSDAY, 22 FEBRUARY 2018, 7:30PM, PLAYHOUSE OPERA THEATRE

031 369 9438 • www.kznphil.org.za

WORLD SYMPHONY SERIES

Conductor:

Daniel Boico

Soloist:

Anna Dmytrenko, piano

Liszt

Les préludes, S.97 (Symphonic Poem No. 3)

Saint-Saëns

Piano Concerto No. 2 in g minor, Op. 22

Tchaikovsky

Symphony No. 4 in f minor, Op. 36

THURSDAY, 1 MARCH 2018, 7:30PM, PLAYHOUSE OPERA THEATRE

SUMMER SEASON 2018 WITH OUTSTANDING SOLOISTS AND STAR CONDUCTORS, THE

Conductor:

Kwamé Ryan

Soloist:

Liesl Stoltz, flute

Fauré

Masques et bergamasques Suite, Op. 112: Overture

Chaminade

Concertino for Flute and Orchestra in D Major, Op. 107

Debussy

Prelude a “L’apres-midi d’un faune”

Bizet/Borne

Carmen Fantasy for Flute and Orchestra

Franck

Symphony in d minor

KZN PHILHARMONIC PRESENTS THE SUMMER SEASON OF ITS

THURSDAY, 8 MARCH 2018, 7:30PM, PLAYHOUSE OPERA THEATRE

RENOWNED WORLD SYMPHONY

Conductor:

Arjan Tien

Soloist:

Daniel Röhn, violin

Beethoven

Concerto for Violin in D Major, Op. 61

Beethoven

Symphony No. 3 in E flat Major, Op. 55, “Eroica”

SERIES 2018 FROM 22 FEBRUARY TO 15 MARCH.

THURSDAY, 15 MARCH 2018, 7:30PM, PLAYHOUSE OPERA THEATRE Conductor:

Arjan Tien

Soloists:

Alexander and Max Baillie, cello and violin (father and son)

Mozart

Overture to Don Giovanni, K. 527

Brahms

Double Concerto for Violin and Violoncello in a minor, Op. 102

Sibelius

Symphony No. 2 in D Major, Op. 43

Bongani Tembe, Artistic Director

“The

KZN

Philharmonic

is

committed

to

Single tickets priced from R68 – R240 are available at Computicket.

All concerts commence at 7:30pm at the Playhouse Opera Theatre.

enriching the cultural life of South Africa’s diverse

Pre-concert talks are held from 6pm - 6:40pm. The Playhouse

audiences by presenting world-class concerts

precinct, including surrounding parking garages, is patrolled by a

and implementing education and community

dedicated security team.

engagement programmes.”

Kwamé Ryan

Liesl Stoltz

Daniel Röhn

Daniel Boico

Anna Dmytrenko

ARTISTS

Alexander Baillie

PERFORMING IN THE SUMMER SEASON 2018

Arjan Tien

The KwaZulu-Natal Philharmonic Orchestra

Max Baillie

Hugh Masekela at Oppikoppi PHOTO Brett Rubin

LEGEND How do you begin to piece together the story of an internationally-renowned musician and cultural icon like Hugh Masekela? In the wake of his recent passing, tributes and memories have poured in from around the globe in an attempt to make sense of the impact that the jazz musician made on the world. Certainly, Masekela was a man of many stories and, according to Nicole van Heerden and Brett Rubin, working with him meant sharing in many of these stories.

24 / Creative Feel / March 2018

Hugh Masekela PHOTO Brett Rubin, art direction by Nicole van Heerden, production by Vatic Studio

Creative Feel / March 2018 / 25

Hugh Masekela at Oppikoppi PHOTO Brett Rubin

H

aving worked with Hugh Masekela for nearly six

‘That’s Cecil Skotnes,’ they replied.

years, Nicole Van Heerden and Brett Rubin, his

To which Masekela responded that he knew of Cecil

stylist and photographer respectively, came to

Skotnes – ‘he used to drive into the township, during

know the late trumpeter intimately. The two first

apartheid, to get sculpture lessons from my father.’

began working with him in 2012, after Rubin approached Masekela’s manager with the idea for a portrait shoot.

‘It almost felt like an audition,’ explains Rubin. ‘We

By nature, Masekela was a person who drew people towards him, and made a habit of getting to know all of them, well. He was fiercely Pan-Africanist and believed

prepped extensively, and it actually ended up being a far

strongly in the power of Africa’s shared cultural and

more organic process and so much fun.’

artistic heritage. Being in exile from the 1960s meant

It went so well, in fact, that many of the images from that

not being able to integrate himself into South Africa’s

shoot were used in Masekela’s 2012 album Playing at Work. It

arts and culture, and served as a difficult period for

was also this first bit of work with him that Van Heerden and

him. But it was also a time when he met countless

Rubin began to realise that working with Masekela allowed

influential individuals.

access to a wealth of stories from his life in various cities

Van Heerden and Rubin have heard tales of Masekela’s

surrounded by friends who, like Masekela himself, would

late nights in New York with Jimi Hendrix, borrowing books

later become musical icons.

from Miles Davis, and spending time in the 1970s with Fela

During one of their first shoots, Rubin and Van Heerden recall taking him to a location with a large-scale sculptural wall by South African artist Cecil Skotnes.

‘Who is this artist?’ asked Masekela, ever curious.

26 / Creative Feel / March 2018

Kuti in Lagos and Accra.

Throughout his travels, Masekela amassed a striking collection of clothing – shirts, cashmere coats, hats, and bespoke fabrics – much of which have featured in their shoots.

Hugh Masekela PHOTO Brett Rubin, art direction by Nicole van Heerden, production by Vatic Studio

Hugh Masekela PHOTO Brett Rubin, art direction by Nicole van Heerden, production by Vatic Studio 28 / Creative Feel / March 2018

Brett Rubin, Nicole van Heerden and Hugh Masekela

‘He really set the tone of the shoots in that way.

One moment we’d all be laughing and joking about, and the next we’d be doing incredible work; it just flowed seamlessly.’

A series of photos featuring Masekela, flugelhorn in hand and seated in a backwards chair, showcase this perfectly.

In some of the images he is smiling and laughing, while in another, he is deeply pensive.

‘That pensive photo was from a great shoot for his final album No Borders,’ recalls Rubin. ‘Hugh was making us all Hugh Masekela PHOTO Brett Rubin, art direction by Nicole van Heerden, production by Vatic Studio

laugh from the beginning of the shoot and then Van Heerden and the rest of the team left the room to go and get some coffees, so it was just him and I there. I started asking him about what it was like living in New York in the 1960s and he

‘I quickly learned that Hugh loved to look good, and he did it so easily, too,’ says Van Heerden. ‘Because of his personality, styling him was such a natural process and

started telling me all these magical stories, and in-between it all, he would stare off and think back to those times.’

The story of Masekela is a tapestry of countless people,

because he loved collecting original pieces, I got a lot of

places, songs, and experiences spread out across the

clothing made for him for the shoots by local designers.’

world, in spite of its borders and barriers. In remembering

Later in his life, Masekela began to practice Tai Chi, and

Masekela, we have the work of people like Rubin and Van

Van Heerden and Rubin recall seeing him backstage, moments

Heerden to help us along, and we have his many tales to

before his lifetime achievement award performance at

think back on.

OppiKoppi, silently engaging in his routine as a roaring and ecstatic crowd waited for him to take the stage.

But he was a man of many surprises, say the two. For

As time passes, more tales will probably be told, but for now, here’s another great one to hold on to: During the No Borders album shoot on a closed set at The Cosmopolitan

Rubin, it was his casual way of imparting stories and

– an old, but recently revamped Maboneng building –

knowledge in conversation that never ceased to amaze

Masekela began to play his flugelhorn. Lilted, crooning notes

him – ‘those countless warm stories he’d gift to us over

rose up into the ceiling and surrounds, christening the quiet,

the years.’ That and the fact that Masekela refused

historic building, days before it’s re-opening to the public.

to shake hands with anyone and insisted, instead, on

Afterwards, while walking with Van Heerden and Rubin to a

hugging every person he met. For Van Heerden, it’s the

nearby steakhouse for lunch, Masekela excitedly exclaimed:

way Masekela managed to be incredibly hardworking and

‘Man, it’s so good to walk around downtown like this, I feel

professional, but possessed a young-spirited playfulness

like I could be in Amsterdam or Copenhagen, but I’m right

during shoots.

here in Johannesburg.’ CF

Creative Feel / March 2018 / 29

RMB Starlight Classics A non-traditional musical event that’s stood the test of time

30 / Creative Feel / March 2018

Zolani Mahola with the Drakensberg Boys Choir

T

wenty years ago, a night of live orchestral music beneath the stars took place at the Country Club Johannesburg. ‘Blankets, Baskets, and Bowties’ was the name of the event and it promised an evening of

truly innovative Afro-symphonic entertainment. ‘In the event of rain, the concert will be held on Monday,’ read the RMB invitation. As it turns out, it did rain, and the event did end up taking place on the Monday night.

‘The fact that our clients showed up on a Monday night told us that this was the start of something special,’ says RMB co-founder Laurie Dippenaar.

RMB Starlight Classics was born when Dippenaar was approached by conductor Richard Cock for funding for the National Symphony Orchestra. Dippenaar, always on the lookout for the sustainable business case, suggested that RMB rather create a musical event for clients that would give musicians the opportunity to perform for an expanded audience and be rewarded for their talents.

‘I had recently attended an orchestral concert where they had performed the 1812 Overture,’ says Dippenaar. ‘I was moved, listening to such powerful music in great company, so I said we’d sponsor an outdoor concert at the Country Club as long as they included the 1812 Overture in the programme. Over the years, they’ve played it quite often and it never ceases to inspire me.’

It’s not just contemporary performances of classical greats that have entertained audiences over two decades. To date, RMB Starlight Classics has featured acts such as Johnny Clegg, Karen Zoid, Hugh Masekela, the Mzansi Youth Choir, Pretty Yende, Vusi Mahlasela, Freshly Ground with Zolani Mahola, and the Drakensberg Boys Choir. International acts have included Katherine Jenkins, Joshua Bell, Patrizio Buanne, Trio NeuKlang and many others.

Today, RMB Starlight Classics plays to sold-out audiences twice annually – at Country Club Johannesburg and on the Vergelegen Wine Estate just outside Cape Town.

For the Vergelegen concert this month, the lineup is as diverse and exciting as ever. Musicians set to

Creative Feel / March 2018 / 31

perform are popstars Lira, Riana Nel and Craig Lucas; opera singers Sunnyboy Dladla and Cecilia Rangwanasha; young superstars Paxton Fielies and Qden Blaauw, and international guest stars Amira Willighagen and jazz violinist Tim Kliphuis.

As the musical director, Maestro Richard Cock, with the passionate interest and support of RMB’s founders and management, has created an almost cult-like following for this unique event.

‘When you look out from the podium and see 4 000 people lighting candles and “sharing brightness”, you can’t

“We are proud of the huge success of Starlight Classics and more so how the audience leaves the concert on such a positive note, re-energised to tackle the daily magic and madness that is South Africa” Starlight formula has kept her and the team energised and inspired along the way.

‘You can’t develop anything like this without someone

help feeling an overwhelming sense of positivity around the

encouraging you and believing in the product while also

potential for South Africa’s future,’ says Cock. ‘A particularly

giving you the complete freedom to make it work. What Laurie

touching memory for me was when Hugh Masekela

always did was urge us to build something far more than a

performed “Stimela” with the Mzansi Youth Choir. The way

one-day-wonder,’ says Waterhouse. ‘We are proud of the huge

he guided and mentored the choir through rehearsals – even

success of Starlight Classics and more so how the audience

during the breaks – was typical of Bra Hugh’s generous spirit

leaves the concert on such a positive note, re-energised to

and connectivity with young people.’

tackle the daily magic and madness that is South Africa. I am

While RMB Starlight Classics was the brainchild of

told that local performers regard an engagement at Starlight

both RMB and Cock, Dippenaar explains that it couldn’t

Classics as a career milestone, while many musicians view

have grown into the 20-year-old event that it is today

performing on the Starlight Stage as a bucket list item.

without the creative resilience of RMB’s Carolynne

‘The cornerstone of RMB has always been outstanding

Waterhouse and the bank’s legendary events team,

talent, and events like Starlight Classics help us to showcase

The founders of RMB (Laurie Dippenaar, GT Ferreira and Paul Harris) with Katherine Jenkins

Sibongile Khumalo

Vusi Mahlasela who never fail to delight demanding clients with their

and set up musical talent for success, while bringing people

meticulous attention to the detail.

together through music.’

Waterhouse has helped build the RMB Starlight Classics

Apart from RMB clients, the event is also attended by

brand from its rainy, but resolute inception into an annual

thousands of members of the public each year, with tickets

social highlight. While collaborating with an outstanding

being sold out weeks in advance. KykNet and Mnet recently

team over the years has ensured that the concerts are a

started screening 60-minute features of the concerts,

resounding success, Waterhouse says Laurie Dippenaar

helping to bring the essence of live Afro-symphonic music

and his wife Estelle’s consistent faith and conviction in the

into the homes of thousands of South Africans.

32 / Creative Feel / March 2018

Pretty Yende and Hugh Masekela Vusi Mahlasela

Dippenaar explains that, in line with RMB’s business philosophy of ‘Traditional Values and Innovative Ideas’, the

Mzansi Youth Choir performing at RMB Starlight Classics PHOTO P Joubert

fact that you never know what is going to happen next.

‘We’ve always invested in the arts and the arts give

RMB Starlight Classics concert series stands out as one of

us a generous return of goodwill that goes beyond the

the bank’s most treasured brand builders.

balance sheet. It’s doing good business and doing good

‘It’s got a core classical theme, which will never be lost,

work in equal measure. In fact, music has the power

with each concert bringing something new. For example,

to transform lives for the better and in addition to its

in 2010 we had 20 tenors and more recently we had

emotive audience engagement, everyone goes home with

Handspring’s elephant puppets. The excitement lies in the

a winning feeling.’ CF

Creative Feel / March 2018 / 33

RMB Starlight Classics takes place in early March at Vergelegen Wine Estate in Somerset West. This Afro-symphonic tribute to our beautiful country brings together a collection of diverse musical talent and incredible instrumentalists, with a visionary selection of young talent.

A

t this year’s RMB Starlight Classics, the Cape

South African brand influencer for cosmetic house Bobbi

Town Philharmonic Orchestra and vibrant Mzansi

Brown; is a regularly sought-out magazine cover model; is a

Youth Choir will perform with South Africa’s

judge on the hugely successful The Voice SA; and her touring

Afro-Jazz-Soul Diva, Lira; The Voice SA winner,

schedule is fully booked. Following the success of her latest

Craig Lucas; Classical SA soprano, Cecilia Rangwanasha;

album, Born Free, Lira is currently performing her ‘Be About

Internationally acclaimed SA tenor, Sunnyboy Dladla; Dutch

It’ tour. Each show masterfully blends a new sound with the

child-star soprano singer, Amira Willighagen; Afrikaans

smooth urban direction Lira is famous for.

musical icon, Riana Nel; Idols SA winner, Paxton Fielies;

Twenty-four-year-old Craig Lucas won The Voice SA

child piano prodigy, Qden Blaauw; and Award-winning Dutch

last year after chasing his childhood dream of becoming a

violinist, Tim Kliphuis.

singer. Fulfilling a promise made to his mother, who brought

Multi-platinum selling songstress, Lira will return

Lucas and his brother up as a single mother in Elsies River

to the RMB Starlight Classics after numerous successful

in the Western Cape, Lucas first completed a BCom Honours

performances. She has established herself as one of the most

Degree in Financial Analysis and Portfolio Management

recognisable and respected female artists in South Africa

before pursuing a career as a singer. He secretly entered the

with a formidable presence on the global music scene. Her

competition, only informing his mother once he had made

music career spans 15 years and includes six studio albums,

it through the blind auditions. She became his biggest and

three live DVDs, an autobiography and a movie.

most vocal supporter, watching with pride as Lucas wowed

Lira’s career continues to reach new heights. She is the

34 / Creative Feel / March 2018

the judges and audiences round after round.

Sunnboy Dladla

Paxton Fielies Late last year, Lucas announced that, after following

was also announced that he was one of only ten musicians

Paxton Fielies’ spectacular performances on Idols SA, he

worldwide, selected from 500, chosen to study with

would be releasing a song in collaboration with her. The

revered pianist Lang Lang at the prestigious Allianz Music

single ‘Smother’, from Lucas’s album Restless, has been an

Camp in Warsaw, Poland. He was also the first candidate

instant success among fans of the artists.

from Africa.

‘We were both among the younger group of contestants

The young pianist, who only began playing five years ago,

in our respective reality shows and we are both new to the

started taking lessons from a teacher at school. Learning

industry. I feel like we both bring a fresh new perspective

the basic scales at school for the passionate musician, who

on local music. We also know that we have a lot to prove to

taught himself to read music by downloading sheet music

be winners of talent shows, so we’re both driven to give our

and watching YouTube videos. He soon began playing

absolute best and make sure whatever we do is done with

complicated Beethoven pieces, his fingers a blur on the

meticulous attention to detail so that we can create music of

keyboard. Not satisfied with simply playing others’ works,

the highest quality,’ says Lucas.

Blaauw soon began writing his own compositions – which

Also hailing from the Western Cape, 17-year-old Fielies became the youngest winner of Idols SA last year and is now determined to complete both her matric and debut album this year.

have been performed at the Oude Libertas Amphitheatre and in Adelaide, Australia.

This year, he will be travelling to Saarlouis in Germany to attend masterclasses under the guidance of Professor

‘Everyone has been having concerns that Idols (winners)

Wolfram Schmidt-Leonardy. During his stay, Blaauw will also

always fade away,’ says Fielies. ‘But I always respond and say

perform in four concerts, including a concerto with a leading

that you can depend on the team but if you are not prepared

German orchestra. He will once again make history by being

to work hard, that’s when you fade. Your determination will

the first African to be invited to this prestigious event.

get you where you want to be. My goal is to go international and I won’t stop until I am.’

Young stars really do take centre stage at RMB Starlight Classics this year.

Thirteen-year-old Qden Blaauw is a piano prodigy.

2017 alone was a fantastic year for the young virtuoso. He won seven trophies at the Stellenbosch Eisteddfod and two at the Cape Town Eisteddfod, on top of taking top prizes at the SAMRO Hubert Van Der Spuy Competition. It

‘I am very excited to perform at the RMB Starlight Classics,’ says Blaauw. ‘The venue is great and the atmosphere will be good. I will also be good to meet some of the other stars performing. I also like to perform at an open air venue since the crowd is normally more interactive.’

If the last year is anything to go by, Blaauw is well on his way to becoming a world-famous pianist.

Amira Willighagen, the young soprano singer who won Holland’s Got Talent in 2013 aged 9, will be returning to RMB

Creative Feel / March 2018 / 35

Lira

Starlight Classics after receiving standing ovations for her performance in 2014. Now 13, she has performed all over the world, has a gold selling album and has performed with popular performers like André Rieu.

Twenty-four-year-old soprano Cecilia Rangwashana has a host of wins under her belt. She was announced the Overall Winner at the sixth International Unisa Music Foundation Voice Competition and Special Prize Winner for Best Performance – a huge honour in a competition that draws hundreds of the top voices worldwide every year.

Rangwashana started singing at a very early age and represented Limpopo province on national level at the SASCE school competitions from 2009-2012. She completed her B. Tech Vocal Art (Performance) at Tshwane University of Technology under the vocal tuition of Kiewiet Pali, performing as chorus member in the TUT student productions of Faust (2013), La Cenerentola (2014) and Falstaff (2015).

In 2015, she participated in concerts and masterclasses with international voice experts Michelle Breedt, Kliesie Kelly Moog, Barbara Hill Moore and Josef Protschka. She was

Qden Blaauw chosen as one of six singers to take part in the Johannesburg International Mozart Festival (2015, 2016, 2017) and was a semi-finalist in the Mimi Coertse Singing Competition (2015). In the same year, Rangwashana also participated at Amazwi Omzansi Africa National Singing Competition and performed as a soloist in TUT’s The Coronation Mass.

In 2016, she was awarded 1st Prize in the Phillip H Moore Music Competition and 2nd Prize at the ATKV Muziqanto, going on to win that competition in 2017.

Rangwashana joined Cape Town Opera in 2017 and is a member of the Cape Town Opera studio programme. She has toured with the company’s African Angels to Germany and was the First Lady in CTO’s 2017 production of Mozart’s The Magic Flute. Rangwashana is still regularly involved in community projects singing as soloist.

36 / Creative Feel / March 2018

Riana Nel Rangwanasha can speak and also sings in Italian, German and French. Her short-term goal is to study music abroad while her long term goal is to own a music school and host

Craig Lucas Pretty Yende – the most successful artist to emerge from RMB Starlight Classics.

Award-winning Dutch violinist Tim Kliphuis breathes

big competitions to share her knowledge and skills with

new life into existing styles with a high-energy blend of

those who aspire to follow in her footsteps.

classical, gypsy jazz and folk music. His improvised sound is

Sunnyboy Dladla was born in the townships of Piet Retief

totally new and has popular appeal.

and originally wanted to be a nurse, according to his German

Classically trained, Kliphuis is a highly personal and

Wikipedia page. Encouraged by his schoolmates Pretty Yende

inspiring performer, composer and educator. He has shared

and Given Nkosi, who also came from Piet Retief, he went to

the stage with legends Frankie Gavin, Richard Galliano

Cape Town and studied with Sidwill Hartman at the South

and Les Paul and has been lauded for his musical genius

African College of Music at the University of Cape Town and

by Nigel Kennedy. He was awarded the Scottish Jazz Award

already performed in some operas during his studies.

(International), has collaborated with the Richard Strauss

In 2009, he graduated from the Zurich University of the

Festival and Netherlands Chamber Orchestra and is the

Arts with the American lyric tenor, Scot Weir, and at the

curator of the Fifty Fiddles Festival, in Rotterdam’s De

Musikhochschule Lübeck he completed a masterclass with

Doelen concert hall.

Renée Fleming.

Dladla is a classical lyric tenor, a Tenore di grazia, and thus

Rounding off this group of exciting performers is Namibian-born singer-songwriter Riana Nel. Coming from

predestined for the bel canto parts of Donizetti and Rossini.

a musical family, Nel was exposed to music from a young

At his time in Zurich he performed in Lucia di Lammermoor, as

age. She began her career as a gospel singer, winning hearts

Dorvil in La scala di seta, as Paolino in Il matrimonio segreto,

in London, Holland, France and England, before crossing

and as Nick in Puccini’s La fanciulla del West.

over to popular music. Nel has received a multitude of

Since 2014, the Dladla has enjoyed great success in

awards throughout her career, has recorded numerous

Europe in Il barbiere di Siviglia in the Stuttgart State Opera,

critically acclaimed albums and has worked with a number

at the Hessian State Theater in Wiesbaden and at the

of local artists, including Juanita du Plessis, Jay, Lianie

Deutsche Oper Berlin, where he also took over the role of

May, Bobby van Jaarsveld and many more. Her popular hits

Gobin in Puccini’s La Rondine.

‘Dance’ and ‘Timbuktu’ were used on the soundtrack of the

Internationally, Dladla has been contracted for a number of sacred works and sang bel canto programmrs. On South African Human Rights Day, he gave a Gala concert at the Cape Town Opera together with his school friend, soprano

romantic comedy Semi-Soet and ‘Maak oop jou oë’ made a moment in Klein Karoo so much more unforgettable.

Experience this superb selection of musicians for a night of music under the stars at RMB Starlight Classics. CF

Creative Feel / March 2018 / 37

Transforming lives through music

I

n the early 2000s, a family’s car was hijacked in a town

partners such as Avbob, the National Lottery, Rand Merchant

just outside Johannesburg. Sadly, in South Africa, this is

Bank, and a host of others.

not an unusual enough event to attract much attention.

The choir recently received a standing ovation at the

But this particular family, the Zaaimans, decided to take

Royal Albert Hall for its performance of ‘Say Africa’ as part

action – not to track down and punish the perpetrators, but

of the International Youth Choir Festival. The choristers

to do something about the societal factors that drove them to

even snuck in an impromptu performance outside the gates

commit the crime in the first place.

of Buckingham Palace!

‘The boys who hijacked us were barely old enough to be

‘The Mzansi Youth Choir, which had its roots in trauma,

driving,’ recalls Jannie Zaaiman, who was in the car with his

has grown into a sensational South African success story,’

wife, Marina, and two of their children when the event took

says Carolynne Waterhouse of Rand Merchant Bank, which

place. ‘We tried to imagine the circumstances that could

has been a staunch supporter of the choir for more than six

have led them to this point and decided we needed to make

years. ‘The choir has performed all around the world and

a positive difference. Surely there was some way we could

we’re delighted that they will be performing at RMB Starlight

help to influence the lives of young people growing up in our

Classics again in 2018.’

townships in a good way.’

RMB’s support for the arts in South Africa is legendary,

And so the Zaaimans started a choir. Small at first, and

from its involvement in arts education across all creative

funded from their own pockets, the Mzansi Youth Choir grew

sectors, to the annual staging of RMB Starlight Classics.

in size and reputation over the years, attracting heavyweight

They call it ‘partnering the creative economy’.

38 / Creative Feel / March 2018

‘The Mzansi Youth Choir is particularly close to

Says Zaaiman, ‘This will open many doors and give us a

our hearts as it’s about so much more than the art of

permanent home in the heart of Soweto, which is where our

performing,’ says Waterhouse. ‘It’s about adding meaning to

choristers live.’

people’s lives. It gives the choristers, as well as their families

For newly appointed choir director James

and communities, a sense of dignity and purpose; something

Bassingthwaighte, the connection with Soweto is well

to be proud of. It has the power to transform lives.’

worth celebrating.

The magic of this particular choir – and the secret sauce

‘All the choristers are from Soweto, which is a unique

that has kept it going for so many years – is its constantly

identifier,’ he says. ‘It is one of the things they have in

evolving vision.

common, and it’s a focus point in the work we do behind

‘Circumstances change all the time,’ says the choir’s cofounder, Jannie Zaaiman. ‘As an example, funding is always

the scenes.

‘So many legendary performers are from Soweto –

an issue for us as it can be inconsistent. It’s difficult to make

Brenda Fassie, Hugh Masekela and Lebo M, to name but a

plans without knowing how much money is in the kitty. It

few. These are South African icons who were born and raised

costs between 1.5 and 2 million rand per year to keep the

“just down the road”. Our message to the choristers is “if

choir going and we rely purely on donors and sponsors for

they can do it, so can you”. This message really hits home

financial support. Having long-term partners on board such

and sparks an incredible sense of ownership. You can see

as RMB, Avbob and the National Lotteries Commission, is a

it in their eyes. It’s truly magical. Their potential shines

huge load off our shoulders. These organisations keep the

through more and more with every rehearsal. The future is

choir ticking over.

truly bright for these singing stars.’

‘When it comes to longer-term projects, such as our

There are some amazing stories that have come out

ambitious vision to construct a R28 million music centre in

of the choir over the past 15 years. To read more about

Soweto, we would have to look to donors and crowd-funding

them, have a look at the special feature entitled Stories of

both in South Africa and internationally.’

an African Choir, which is included as loose insert with this

The planned centre will incorporate a 500-seater

edition of Creative Feel. CF

amphitheatre, 150-seater raked indoor auditorium and flat floor rehearsal/dance studios.

Creative Feel / March 2018 / 39

Mandisi Dyantyis

Nomfundo Xaluva

14TH SAJE JAZZ CONFERENCE:

The South African Sound in Jazz Today The 14th SAJE Jazz Conference takes place from 27 to 29 April 2018 in Cape Town and is the culmination of Jazz Appreciation Month (fondly known as JAM), which draws public attention to jazz and its extraordinary heritage throughout April. The Conference will be hosted by the South African College of Music at the University of Cape Town and SAJE.

Mike Rossi PHOTO Francesco Coppari

Nduduzo Makhathini PHOTO Victor Dlamini

T

he South African Association for Jazz Education

will take place in the Chisholm Recital Room at the SA

(SAJE) is a section 21 non-profit organisation

College of Music at UCT on Friday 27 April and Saturday 28

and, for the past 26 years, its mission has been

April. SAJE members receive a substantial discount. Visit

to assure the growth of jazz in Southern Africa,

the Conference website for more information about the

the development of jazz and jazz education in urban and

Conference schedule and concerts

rural areas, building the jazz arts community by advancing

www.sajejazzconference2018.weebly.com CF

education and research, promoting skills development and performance, and developing new audiences.

The biennial SAJE Jazz Conference is the only conference

CONCERT TICKETS WILL BE AVAILABLE THROUGH WWW.QUICKET.CO.ZA OR AT THE DOOR.

of its kind in Africa and offers a unique forum for musicians, educators, students, jazz fans, and those in the media and

To register for any of the papers/workshops, please email

arts, to engage with the latest sounds and ideas in jazz.

sajejazz@gmail.com

Along with paper presentations, workshops, performances

VENUE: South African College of Music, Lower Campus,

and industry displays, there are opportunities for discussion,

University of Cape Town

networking, information exchange and professional

The 14th SAJE Jazz Conference receives funding support

development. The theme of the 2018 Conference is ‘The

from the SAMRO Foundation, Business and Arts South Africa

South African Sound in Jazz Today’.

(BASA), the Cape Tercentenary Foundation and UCT.

This year, the Conference offers an impressive line-up of South African jazz educators – Mageshen Naidoo, Neil

Please visit the SAJE website, 2018 Conference website and Facebook page for more information.

Gonsalves, Mike Rossi, Mike Campbell and Nicky Schrire; jazz musicians – Melanie Scholtz, Nduduzo Makhathini,

LINKS:

Nomfundo Xaluva, Benjamin Jephta, Vuma Levin and Mandisi

SAJE website: www.saje.org.za

Dyantyis; arts journalists – Gwen Ansell, Carol Martin and

SAJE Facebook page: www.facebook.com/SAJEJAZZ/

Nigel Vermaas; as well as master craftsman Johannes Gerber

South African College of Music: www.sacm.uct.ac.za/

and creative legal agency Legalese, among others.

SAMRO Foundation: www.samrofoundation.org.za

The Conference is open to everyone. Daily events run from 09:30 till late over the three days. Evening concerts

Cape Tercentenary Foundation: www.cape300foundation.org.za/ Business and Arts South Africa (BASA): www.basa.co.za

Creative Feel / March 2018 / 41

The Art of Performance Dave Mann is an editor and award-winning arts journalist.

Musical encounters

A

short while back, in the smoking section of a

days before the station was even called 5FM. She continued

Johannesburg coffee shop, an elderly woman and

to listen every day, she said, as she loved keeping up with

a young waitress sat together and sang along to a

current affairs and listening to the ‘music of today’. Kid

Sean Paul song.

Fonque’s regular slot was her favourite, she enthused, as he

It happened like this: The woman ordered a coffee and

as it arrived, the nine-year old single ‘Hold My Hand’ played out through the restaurant’s speakers.

‘Isn’t this a lovely song? So romantic,’ she said to the waitress. ‘Could you help me find it?’

The waitress set her things aside, took a seat and began searching for the song on the woman’s phone. Upon finding

always had the latest music.

A few minutes later, a caller from Cape Town emerged through the speakers: ‘Hi guys, I think the song you’re looking for is “Rise” by Herb Alpert.’

‘That’s it!’ said Adele. ‘That’s the one!’

The host found the song, played a few seconds of it to

it, the two sat there and sang along to the lyrics like old

confirm its identity, and all three of them began to sing over

friends. They listened to a few more songs by the artist –

the tune in a discordant, but endearing string of ‘lah dahs’

‘This one’s good too!’ said the waitress – but ‘Hold My Hand’

and ‘dah dums’.

was the one they kept returning to, even adding in their own

Now these may just be two instances of chatty old ladies

dance moves as the song played on loop through the small

finding common ground through music (and, arguably,

cellphone speakers.

technology), but to me they were moments that served to

It was a sincere and unexpected moment, and it felt pleasantly out-of-place in a city where people rarely have the time to engage in even the simplest of small talk.

A few days later, during a long drive, I turned the radio

illustrate the unique social powers of a piece of music.

Most of us probably have stories like this. Stories of fastfriendships formed through a mutual love for a particular genre, artist, or song. In my teenage years, for instance, I

to 5FM. A 75-year-old woman named Adele had called

remember entire social circles being built around music.

into a segment of the Sunday show that was reserved for

I also know people who refuse to begin their days or face

identifying songs that people couldn’t find the name or

the outside world until they’ve had a bit of time with their

artist of. The segment was informally dubbed ‘Human

favourite song or album in the morning. Music is strange in

Shazam’ after the music app that can identify music,

that way. It’s a language you see being spoken in bars and

movies, advertising, and television shows, based on a short

nightclubs throughout the city, and across online social

audio sample.

platforms in abundance.

In this case, Adele knew the tune by memory, but had

South Africa, too, is no stranger to musical events or

nothing else to go on. ‘I’ve asked my daughter so many times

icons serving as a kind of social glue. Local music festivals

to try and find the song, but she just can’t,’ she said.

often see people who would otherwise never cross paths,

She proceeded to hum the tune to the best of her ability

come together to hear their favourite bands or artists live,

and while the host put the call out to the radio audience to

and in the process, get to know each other a little better.

help them identify the song, the two began to chat.

This is also true for South Africa’s larger sporting events,

Adele, it turns out, has been a loyal listener since the

42 / Creative Feel / March 2018

although even then, it’s familiar tracks you’ll hear playing

through the stadium speakers when there’s cause for celebration, or a lull in the game.

I remember interviewing the Ribane siblings at a restaurant in Sandton a few years back. We started talking about music as a form of healing, be it performing music or listening to it, and how public performances on a large scale can serve as particularly powerful moments. Manthe, the eldest of the siblings, started talking about their childhood performance at a packed-out stadium show in Johannesburg for Nelson Mandela’s 80th birthday.

Visitors write tributes on a wall at temporary ‘Heritage Park’ #HughLake at Zoo Lake

“It’s a language you see being spoken in bars and nightclubs throughout the city, and across online social platforms in abundance.”

‘That was a very formative performance. We were young, very young, but even then we could sense the energy of

On the larger lawns, people had set up picnics and tables

that day,’ she recalls. ‘And not just for us, for everyone

filled with food. Many braais were on the go and a large,

there. There was a sense of collective celebration across

excitable game of cricket was taking place on an open patch

the thousands of people that were there that day and it was

of grass. Towards the other side of the lake, on the basketball

almost channelled through the music and the performance.’

courts, kids taught each other how to dunk, while the parking

More recently, during the week that followed Hugh Masekela’s passing, a number of public tributes took place

lot was filled with cars, each one playing its own music.

Out on the water, couples tried their hand at rowing out

throughout Johannesburg. My partner and I took a trip down

to the centre of the lake, and dotted around the water’s edge,

to Zoo Lake, where a temporary ‘Heritage Park’ had been

people walked their dogs, sat reading on benches, or stood

set up, featuring portraits, written tributes, and a constant

and fed the ducks. The weather was flawless, and everyone

stream of music by the late, great trumpeter.

there seemed to be having a good time, each person making

Zoo Lake was the busiest we’d seen it in a long time, and

use of the space in their own way.

throughout the afternoon, people moved in and out of the

Amidst the braai smoke and the games and the general

space – some stopping by to pay their respects and leave a

commotion of the day – if you listened very quietly – soft,

handwritten note, and others staying to lay about on the

wavering jazz notes rang out, travelling through the lawns

grass and listen to the music.

and out across the lake. CF

Creative Feel / March 2018 / 43

44 / Creative Feel / March 2018

WEST SIDE STORY

RETURNS! West Side Story, a production by Eric

Abraham and the Fugard Theatre, exploded onto the Cape Town stage in the winter of 2015, onto the Joburg scene in early 2017 and, due to overwhelming demand, will return to the Artscape Opera House stage for one final season in South Africa.

T

he grand-scale musical, known globally for an unforgettable score that marries stirring music

by Leonard Bernstein and lyrics by Stephen Sondheim, retells William Shakespeare’s tragic

and beautiful love story Romeo and Juliet, and is set in New York City’s Upper West Side in the late 1950s. It follows the heartbreaking, short-lived romance between two young and idealistic lovers, Tony and Maria, who are caught between two warring street gangs, the Jets and the Sharks.

West Side Story brings together the same award-winning core creative team behind other superb Fugard Theatre productions like The Rocky Horror Show, Cabaret and Funny Girl. Matthew Wild is director, Charl-Johan Lingenfelder is musical director and conductor, and Louisa Talbot is the choreographer, with Grant van Ster (Calling Me Home, Aunty Merle the Musical) as resident choreographer. With a full orchestra and an outstanding cast of 40, featuring iconic songs such as ‘Something’s Coming’, ‘Maria’, ‘I Feel Pretty’ and ‘Tonight’, West Side Story is once again bound to sweep Capetonians off their feet.

Creative Feel / March 2018 / 45

The Fugard Theatre’s production has garnered rave reviews

joins the cast as Bernardo and James Borthwick (Priscilla Queen

from its prior seasons in Cape Town and Johannesburg, some

of the Desert, Rhythm City, Evita) will take the role of Doc. Michael

of which include ‘every bit as brilliant as any international

Fullard (Priscilla Queen of the Desert), Jonathan Raath (Priscilla

production, if not better’ (Daily Maverick), ‘sets new standards

Queen of the Desert), Cameron Botha (Funny Girl, Pinocchio,

for local grand-scale musicals’ (Die Beeld) and ‘raises the bar for

Sweeney Todd), Benton-Steele Botes (69 For your (Adult) Eyes

musical theatre internationally’ (Bizcommunity).

Only), Lee van der Merwe (Immortal), Gemma Trehearn (Sacred

This season, West Side Story brings together the best local

Space), Michèle Trobe (Funny Girl), Jenna Robinson-Child

talent and welcomes an international star to the cast: The

(Cabaret), Brittané van Loggerenberg (A Spartacus of Africa),

exceptional Lynelle Kenned (Orpheus in Africa, Blood Brothers,

Clint Lesch (Calling Me Home), Duane Williams (7de Laan), Thami

Showboat) will reprise the role of Maria for which she won the

Njoko (Honey 3: Dare To Dance), Shaun Oelf (Fishers of Hope),

Fleur du Cap for Best Actress in a Musical in 2016. Tony will be

Tevin Wiener (Honey 3: Dare to Dance), Nurit Graff (Saturday

played by US-born actor Kevin Hack, who has performed the

Night Fever), Claire Boswell (Singin’ in the Rain), Hardy Keeve (4)

role almost 400 times and recently completed the international

and Kirsten Rossiter (Peter Pan), Chloe Perling (Cabaret), Kirsty

tour playing the role in the 60th-anniversary international tour

Ndawo (Chicago), Ernestine Stuurman (Tiger Bay), Sarah Ann van

of Michael Brenner’s production of West Side Story. His other

der Merwe (Pinocchio), Julio Jantjies (A Spartacus of Africa), Logan

hit show credits include Les Misérables, Sweeney Todd, Catch Me

Timbre (Priscilla Queen of the Desert) and Lesego van Niekerk

If You Can: The Musical and The Civil War.

(African Footprint) complete the talented cast. CF

Other principal cast members reprising their roles are songstress Bianca Le Grange (Blood Brothers, Joseph and the

West Side Story is at the Artscape Opera House from 7

Amazing Technicolour Dreamcoat) as Anita, Stephen Jubber

March. Performances are from Tuesdays to Fridays at 20:00,

(Aunty Merle the Musical, Annie, Mamma Mia!) as Riff, leader

on Saturdays at 16:00 and 20:00 and on Sundays at 14:00

of the Jets gang, and Sven-Eric Müller (Funny Girl, Cabaret) as

and 18:00.

Diesel. Craig Urbani (Rock of Ages, The Sound of Music, Isidingo)

Tickets from R150 to R470 are available through Artscape

returns as Shrank, the role he performed in the Johannesburg

on 021 421 7695, Computicket on 0861 915 8000 and any

season in early 2017, with Richard Lothian (The Play That Goes

Shoprite or Checkers outlets. Discounts for Friends of the

Wrong) once again playing Officer Krupke. Daniel Richards

Fugard and tickets for the general public are also available via

(Aunty Merle the Musical, State Fracture, Pay Back the Curry) re-

the Fugard Theatre box office on 021 461 4554.

46 / Creative Feel / March 2018

Creative Feel / March 2018 / 47

ERIC ABRAHAM PRESENTS A FUGARD THEATRE PRODUCTION OF

IN HONOUR OF ICONIC PLAYWRIGHT ATHOL FUGARD’S 85TH YEAR From 27 March 2018, visitors to the Fugard Theatre, situated in District Six in the Western Cape, will be treated to the theatre’s first production of The Road to Mecca, performed by an extraordinary South African cast.

W

ritten in 1984 by Athol Fugard, The Road to Mecca is inspired by Helen Martins, who lived in Nieu-Bethesda and created the famous ‘Owl House’ – now designated a provincial heritage site. The play tells the story of a woman’s desire for personal and artistic freedom within the narrow confines of a conservative and highly religious

community in the Karoo in early 1970s apartheid South Africa.

Legendary theatre critic Frank Rich, writing in The New York Times, commented ‘The Road to Mecca examines the core of artistry... Artists are driven to forge their version of the truth even when they have no hope of an audience, even when they must work with the most humble of materials in the middle of nowhere. Artists are dangerous because they won’t deviate from that truth, no matter what pressure to conform is applied by the society around them, reminding us that the artistic conscience is inseparable from the moral conscience.’

Sandra Prinsloo is Miss Helen (Moedertaal, Die Naaimasjien, So Ry Miss Daisy, Oskar en die Pienk Tannie, The Gods Must Be Crazy, Miss Julie), Marius Weyers is Rev. Marius Byleveld (The Fugard’s The Father, Oom Wanja / Uncle Vanya, Hamlet, Twee Grade van Moord, The Gods Must Be Crazy) and Emily Child is Elsa Barlow (The Fugard’s The Eulogists, The Pervert Laura, The Father). Weyers and Prinsloo were last seen on the Fugard Theatre stage together in Wie’s bang vir Virginia Woolf?.

Direction will be by the Fugard Theatre’s Resident Director Greg Karvellas (The Fugard’s Shakespeare in Love, The Eulogists, Clybourne Park, The Father, Bad Jews). The production will be designed by Saul Radomsky (The Fugard’s Bad Jews, Clybourne Park, District Six, Kanala, The Painted Rocks At Revolver Creek) with lighting by Mannie Manim (The Fugard’s The Mother, The Painted Rocks

48 / Creative Feel / March 2018

At Revolver Creek, The Blue Iris) and costumes by Birrie Le Roux (The Fugard’s West Side Story, Kanala, The Father, The Mother, Clybourne Park, King Kong). Sound design will be by the Fugard’s resident Musical Director Charl-Johan Lingenfelder (The Fugard’s King Kong, West Side Story, The Rocky Horror Show, Cabaret, Funny Girl).

Time Magazine regards Fugard as ‘the greatest active playwright in the English-speaking world.’

Athol Fugard was born in 1932 in Middelburg in the Karoo. An internationally acclaimed playwright, director and occasional actor, for over half a century he has written almost 40 soul-searing plays with roles for all South Africans that have moved audiences in South Africa and around the world to laughter and tears; plays that reflected the inhumanity of apartheid. His plays champion truth and a fundamental universal humanity. In 2011, he received the ultimate recognition from the world’s most prestigious theatre community – a Tony Award for Lifetime Achievement in Theatre. He is also the author of four books and several screenplays. His plays include Blood Knot, Boesman and Lena, Master Harold and the Boys, The Train Driver, The Blue Iris and The Shadow of the Hummingbird.

Many of his works have been turned into films, with director Gavin Hood’s Tsotsi, based on his 1980 short story of the same name, won the 2005 Academy Award for Best Foreign Language Film – South Africa’s first Academy Award in this category. Fugard’s work spans the period of apartheid in South Africa, through to the first democratic elections, to Nelson Mandela’s presidency and into present-day, postapartheid South Africa.

The recipient of numerous honorary doctorates and awards, Fugard was awarded the prestigious Praemium Imperiale global arts prize for Theatre/Film by the Japan Art Association in 2014. One of the most performed playwrights in the world, he continues to direct and write plays. He shares his life with his wife, the writer and academic Paula Fourie, and their dog Jakkals.

The Road to Mecca will run at the Fugard Theatre from 27 March 2018, Tuesday to Saturdays at 20:00 with a 16:00 matinee on Saturdays. The Fugard Theatre is situated in the heart of District Six, on the corner of Harrington and Caledon Streets, Cape Town.

Tickets range from R130 to R230. Bookings can be made through Computicket on 0861 915 8000, online at www.computicket.com or at any Shoprite Checkers outlet.

Bookings can also be made at the Fugard Theatre box office on 021 461 4554. There is a generous 15% discount available for the Friends of the Fugard members. CF

Creative Feel / March 2018 / 49

Cirque Infernal’s Cirque Infernal’s theatrical circus tale Mortalès, will show at the Mandela Stage of the Joburg Theatre from 6 to 23 September 2018. The show has shocked and astounded audiences around the world.

Celeste Bliss and François Colarusso

C

irque Infernal was created by Danny Varanne in

Varanne maintained the daredevil show, realising almost

the mid-1990s. A gothic lover who grew up in

all of his dreams. In 2012, he received two awards at the

the entertainment world, Varanne developed his

prestigious Festival International Du Cirque De Monte-Carlo,

appreciation for visual arts from his favourite

and an official Guinness World Record. After this, it was time

movies, circus stories, and personal experiences. He put

for something new, the development of his oldest and fondest

all of these elements into a blender, and Cirque Infernal

dream: Cirque Infernal. Having spent two years searching

was created.

around the world for the artists to work with on his project,

Born and raised in a traditional family of travelling performers, Varanne started as a showman at a very young age in his parents’ burlesque theatre. Then, with his

Varanne is now ready to present Cirque Infernal to the world.

Mortalès is the first production created by Cirque Infernal.

The story of a circus performer, Mortalès is set in Europe

brothers, Varanne started a motorcycle daredevil show. They

in the Middle Ages. A troupe of tightrope walkers perform

toured the world and became internationally acclaimed for

in a village on a windy day. The weather is dangerous.

their skills. By the year 2000, the three brothers went their

The daredevil shouldn’t mount the high wire, but it’s the

separate ways, each one following a new path.

only work his family has known for generations. As the

50 / Creative Feel / March 2018

Mortalès features some of the world’s top circus performers.

Trapeze artists Celeste Bliss (USA) and François Colarusso (France/Canada) met at a school for circus arts in Quebec City, Canada. The duo now tours the world with their aerial acts.

Wilson Stey (France) is the funambulist of the show.

The 23-year-old recently married Chenly Vigne (one of the Angeliques). Originally from Germany, Stey’s ancestors have been walking the tightrope since the Middle Ages.

Pro Sufi dancer Aurelia Baque is a native of Toulouse, France. She spent half a year in an Indian Ashram, learning and practising daily the art of Sufi dancing.

The (almost) fully tattooed Stephane Bucheton of France is a former FMX Biker. Tired of crashing, he befriended the Infernal Varanne Riders who taught him to ride the wall of death.

Italian Bruno Alliot always says that he would rather ride a bike than walk. If he could, he would ride through the intricacies of life with pleasure. Alliot, whose father was also a wall of death biker, grew up with Varanne’s family.

Married on stage and in life, Scottish couple Rachel and Charlie Atlas push the boundaries of the knife throwing show. The beautiful burlesque performer meets Charlie, the street fighter.

The beautiful Irina Naumenko studied contortion and other art forms at the world famous Circus School of Moscow. She has participated in the Monte Carlo circus festival and toured the world with the Cirque du Soleil.

Romanian brothers Valentin and Catalin Badea are the Strong Men of the show.

Johann Jacob Gorius is the rolla bolla (an acrobat performing on rolling cylinders) performer in the show. He is Varanella

an Amish native of Alsace in France and his family worked in various circuses in California.

funambulist starts to stride across the wire, a gust of wind strikes, causing him to plummet to his untimely demise.

Finding himself face-to-face with Death, Death and the performer strike a deal: the performer comes back to life but

French fire performer, Varanella, is the Queen of Darkness in the show.

Though you won’t see him live, French actor Warren Zavatta is the voice of Death in the show. CF

in order to stay alive he must complete the show and avoid the messengers sent by Death. He is guided along the way by

The show takes place on the Mandela Stage of the Joburg

the Angeliques; the angels.

Theatre from 6 to 23 September 2018.

The show tells the journey of the funambulist pursuing his goal. Will he succeed and earn the ultimate title of daredevil?

The acts in the show were created by the company.

For tickets book online at www.joburgtheatre.com or call 0861 670 670.

Featuring two world firsts and thrilling jaw droppers, the show also features touching romantic scenes and moments

Early bird special 30% discount until 30 June 2018.

of pure poetry. The outcome is an exciting blend of Tim

Discounts available for students, pensioners and Groups of

Burton and Fellini movies.

10+. Special family packages available. Age restriction: 5+

Artlooks & Artlines Artlooks & Artlines is a monthly column written by Ismail Mahomed, CEO of the Market Theatre Foundation.

Forty Years: Theatre Defeats the Ghosts of Apartheid

T

ake your seats! Fill the auditorium! Bring down the lights! Let the actors speak their lines! We applaud enthusiastically. We have an enjoyable and inspiring evening at the theatre. When we walk out into the

foyers, we see right past racial differences. It dawns on us that theatre has put the ghosts of apartheid to rest. Forever!

On 11 March 2018, it will be a landmark day for South African theatre! For most people who worked in South African theatre in the 1970s, the day 11 March 1978 will always be significant. It will be the fortieth anniversary of the day that the Nationalist government took a decision to do away with the legislation that enforced the racial segregation of audiences in theatres. Racial segregation in cinemas was eliminated much later.

The Market Theatre opened its doors in 1976. Two years before the landmark decision was taken to integrate audiences the Market Theatre under the visionary direction of Barney Simon and the executive leadership of Mannie Manim pioneered a pathway for South African theatre that was not going to be shackled by repressive legislation.

Over its forty-two-year legacy, the Market Theatre has proudly been at the forefront of championing for integrated audiences by presenting a programme that is diverse, engaging and inspiring.

Forty years from 11 March 1978, theatres across South Africa have grown significantly large audiences. Auditoriums have become so much more representative of the broad demographic of South African society. It has been a long journey to arrive at this point but for most managements who do not have large budgets for audience development initiatives, it has not been an easy journey.

52 / Creative Feel / March 2018

“For most people who worked in South African theatre in the 1970s, the day 11 March 1978 will always be significant. It will be the fortieth anniversary of the day that the Nationalist government took a decision to do away with the legislation that enforced the racial segregation of audiences in theatres. Racial segregation in cinemas was eliminated much later”

There are many factors that can be attributed for

observe how we engage with each other and with our world.

the delays experienced with developing racially diverse

It unifies us. It gives us the opportunity to laugh and to

audiences. It is easy to blame the hangovers of apartheid

cry together at the same scenes that we witness. Theatre

– and one cannot deny that there is a certain legitimacy to

makes us understand that emotion is not rooted in the

that argument but we cannot stick to that argument till the

pigmentation of our skins.

cows come home. Forty years later – and 24 years into a new

Theatre helps us to fulfil one of our most basic human

democracy – South Africans need to be constantly asking

needs. It extends our ability to create meaning from what

questions about why a more balanced demographic is not

we hear and see. The stories that our artists tell in our

represented in all our concert halls, theatres and auditoriums.

theatres are inspired by many aspects of our lives. Our artists

Economics, public transport to theatres and programming

draw their inspirations and their influences from rituals,

choices are factors that can to some extent be attributed

traditions, religious beliefs, their cultural and personal

to the legacies of the past. What needs to be attributed to

identities and their political and ideological values. They

the current government is its failed will to introduce arts

create expressions on stage which make us examine the

education for all school learners. Young learners who grow

depth of our humanity.

up with an arts literacy education and an appreciation for the arts are more likely to become loyal audiences for the arts.

Theatre is a powerful social activity. It gives us the opportunity to sit as the fourth wall in the theatre and to

Theatre brings us into a common space and it governs us with rules that apply in the same way to everyone irrespective of whether we are sitting in the expensive front row seats or in the cheaper last row seats. The ‘no late-comer

Creative Feel / March 2018 / 53

rule’ applies to the rich and to poor. The ‘no photographs

government feared most. The Nationalist government knew

during performances’ rule applies to young and old. There

well that in repressive societies, theatre was often aligned

is a culture of democracy that prevails in a well-run theatre.

with a struggle for freedom and democratic values. Many

Nobody can jump the box office queue without being

of us will never forget our driving motto that ‘culture is a

shouted down by those who got there earlier.

weapon of the struggle’.

Theatre offers us valuable lessons about conflict

Twenty-four years into our new democracy, we need to

resolution and problem-solving. As an audience, we are

interrogate why there isn’t a passion to grow audiences for

encouraged to watch characters with different views

the arts. The arts continue to remain hugely inaccessible

engage each other in conflicting situations and at how

for the majority of South Africans. By not being serious

they try to arrive at resolutions to their conflicts. We can

about arts education in our schools, we need to ask if our

take sides. We can walk out if we don’t like what we see

government has anything to fear that is more dreadful than

or if we disagree with an artist’s point of view. We are

the fear that the fathers of apartheid nurtured; that the arts

encouraged to demonstrate our appreciation by being able

will liberate our hearts and minds?

to rise spontaneously to our feet with a standing ovation

At an arts conference in Johannesburg in 2015, Wits

when we are moved by what we have experienced. As

University academic Brett Pyper highlighted the need for

audiences in a theatre, we are given the power to speak

growing audiences for the arts. He expressed it in a vivid

with our feet.

metaphor. ‘Twenty-one years ago, if we started planting

Theatre is more than just a social event. It is a congress where minds and hearts gather. It is a place where a shared

trees, by now we’d have a forest,’ he said.

We have a long way to go before we can see the forests, but

experience allows us to challenge our perceptions of each

at least 40 years after 11 March 1978, our theatre auditoriums

other and to find the courage to reach out to each other.

are little orchards where nation-building is showing its little

Theatre gives us a mirror through which we can examine our

buds. It’s up to us to nourish it and let it grow into full bloom.

societies. Theatre transforms us into becoming a society that

If this year, on 11 March, you go to the theatre, then take a

is more open and more liberated. Up to 11 March 1978, it was

friend of colour with you. It’s just one more way to put a nail

an independent thinking liberal society that the apartheid

in the coffin of the ghosts of the past. CF

54 / Creative Feel / March 2018

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SOUTH AFRICAN CONTEMPORARY JEWELLERY AWARDS EXHIBITION TO PROMOTE

INNOVATION CUTTING-EDGE

CONCEPTS

FADA Gallery, in association with the Contemporary Jewellery Forum, is proud

to announce the launch of the first ever South African Contemporary Jewellery Awards Exhibition. Created to promote jewellery as an innovative and creative medium for personal expression, the aim of the Awards Exhibition is to provide a platform for cutting-edge concepts and ideas for unique and original art jewellery. The curated exhibition will honour excellence in the field, showcasing the work of artists who realise their creative ideas and concepts from a body adornment perspective.

T

he major driving criteria in recognising excellence are creativity and innovation; thinking through design and craft, while embracing advancements in technology. The work will feature in a peerreviewed catalogue, contributing to research and development, while

stimulating cultural production in the field. Artists are encouraged to explore a diverse range of materials, techniques and processes that best express their creative ideas and concepts. The creative platform will ultimately stimulate dialogue among the jewellery community within South Africa in the 21st century, broadening the scope of creative output in the field/sector.

The judging panel for the South African Contemporary Jewellery Awards Exhibition consists of some of the top practising contemporary art jewellers and educators in the world: Lin Cheung, Johan van Aswegen, Geraldine Fenn, Eugene Hรถn and Carine Terreblanche. Finalists will be announced on 5 March, with the exhibition opening on Thursday 15 March at the FADA Gallery, University of Johannesburg.

56 / Creative Feel / March 2018

LIN CHEUNG

Lin Cheung describes herself as a jewellery artist taking unceasing curiosity, enthusiasm and knowledge for jewellery thinking, making, wearing, craftsmanship and conceptual approach far and wide, often into areas outside of the traditional craft sector. She has worked on projects as diverse as designing Paralympic medals, to designing and producing the Asian equivalent of the Nobel Prize Award Diplomas.

Cheung considers jewellery as a subject to explore, not just materially but also conceptually. Her portfolio of recent

Bottom of a Plastic Bag, Keep, Lin Cheung, 2018. Pendant, hand-carved rock crystal, 18ct gold

work is characterised by an unhindered approach to a variety of craft processes, materials and ideas in the realisation of new jewellery pieces. Delayed Reactions is an ongoing series of carved gemstone brooches inspired by the wearing of pin badges that respond to events that are political, social and personal in meaningful, witty and poignant ways. Pearl Necklace is a series of chains made from carved pearls linked together, originally inspired by the reworking of an old pearl necklace her mother gave her and that she never wore.

Keep is a wry look at some of the ways that Cheung stores and protects her own jewellery: unceremoniously tucked in corners of plastic grip seal bags, wrapped like a slice of cake in kitchen paper, scrunched up in a tissue, folded in a handkerchief or secured with paper and an elastic band.

Cheung exhibits and publishes her work extensively and internationally, in solo shows and major group exhibitions.

In 2001, she won the Arts Foundation Award for jewellery and in 2017 was a finalist for the BBC Radio 4 Woman’s Hour Craft Prize. Her work received the 2018 Françoise van den Bosch Award. Cheung is a Senior Lecturer on the BA (Hons) Jewellery Design course at Central Saint Martins, University of the Arts, London.

Troubled Times, Delayed Reactions, Lin Cheung, 2018.

Brooch, hand-carved rock crystal, 18ct gold

Creative Feel / March 2018 / 57

Tieroog Tiara, Johan van Aswegen. Mild steel, bimetal (22k gold/sterling), tiger eye gemstones with enamel/decal images.

PHOTO Jinkyun Ahn

JOHAN VAN ASWEGEN Johan van Aswegen is an artist and educator. His work is

rooted in the traditions of jewellery making and metal work.

The dialogue of the object with the wearer to the viewer is of great importance to him. Romantic notions of bestowing, coveting and memorialising objects that live beyond their original intent are key to his jewellery creations. The scale and tone of his jewellery pieces are monumental, with subtle arrangements of historical references blended with classical forms to embody the purity of contemporary ornamentation.

Johan van Aswegen’s work, showcased here, was made for a local/international travelling exhibition. The work Tieroog Tiara demonstrates his characteristically South African design approach to jewellery and metal work. The body of the tiara is of mild steel, the grill is bi-metal (22k gold/sterling) and the gold facing is also of steel. The frames are tiger eye gemstones with enamel/decal images.

He is currently working on a group of tubular necklaces referencing the panoramic landscape. He makes use of enamels and decal imagery to compress and distort the vast landscapes so as to heighten the contrast against the scale of the human body.

Van Aswegen obtained a Bachelor of Arts degree, specialising in jewellery, from the University of Stellenbosch in 1984. His mentor, Dieter Dill, was one of the stalwarts of education and training in the local jewellery sector. In 1990 he graduated with a Master’s Diploma from the Akademie der Bildende Künste, Muchen, Germany.

Since 1996 he has held the position of senior critic, Jewellery and Metalsmithing at the Rhode Island School of Design in Providence, USA. He has exhibited widely in museums, galleries and has work in numerous private collections.

Johan van Aswegen, 2015. Pendant, yellow enamel, decal image oxidized sterling chain 58 / Creative Feel / March 2018

GERALDINE FENN

Geraldine Fenn’s jewellery pieces are often layered and figurative in style. She prefers to make use of motifs associated with historical jewellery that is overly/ overtly sentimental. She generally works with precious materials such as silver, gold, diamonds, pearls and other precious stones. Where needed, she will incorporate less traditional materials such as plastics. Central to her design for manufacture is the concern for craftsmanship, a very important ingredient. All her pieces are handmade using traditional goldsmithing techniques.

Fenn’s current work is all about construction. She uses sheets of wax to build a piece, which is then cast into silver, purposefully ensuring the surfaces are quite rough – all part of the working method. All the imperfections – the marks from the casting sprues, small bubbles of metal that sometimes sit on the surface, marks that get left in the wax while it’s being handled are exploited to push the boundaries of how rough a finished piece of jewellery can be. The three pieces showcased here are part of her Rough Archetypes Series, where she reimagines classic forms of jewellery in a more contemporary way by using a rough construction method of cutting and bending sheets of wax and then casting them in silver or gold.

Many contemporary jewellery forms have been around for hundreds of years and Fenn appreciates this continuity in the goldsmithing tradition. Her contemporary pieces are thus a homage to those archetypal forms rather than a critique of them. For her, the enjoyment of seeing something new and different often comes from recognising the older form within it.

‘I’m playing around with very traditional forms in terms of the design, but reinterpreting them quite radically by using non-traditional ways of making the pieces.’

Geraldine Fenn is a contemporary jeweller based in Johannesburg. She is the co-owner of the celebrated Tinsel jewellery brand. Being proactive in the local jewellery sector, she often sources cutting-edge jewellery for exhibitions at her studio/gallery space. Fenn has a BA in Archaeology, and more recently she received her Honours in Art History before graduating with a Master’s degree in

Cameo Ring, Rough Archetypes Series, Geraldine Fenn, 2017. Sterling silver and Murano glass cameo, modelled in wax and cast, cameo set. PHOTO Sarah de Pina

Fine Art from the University of the Witwatersrand. Fenn has also studied jewellery design at the Durban University of Technology (previously Durban Technikon).

Charm Bracelet, Rough Archetypes Series, Geraldine Fenn, 2017. Sterling silver, individual elements modelled in wax and cast, then assembled (links soldered etc.).

PHOTO Sarah de Pina

EUGENE HÖN

Eugene Hön is a ceramic artist with a passion for drawing as ballpoint renderings. He has pursued a career as an academic and practising artist for the past 37 years. He is an artist that celebrates the handmade, developing concepts and ideas within the context of a globalised society. The jewellery installation piece featured here, capitalises on Hön’s detailed blue ballpoint pen drawings of a Barn Swallow, digitally printed as ceramic transfers and fired onto one of the shards of a broken bone china bowl. The work titled The Road Less Travelled comprises the partially restored bowl with its

Rendered Cufflinks, Eugene Hön

missing shard, metamorphosed into a jewellery pendant. Hön references shards that are critical in the research into cultural

development of the crafts has expanded his knowledge and

migrations – even more prevalent today in a global society

honed his broad skills to include the teaching-in and the

with its problems surrounding the displacement of people.

making of ceramics, sculpture, drawing, artist’s books, digital

Hön embraces the advancement in technology and

printing, animation, video or digital projection installation

the impact of the digital, while living in an information age.

and ultimately design; industrial design and jewellery design

His experience as an academic and commitment to the

and manufacture. His latest career development expands his broad creative output to include curating/curatorial practice, as the recently appointed director of the FADA Gallery at the University of Johannesburg.

Eugene Hön is a senior lecturer at the University of Johannesburg with a Master’s Degree in Ceramic Sculpture, from the University of Cape Town with teaching and learning experience across disciplines including ceramics, jewellery design and manufacture, architecture, industrial design and the visual arts. He has held numerous positions since joining the Technikon Witwatersrand in 1986 (merged with RAU in 2006 to become the University of Johannesburg).

From 2009 -2014 he took up a position in the University of Johannesburg’s Jewellery Department. He has acted as a judge for the Anglo Gold competition and was a finalist in the SA Jewellery Council’s Jewellex Competition. He has had numerous solo exhibitions, his latest was held at Elegance Jewellers in Melrose Arch in 2012. The exhibition included a range of jewellery, drawings, artist books and the release of a video of his ceramic installation with projected animation of his ballpoint pen drawings titled, ‘….and the ship sails on’ that celebrated the Chinese Year of the Dragon.

Shard Pendant, Eugene Hön

CARINE TERREBLANCHE

As a contemporary jeweller, the research interests of Carine Terreblanche include deconstructing the stereotypes of conventional/traditional jewellery and objects within a South African context. Her work thus challenges and questions the traditional approaches to goldsmithing and jewellery. Her art explores the boundaries of contemporary jewellery and fine art practice and also questions the body-object relationship.

Terreblanche’s objects are a result of the creative investigation into her own art practice (drawing, object making) and research over the last few years. The objects on display demonstrate a meditative, partially subconscious way of working. Each object originated in dreamy doodles that reveal themselves as a kind of metaphorical alphabet made from wood and metal.

The interpretation of the drawings into three-dimensional wood-carved or 3D printed designs represents the transition into a more conscious, controlled decision-making process. Terreblanche tries, as far as possible, to be led by the qualities of the materials and, as a result, some decisions are made intuitively, which is again similar to her subconscious drawing process. By using this method, one could argue that the form ‘finds itself’.

Depending on the way they are displayed and/or framed to fit into her questions about the boundaries of contemporary jewellery and fine art practices, some pieces can double up as objects/sculptures. Whether you see the work as sculptural jewellery, metaphorical ornament, lost letters of a forgotten language, dreams to be worn like rings and pendants, tiny whimsical décor, visual acid jazz or merely colourful nonsense, is entirely up to you.

Carine Terreblanche completed her BA in Fine Arts, BA (Hons) and an MA in Fine Arts at Stellenbosch University. She furthered her studies at the Gerrit Rietveld Academie, Amsterdam during the 1993/94 academic years and went on to lecture at Stellenbosch University. In 2001, she left academia to work as a freelance goldsmith in Cape Town. In 2007, Terreblanche returned to Stellenbosch University as Senior Lecturer and Head Coordinator of the Creative Jewellery and Metal Design Division.

Terreblanche has participated in numerous, national and international contemporary jewellery exhibitions. The most notable of which were in 2009 and 2012 at the Schmuck exhibition and competition, hosted by the International Trade Fair in Munich, Germany. In 2015, she participated in Body Alchemy Contemporary International Jewelry and Metal Art Triennial at China Academy of Art in Hangzhou, China. This exhibition was curated by Dutch jewellery artist, Ruudt Peters.

Native Nostalgia, Carine Terreblache.

Creative Feel / March 2018 / 61

LUIGI DI SARRO To commemorate 40 years since the death of Italian artist Luigi Sarro, the Istituto Italiano di Cultura in Pretoria, in collaboration with the Documentation Centre for Contemporary Art Research Luigi Di Sarro – Study Centre, Exhibition Space and Archives, active in Rome since 1981 and dedicated to the artist, presents the exhibition Luigi Di Sarro – World Disclosure at the Edoardo Villa Gallery, University of Pretoria Museums, from 1 March to 18 May 2018, with the intention to make his multiform artistic production, still considered very relevant today, better known internationally.

T

he exhibition, composed of eight original

aesthetic paradigms, that opened a new and different vision

sculptures accompanied by twelve giant photos

of the world and things, tangible on a global level.

reproducing original drawings, is curated by Prof.

Paola Ballesi (Professor of Aesthetics, former

An unexplored horizon in which the figure of Luigi Di Sarro stands out as an excellent interpreter of an era that entrusted

director of the Academy Of Fine Arts of Macerata), who

the project of a radical change of meaning through the language

personally met the artist and wrote about his work. The

of art and the distortion of traditional visual codes to the

display intends to focus on the cultural revolution that

experimentation of ‘utopian artists’ aimed at a renewed close

ripened in the 1960s, thanks to the fertile soil that was

connection between art and life both from a social and individual

tilled by the neo avant-garde, where the radicalism of new

point of view, with political and existential reflections.

artistic trends, from music to theatre, to dance and cinema, to the figurative arts, made the revolution of scientific and

62 / Creative Feel / March 2018

And it is this profound art-life bond, that is present in the work and poetics of Luigi Di Sarro, which opens a fertile

occasion to dialogue with the work of Edoardo Villa, the

led him to choose Germany for his first trip in 1960. He

sculptor from Bergamo-Italy, but of African adoption, to whom

perfected his English at the American Academy of Rome and

the Gallery at the University of Pretoria, which collects and

after numerous trips to Germany, Austria, France, England,

preserves many of his masterpieces, was dedicated. Through

Tunisia and Egypt, he travelled to the United States in

a comparison for spatial contiguity, an intimate conversation

1971 and attended the Art Students League of Manhattan

between the two authors is therefore encouraged, with the

in New York, perfecting his lithographic technique. In

awareness that from such a happy encounter their works

1975, he went to Japan for a study-trip to Tokyo. Here he

can be enriched with a variety of different and unusual

carried out a number of silk-screen prints with the technical

aesthetic shades. Indeed, if the works of Edoardo Villa refer

collaboration of Shigheo Yamaguchi and, on the medical

to avant-garde training, which has as its specific character

side, deepened his knowledge of acupuncture. He held his

the abstraction of the classic forms of volumes that collect or

first solo exhibition in Rome in 1968, but began to take part

articulate the space in the fullness of the closed and refined

in important group exhibitions in 1956.

form, on the contrary, the open and moving forms of the works

His informed and solitary research became more

of Luigi Di Sarro are stretching across the threshold where

intense during the 1960s and 1970s. He was a keen

the space of void opens in its infinite fluctuating possibilities,

experimenter, and in addition to drawing (which he

masterfully captured by subtle lines that originate from the

did every day), painting, engraving, sculpture and

artist’s hand to draw and capture the world.

photography, he also explored the world of sound,

To further promote the knowledge of this extraordinary

performance and more besides. He died tragically in

Italian artist, two original prints by Luigi Di Sarro will be

Rome on 24 February 1979 – due to a fatal mistake in the

donated to the University of Pretoria Museums.

climate of Italy’s wave of terrorism and the enactment of

Luigi Di Sarro, born in 1941, showed a marked artistic

the Reale Law – leaving a vast artistic production, some

inclination from a young age. In 1956, while still at high

works already in museum collections both in Italy and

school in Rome, he started attending the copperplate

abroad, as well as projects, notes, aphorisms and poetry.

engraving workshop of Carlo Alberto Petrucci and the National

In 1981, the ‘Luigi Di Sarro Documentation Centre for

Chalcography. In 1958, he attended Accademia Libera del Nudo

Contemporary Artistic Research’ was opened in Rome. CF

and in 1959, the Drawing Course at Accademia di Francia.

After his classical studies, he cultivated a parallel interest in art and science. In 1967, he obtained a degree in Medicine and Surgery from the University of Rome, and in 1968 he enrolled at Accademia di Belle Arti in Rome, where he took courses in sculpture, painting, copperplate engraving and history of art. He obtained his diploma in 1972. In 1973, he enrolled in the third year of the Faculty of Mathematics and Physics at the University of Rome, attending various courses, including Abstract Algebra held by Lucio Lombardo Radice. He took a teacher’s diploma in Artistic Anatomy and later in Pictorial Disciplines and began teaching at the second Arts High School in Rome. In 1974, he started teaching at Accademia di Belle Arti in Macerata, and in 1978 obtained a post teaching Artistic Anatomy at Accademia di Belle Arti in Rome.

In 1978, he dedicated his time to adding to the equipment of his art studio in his house at Lago di Vico (where he decided to establish a school of experimental art), and opened his studio at Via Paolo Emilio 28, Rome, to the public. He called it ‘MICRON/Studio d’Arte Sperimentale/ Foto-Sign-Movement-Sound’ (as it states on the plaque which highlights the studio’s aims).

His travels contributed greatly to his education. An excellent knowledge of the German language and literature

Untitled, 1970, fiberglass, iron, plywood, foam rubber

GIVE

AFRICA’S YOUNG ARTISTS CALLED TO

ART

LIFE

For thousands of artists across Africa whose creativity is their livelihood, art gives life. Now, the continent’s flagship visual arts competition for emerging artists, Absa L’Atelier, is asking these artists to ‘Give art life’ as it calls for entries into this year’s contest.

A N D E N T E R A B S A L’AT E L I E R A RT C O M P E T I T I O N 2 0 1 8

64 / Creative Feel / March 2018

T

his inspiring theme of the 2018 competition reflects the idea that the prestigious Absa L’Atelier gives African contemporary art, and the talent behind it, a platform to thrive.

This has been augmented even further this year with the

competition being opened up to two more African countries, namely Nigeria and Namibia. This brings the number of countries participating in the competition to twelve. The other countries include South Africa, Botswana, Ghana, Zambia, Kenya, Uganda, Tanzania, Mauritius, Seychelles and Mozambique, and all professional and self-taught emerging artists aged 21 to 35 from these countries, are invited to enter.

The Absa L’Atelier art competition enters its 33rd year in 2018, marking another fruitful year of collaboration between primary sponsors Absa and the South African National Association for the Visual Arts (SANAVA). Together, these partners aim to help further winners’ careers by providing them with unparalleled industry opportunities.

For the main and Gerard Sekoto award winners, this includes a six-month and three-month art residency, respectively, at the Cité Internationale des Arts in Paris. The Gerard Sekoto Award is made possible through a partnership between Absa, SANAVA, the Alliance Francaise of Southern Africa, the Institut Français Afrique du Sud and the French Embassy in South Africa. While the main prize also features a cash prize of R330 000 and is open to all entrants, the Gerard Sekoto Award is reserved for the most promising South African artist who has previously entered the L’Atelier.

Similarly, the first Merit Award prize comprises a three-month art residency at the Bag Factory in South Africa; the second Merit Award, a two-month art residency at the Sylt Foundation, on the island of Sylt in Germany, and the third Merit Award, a one-month art residency with the Ampersand Foundation in New York, USA. All entrants are eligible for the Merit Award prizes.

All Top 10 finalists in the competition are also placed on a two-day art professionalism course to assist them in managing their careers – a vital aspect in helping young artists turn their talent into profitable businesses.

Dr Paul Bayliss, Absa Art and Museum Curator, says the competition has played a significant role in the careers of many influential visual artists from across the African continent, particularly the winners, who have benefited from the exposure afforded to them through the residencies.

‘Since extending the competition to other African countries, the response from young, up-and-coming artists has been incredible. This bears testament to the fact that emerging artists realise the immense value L’Atelier adds to their careers. It has been very encouraging to see Africa’s young artists making the most of the opportunities that are being created to support and help grow their careers. It’s important not only that artists take advantage of these opportunities, but that they put their best works forward when doing it,’ says Bayliss.

To enter the 2018 competition, artists simply need to visit the L’Atelier website at www.lateliercompetition.com, click on the ‘enter L’Atelier 2018’ button, and complete the required information. Registration opens on 1 February 2018 and closes on 27 April 2018.

Artists who have previously entered the competition need to register once again if they wish to enter in 2018.CF

Creative Feel / March 2018 / 65

MTN FOUNDATION AND WILLIAM HUMPHREYS

ART GALLERY PARTNERSHIP THRIVES!

The prosperous partnership between the MTN Foundation and the William Humphreys Art Gallery (WHAG) goes back to 2004 and has initiated many successful programmes including exhibitions, a Mobile Children’s Library programme and a Schools Outreach Programme. 2018 will see the MTN/WHAG Schools Outreach increase its reach to include a further four more schools.

I

n February 2004, the MTN Foundation took its first,

project leaders assisted in the management and hosting of

national travelling, fully sponsored exhibition, Rorke’s

the last ‘MTN Schools Art Awards’.

Drift – Empowering Prints, 1962 – 1982, curated by Philippa Hobbs and Elizabeth Rankin, to the William Humphreys

In 2012, the Praying Land – Heritage and Humanity in the Northern Cape exhibition incorporated, for the first time,

Art Gallery (WHAG) in Kimberley. The exhibition was

artworks from the permanent collections of the WHAG and MTN

accompanied by an educational supplement and walkabout

and was also accompanied by an educational programme. Then

programme for surrounding schools and would set the

in 2014, after nearly five years, the MTN Foundation returned

precedent for future MTN/WHAG collaborations and the start

to the WHAG with the Amazwi-Abesifazane: Voices of Women

of a nearly 14-year partnership.

Museum’s Conversations We Do Not Have exhibition and outreach

In 2005, the MTN Foundation returned to the WHAG

programme. This was the first time an MTN/WHAG collaboration

with another travelling exhibition to celebrate ten years

was not focused on learner and teacher development, rather

of South African democracy, Resistance, Reconciliation,

seeing to the social benefit of approximately 20 women from the

Reconstruction. The year 2008 saw the seminal Messages

disadvantaged !Xun and Khwe San communities in Platfontein

and Meaning exhibition of exclusively MTN Art Collection

on the outskirts of Kimberley.

pieces open at the WHAG. Later that same year, the WHAG’s enthusiastic team of education specialists and

66 / Creative Feel / March 2018

Because the Northern Cape Province is vast – making up approximately 30% of South Africa’s total land area,

Therefore, by recognising the impact of the WHAG’s educational outreach programme, the MTN Foundation was pleased to once again join forces with this trusted partner of over 14 years to further support and fund this initiative.

In July of 2016, the ‘MTN/WHAG Schools Outreach Programme’ kicked off at Perde Eiland Primary School, between the towns of Augrabies and Kakamas. A small art exhibition of approximately 20 original South African graphics and prints from the permanent collections of both MTN and the WHAG, was on display, accompanied by the WHAG’s devoted team of art education specialists.

The exhibition was curated around a theme from the national arts and culture curriculum and the WHAG team mainly worked with the Grade 6 and 7 learners. Worksheets were devised for learners and teachers to actively participate in the studying of original artworks. This theme was extended with a very low population density of 2% – poverty and

when the learners were introduced to the artmaking process

deprivation in almost all facets of everyday life is a glaring

by making their own abstract paintings. The arts and culture

reality for its disadvantaged rural and urban communities.

teachers were also provided with curricular assistance and

This is particularly pronounced in terms of arts and cultural

equipped with art book packs, to empower them for the

opportunities for primary and high school learners from these

benefit of their learners. The learners themselves were

communities, where it has become pivotal to reintroduce

presented with school backpacks, art materials and stationery.

art into these schools as it plays a significant role in the stimulation and development of children at an early age.

In order to contribute towards these learners’ experience of

WHAG was able to initiate a Mobile Children’s Library programme with the support of various stakeholders, namely: African Narratives, Nal’ibali and yet again funding

art, museums, cultural activities and art education, the WHAG in

from the MTN Foundation. This programme concentrates on

Kimberley has been running a programme of outreach exhibitions

Grade 4 and 5 learners, which promotes a love for reading

since 2002, which has, to date, made an impact in the lives of

among younger learners through reading sessions and the

approximately 5 666 learners and 277 teachers from 48 schools

donation of a book for each learner to take home.

in 33 towns in the Northern Cape. The enormous demand for

Since the MTN Foundation’s funding of the ‘MTN/WHAG

this programme has secured its success despite the fact that

Schools Outreach Programme’, a further 818 learners and

service delivery in isolated Northern Cape towns is expensive and

40 teachers from eight schools have benefited from this

logistically difficult to achieve, and has been putting strain on the

educational intervention. The partnership will continue with

WHAG’s already limited operational budget.

four more schools having been allocated for 2018.

The MTN Foundation’s Art Collection Partnership

Dawn Langdown, one of the teachers who participated

Programme has, since 2015, searched for strategic

in the WHAG Outreach Programme, said: ‘The arts are an

partnerships with institutional museums and galleries where

important part of life. If we worked only with our brains

the MTN Art Collection is utilised for what it was always

we would be half alive. There is also a body and a soul.

mandated to achieve: increasing its value as a company

Of course, the body is important. But it is the soul that is

asset by being recognised as an instrument for educational

most important. The soul is the seat of the imagination, of

development and support of the visual arts in South Africa.

creativity, and that is what makes us human.’ CF

Creative Feel / March 2018 / 67

Gold Angel (Arêté), Alexis Preller, 1970

SPEARHEADING CHANGE

in the SA auction market

Aspire Art Auctions brings an exciting mix of fine art to its upcoming show in Cape Town on 25 March at The Avenue, the V&A Waterfront.

H

eadlining the work on offer is a rare Alexis

of his later work. Two beautifully rendered small sculptures

Preller intaglio work from 1970, Gold Angel

by Sydney Kumalo are also on sale, titled Figure on Bull and

(Arêté), exhibited on his very last show at

Leopard, following on from the success achieved by Aspire in

the Goodman Gallery. Additional modern art

November 2017 at their Johannesburg sale. There, Kumalo’s

highlights are two other significant works by Preller – one expressionistic early work, of dancing figures in an interior,

Mythological Rider fetched a world record R1 932 560.

The auction also has a special focus on contemporary

The Dance, and a mid-period work from 1956, Vase and head

art, an area in which Aspire consistently leads the auction

in profile, which prefigures many of the themes and styles

market. Perhaps the most prominent work on offer in

68 / Creative Feel / March 2018

the sale: The Night of the Long Knives III (2013), a staged photograph set in the imaginary realm of Azania, and exhibited at the opening show of the prestigious Zeitz MOCAA contemporary art museum in Cape Town; and a tapestry work also from 2013, Uzukile the elder. This arresting piece is newly arrived on consignment from the Fondation Louis Vuitton show in Paris entitled Being There, which featured new South African talent.

Another cutting-edge South African contemporary artist also features prominently in the March sale. Mohau Modisakeng’s work on the auction, from 2012’s Frames series, Untitled (Frame XVI), also features a character, one in a series of tableaux featuring the artist himself, staged in ‘frames’ of implicit violence, which are indicative of the global situation of the black body. In this particular instance from the series, the trope of the blinkers implies both violence and control over the subject. In another significant recent photographic performance work, Passage (2017), commissioned for last year’s Venice Biennale, Modisakeng muses on slavery, colonialism and forced migration. The work was exhibited to much acclaim in Cape Town late last year.

The prominence of these artists, and the urgency and necessity of the positioning and political intention of their The Night of the Long Knives III, Athi-Patra Ruga, 2013

work, means that they are ideal beneficiaries of the Aspire Art Auctions Artist’s Resale Rights (ARR). Committed to the growth and development of the African art market, Aspire Art Auctions is the first auction house in South African

this area is an extraordinary piece by highly respected

history to pay living South African artists royalties on the

contemporary painter Robert Hodgins. This massive

resale of their works of art. The initiative is undertaken

canvas was executed between 1997 and 1998, and was the

entirely at Aspire’s own cost, and demonstrates its

eponymous work of his exhibition at the Goodman Gallery.

commitment to the growth and development of the African

Night of the Awards is a triptych measuring almost two

art market and, in particular, living South African artists.

metres by five metres, and is a brilliant example of Hodgins’ renowned talents for colour and composition.

It is significant that some of the major works on the

Aspire’s intention in implementing the scheme is to help ensure the development of the art industry by contributing towards the sustainability of the

sale are from up-and-coming contemporary artists with

practitioners and the professionals that have made this

a growing following and a dynamic in their work which is

market what it is today. While this benefits established

setting a new agenda in the South African art world, one

living artists, the ARR also builds a market for the future,

focused strongly on race, gender and identity politics.

and assists artists like Modisakeng and Ruga to benefit

One of the leading lights in this shift is Athi-Patra Ruga.

from their growing reputations.

This Cape Town-based artist works in performance and

Aspire has, to date, earned royalty dues through their

staged photography, in which he enacts an idiosyncratic

sales for over 80 living South African artists, across the

world peopled with characters of his own making, all with

career spectrum. The upcoming Cape Town sale is no

humorous, colourful yet politically charged identities

different, with its focus on contemporary work enabling

and fluid sexualities. Two outstanding works appear on

many current local artists to benefit. CF

Creative Feel / March 2018 / 69

Human.

Sielulintu, Natalie Field

Natalie Field’s highly anticipated Human.Nature opens at Berman Contemporary in Sandton on 5 April and runs until 19 April 2018. The following in-depth insight into the creation of the works and the thinking behind them is written by Natalie Field.

T

he story of our universe begins with a singularity. Due to some inconceivable force, space expanded, and matter formed. The stars, the earth, oceans, animals and even our bodies, are all made from this matter

While Nature is the underlying theme of the work, there are several subtexts worth mentioning.

The cosmos as a cyclical, closed system that demands balance, supports philosophies on non-duality. My work reflects

that has existed since the beginning of time. The Merriam-

the principle of the Tao Taijitu: the yin and yang illustrating the

Webster dictionary has a term for this collective: NATURE.

interconnectedness of contradictory, yet complimentary dualistic

We are, quite literally, stardust.

Human.Nature considers humanity and our relationship

forces that together create a monistic whole.

This mercurial and ephemeral nature of Nature is

with nature: both the external environment as well as our

explored through concepts around creation, evolution and

inner biology. It reflects upon matter (creation, the body)

metamorphosis. Einstein’s first law of thermodynamics

and form (consciousness, the soul). It is a return to nature.

states that energy cannot be created nor destroyed, it

The city-dweller reconnecting with the earth. Soft moss

can only be changed from one form to another. Through

under bare feet. Cold air against warm body. The body that

my work, I wish to celebrate this infinite cycle of life and

will eventually return to the soil to give life anew.

alleviate the fear of death. For, in time, this energy that was

This body of work is very personal to me; it is my reaction to the fear of dying, my search for solace. As such, I thought it pertinent to act as the protagonist in these narratives concerned with the balance between life and death, and vice versa.

70 / Creative Feel / March 2018

once you will transmute to form new life.

To me, this continuation of the life-force is the transmigration of the soul.

Human.Nature was first conceived while in residence at the Arteles Creative Centre in Finland, where I spent the month

Natalie Field. Cyanotype

Water Mother, Natalie Field of October 2016 wandering the forests, rediscovering what

An alternative approach to the visual interpretation

it means to be human. The resulting body of work includes

of these themes is through large-format photo-montages

a photo-essay of cinematic tableaux, large format photo-

in which biological forms are woven together to illustrate

montages, botanicals, cyanotypes and a video installation.

the reciprocal interaction found throughout nature. Using

While creating in a foreign environment, it was important

digital technology as an essential tool in the creative

to me to draw inspiration from the Finnish landscape and

process, elements captured in digital photographs and

culture. Several images from the cinematic series are imbued

digitised objects are deconstructed, to be reconstructed into

with narratives from Finno-Ugric mythologies surrounding

new realities. Fuelled by an interest in anatomy, zoology,

concepts of the soul and the transmigration thereof.

entomology and botany, these artworks explore the tentative

For this, I studied two texts. The first is a volume

relationship between humanity and its environment. More

entitled Mythologies of All Races: Finno-Ugric, Siberia by Uno

than celebrate the beauty of nature, the artworks highlight

Holmberg, which I discovered during my visit to the National

the interdependence of biotic life forms and their micro-

Library in Helsinki. The second, the Kalevala: a 19th-century

habitats; and the importance of the conservation of this

work of epic poetry compiled by Elias Lönnrot from Karelian

ecosystem that we call home: earth.

and Finnish oral folklore and mythology.

For example, the tableau Sielulintu narrates the folktale

Much as evolution is a theme in the work itself, the techniques I practice have also evolved to include a variety

of a mythical bird that delivers a human’s soul at birth and

of art forms. Besides the photographic works, this collection

returns upon their death to carry it back to Tuonela (the

also includes traditionally processed cyanotype prints

underworld). This ‘soul-bird’ was known as the Sielulintu.

of botanicals and other found objects, as well as a video

Working remotely in the forest environment to create these cinematic tableaux, it soon came to light that it was an opportunity to add a new skill to my repertoire: performance

installation that takes the motion element in my work to the next level.

I invite you to experience the interconnectedness of

art. This called for me to develop a new process. Once I

the full collection of Human.Nature as it finally comes

established the scene for an image, I set the camera up on a

together at the Berman Contemporary art gallery in

tripod, and used the intervalometer to automatically capture

Sandton in April 2018. CF

images at predefined intervals. During these exposures, I would act out the narrative to interpret the scene through

For more information, contact info@nataliefield.photography,

movement and dance.

072 123 1575 or visit http://nataliefield.photography

Creative Feel / March 2018 / 71

BREAKTHROUGH MOMENTS:

Strauss & Co sale includes formative works by key artists

Important works representative of South Africa’s diverse and evolving artistic practices from the twentieth and twenty-first century will go under the hammer at Strauss & Co’s much-anticipated Cape Town sale in March.

A

mong the standout lots being offered on Strauss & Co’s Cape Town sale is an Egyptian-themed architectural drawing by William Kentridge from his 2005 production of Mozart’s The Magic Flute

and a vivid still life with coffee utensils and ripening fruit by Erik Laubscher.

South African painters active during the pre- and postwar years have enjoyed considerable favour with South African collectors. There is particular excitement at Strauss & Co around four paintings made between 1939 and 1959, each from a formative moment in the early careers of Peter Clarke, Erik Laubscher, Alexis Preller and Gerard Sekoto.

Painted in 1939, Sekoto’s The Donkey Water Carrier (estimate R1 – R1.5 million) dates from the artist’s foundational Sophiatown period (1939-42). His oil depicting a cart-drawn water tank offers a fine elaboration of Sekoto’s emergent realist style and unobtrusive manner as an observer of everyday life. The painting was included on an important survey exhibition of Sekoto’s work at the Johannesburg Art Gallery in 1989.

An acquaintance of Sekoto when he lived in Johannesburg, Preller has been a name to conjure with at auction. Strauss & Co’s March sale includes Preller’s 1940 oil, A Still Life of Lilies (estimate R500 000 – R700 000).

Wilhelm van Rensburg, an art specialist with Strauss & Co, notes: ‘Preller’s use of colour was exceptional, and his intricate and intriguing compositions showcase his distinctive iconography and personal symbolism, which included his so-called “household gods”.’

A 1952 painting by Laubscher, Still Life with Coffee Pot and Fruit (estimate R1.5 – R2 million), sees this Paris-trained

72 / Creative Feel / March 2018

Fuse, Wim Botha R500 000 – R700 000

Still Life with Coffee Pot and Fruit, Erik Laubscher R1 500 000 – R2 000 000

The Donkey Water Carrier, Gerard Sekoto R1 000 000 – R1 500 000

artist use a well-known genre scene in service of declaring

Monnaie, the federal opera house in Brussels, Belgium.

his personal style. Painted a year after Laubscher’s return

Kentridge’s set designs referenced Prussian architect Karl

to South Africa from Paris, this confidently detailed School

Friedrich Schinkel’s Egyptian-themed set designs for an

of Paris picture also captures Laubscher at the edge of an

1816 production. Latopolis features two differently rendered

important transition – he would shortly devote his career to

images of the Temple of Khnum, a red sandstone structure

landscape painting.

that was one of the last Egyptian temples ever built.

Widely admired for his graphic style and social realist

Botha’s 2011 bust depicting two lovers bonded in a kiss,

subject matter, Clarke’s 1959 gouache on paper, Tree, Eroded

Fuse (estimate R600 000 – R800 000), slots into a worldly

Bank and Birds, Teslaarsdal (estimate R400 000 – R600 000),

tradition of sculpture that encompasses Hindu temple

dates from his influential Tesselaarsdal period. Clarke

figures and Auguste Rodin’s iconic marble, The Kiss (1882).

first visited this village below the Kleinrivier Mountains

Botha is well known for his appropriation, mimicry and

near Caledon in 1949. Over the next decade, he frequently

distortion of well-known symbols and icons – what the artist

returned for lengthy stays during which he herded sheep

describes as ‘saturated images’.

and painted the ‘ordinary people’ he stayed with. These encounters distilled his social vision.

Strauss & Co’s March sale comes shortly after its

Hodgins also alludes to classical western art in his latecareer oil, Study After Michelangelo No. 1 (estimate R350 000 – R500 000), which is based on Michelangelo’s

dedicated contemporary art sale, held during the week of

drawings towards an incomplete fresco depicting the Battle

Cape Town Art Fair in February. A burgeoning category

of Cascina for the Palazzo Vecchio, Italy. The classically

underpinned by robust sales in the primary market, Strauss

sculpted Renaissance figures appearing in Michelangelo’s

& Co has, since 2009, established reliable benchmark prices

drawings are starkly at odds with the lumpy, corpulent

for important artists like Wim Botha, Robert Hodgins and

figures preferred by Hodgins throughout his career.

William Kentridge.

Kentridge’s interest in the iconography of Ancient

Strauss & Co’s March sale will be held at the Vineyard Hotel, Cape Town, on Monday, 5 March. As is custom, the

Egypt, which dominates his 2004 charcoal drawing Latopolis

company will host a preview from 2 to 4 March, from 10:00

(estimate R1 – R1.5 million), originated out of an invitation

to 17:00, as well as offer an extensive programme of talks

to produce Mozart’s opera The Magic Flute (1791) for La

and social events. CF

Creative Feel / March 2018 / 73

Olatunji Sanusi’s

multicoloured pieces of paper Olatunji Sanusi has always been creative. From his days spent crafting superhero belts and small boats out of paper as a boy in Nigeria, to afternoons spent quietly sketching away outside the Union Buildings for Pretoria’s tourists, creativity has always occupied a place in his life. Now, with his third solo show set to open in Cape Town this month, he’s more confident than ever that pursuing a career as an artist was the right choice.

I

t’s midweek in downtown Johannesburg and Olatunji Sanusi is hard at work. His studio, situated on the third floor of the big and bustling August House building, is filled with pieces of paper. Stacks of magazines

rest against the skirting boards while the floor has long disappeared beneath a carpet of multicoloured pieces of paper. Lining the walls of the studio are the artists’ works, part paint, part collage, and all in full colour.

‘I don’t think I go a day without pasting paper onto canvas,’ says Sanusi as he works on a large-scale canvas.

‘Even on the weekends, if it’s just for five or ten minutes, I’ll be working with paper.’

With a new solo exhibition opening at the V&A Waterfront’s Art @ Africa Clocktower gallery, Sanusi is busy adding the finishing touches to a new body of work. Comprising a series of collage portraits on largescale canvases, African Allures will look at combined African heritages using prominent musicians, artists and cultural icons from the continent. Sanusi explains how a conversation with the internationally-renowned artist Esther Mahlangu inspired much of the new body of work.

‘Esther Mahlangu incorporates the Ndebele heritage and culture into all that she does,’ he explains. ‘When I met with her, she urged me to embrace my own heritage more and that impacted me quite a lot.’

African Allures will feature three portraits of Mahlangu, all portraying her wearing a doek, something Sanusi is borrowing from Yoruba culture and working into all the pieces. ‘[Mahlangu] doesn’t wear a doek,’ says Sanusi. ‘The doek is something I thought of as a symbol of Nigeria. I remember

74 / Creative Feel / March 2018

SOURCE Olatunji Sanusi

all the women in my life wearing it and I think it’s the perfect symbol.’

Things are looking good for the artist.

Working at August House sees him doing what he loves every day for a living, and the galleries are beginning to take note of his talent. ‘This is the dream,’ says Sanusi as he tears another strip of bright blue paper from a magazine.

‘This is what I’ve always wanted to do.’

Getting to this point has been a long journey for the artist. After finishing his studies, Sanusi began work at a small studio of his own in Nigeria and producing what he calls ‘functional art’ – basic painted works and fabrics produced to be sold off quickly.

‘It was good for a while, but I knew I needed to travel and to see other parts of Africa,’ he explains.

October of 2009 saw Sanusi officially make the move from Nigeria to South Africa, where he began looking for

PHOTOS Dave Mann

work and experience in Pretoria.

‘I would work as an artist out of my flat in Pretoria,

Another highlight throughout his journey as an artist

but I’d always go down to look for more work in town and

was having two works featured in RMB’s personal collection

I used to sometimes sit and sketch outside of the Union

after Carolynne Waterhouse paid his studio a visit.

Buildings,’ he recalls. ‘One day, a woman from France saw

‘There was an event here in the building and Carolynne

what I was working on and asked to buy it. I was just doing

stopped by my studio,’ explains Sanusi. ‘She loved my work,

it for fun and I didn’t even think of selling the works. The

and later came back with RMB’s curator. It’s a huge privilege

next day, another guy from Europe walked by and asked me

for me, I’m humbled. Having work in a collection like that

the same thing.’

can give you the courage and motivation to keep on doing

It wasn’t long before he was approached by someone to host his own solo exhibition at Pretoria’s American Embassy.

what you do, even when you feel like you can’t.’

Before he says goodbye and returns to his work, Sanusi

From there, he went on to host his second exhibition Save

points to a box filled with magazines. ‘Those are actually all

Water in Cape Town, and in November 2016, he joined

Creative Feel magazines that I was given by RMB,’ he says.

August House.

‘Those will keep me going for years!’ CF

Creative Feel / March 2018 / 75

FILM STARS DON’T DIE IN LIVERPOOL DIRECTOR: Paul McGuigan STARRING: Annette Bening, Jamie Bell, Julie Walters Based on the heartwarming and heartbreaking memoir by British actor Peter Turner, Film Stars Don’t Die in Liverpool follows the playful, but passionate relationship between Turner and the eccentric Academy Award® winning actress Gloria Grahame (The Bad and The Beautiful). What starts as a vibrant affair between a legendary femme fatale and her young lover, quickly grows into a deeper relationship with Turner being the one person she allows herself to turn for comfort and strength during her tragic final days. As captivating as ever, Grahame gives herself over to Turner in what turns out to be her final touching tour-de-force performance.

OFFICIAL SELECTION

BFI LONDON

FILM FESTIVAL OFFICIAL SELECTION 2017

TORONTO INTERNATIONAL FILM FESTIVAL 2017

13LS

AT CINEMAS 23 MARCH

Literary Landscapes Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation. In this second of a two-part series, Wussow writes on her visit back to Latvia.

I

n the publication Jurmala, author Indra Wussow travelled

majority of young people spoke Russian. Anything that was

down memory lane with her friend Ojars, capturing

not understood was immediately interpreted as dissent.

childhood memories of summers near Riga in Latvia.

Being right here in the snow of Jurmala they might be able

My friend does not have any memories of romantic kisses on the white beach. Instead his memories are of

to find a new beginning that overcomes all the losses suffered

estrangement and rejection. Being close to nature hadn’t

by their families. An extract, translated from the German by

dissolved this loneliness. Instead, it made it worse.

Maren Bodenstein, follows.

‘And do you know that when we were young we were not allowed to swim in the sea? It was poisoned by the pollution V

It’s difficult to believe that this snowy landscape has

from the factories.’

I can see the 15-year-old boy standing on the beach

had, and always will have, a sweet summer face. Even the

staring at the dead ocean, his innocence lost to the Four Year

monumental Soviet style architecture that had tried to make

Plans of the Soviet economy. Maybe the destruction of the

its unmistakable mark, could never really force itself onto this

environment was the sad and final ending to the romantic

place. In this lovely new paradise, prominent members of the

idyll of summer vacations.

Soviet Union spent their summer vacations in sanatoria built

Or maybe it was not?

for the workers. (Even here one seeks in vain for equality.)

For Ojars’ parents these sanatoria were unknown

VI

territory. In nearby Riga, they dreamed of holidays at the sea

Now we stand in front of one of those empty sanatoria

that were only possible for party members and union bosses.

where no one wants to have a holiday anymore. It seems as if

But they knew their beloved ocean was close by and even

they couldn’t find an investor to help sanitize this collapsing

if they seldom got to see it they continued to feel its power

monstrosity and, overtaken by history, even demolition

and strength.

was too expensive. The snow lends a touching beauty to

When Stalin wanted to break the Latvian resistance,

this solid block, this late memorial to the Soviet era – and

Ojars’s grandmother Agathe, like many others, was deported

covered in coy white it looks almost embarrassed at its own

to desolate Kazakhstan. In all those years, far away in a dirty

ugliness. I can’t help thinking of all the dreams and hopes of

cave in Karanga, she dreamt of her Baltic sea. It was this

those who built this monstrosity.

longing that helped her to survive, and after many years of deprivation, brought her back home.

Ojars himself spent many summers in the Komsomol holiday camp in Kemeri. Despite his grandmother and parents’

But Ojars doesn’t want to hear all this. All he sees is the tatty backdrop to a helplessness he had hoped to have left behind.

Pulled towards the dilapidated sanatorium I imagine

envy, he did not enjoy himself at all. The deprivations of

the Stachanow workers from the Siberian Taifa living

the previous generations had made him soft and vulnerable.

here, celebrating, dancing. After having secured

Having to prove that a better life was possible and that all the

the electrification of the mighty Soviet Union, and

suffering was worth it, he was not allowed to show anything.

experiencing the sea for the first time, they solemnly dip

So he kept quiet and joined the exuberant Soviet youths at

their Siberian feet in the water. The Baltic must have been

the sea. He marched and learnt all the Socialist aphorisms. If

as strange to them as flying about in space was for Leica

you spoke in Latvian you were immediately chided – so the

the dog.

78 / Creative Feel / March 2018

My romantic notions of Soviet summer vacations don’t find any resonance in Ojars, and I sense that even in old age he will not be able to get rid of his youth.

are innocently creating their own summer dreams. History repeats itself but under different circumstances.

And among the ruins and the wrecked dreams of his unhappy youth, and in the intimacy of the refuge my

VII Back at the seashore the blanket of snow crunches beneath our feet and I let my thoughts drift – this sea

family once found here, Ojars too has a glimpse of the happier aspects of his story. My enthusiasm seems to have transferred itself to him.

landscape has shrugged us off so many times, has loaded

‘Do you still remember where your grandmother’s house

the losses of several generations onto our shoulders; and

is?’ he asks. ‘Just imagine if you could live in this house? Do

now, sharing all these memories and stories of loss seems to

you think you would feel your family’s presence?’

create in us an unquenchable longing to merge with a place

But these questions are hypothetical because I don’t

that carries so much meaning. Being right here in the snow

know which of these white villas belonged to my family. And

of Jurmala we might be able to find a new beginning that

exactly because I don’t know, I feel at home in these pine

overcomes all the losses suffered by our families. Standing

alleys and move through Jurmala as if it has always been a

in this place it feels as if fate has brought me here. After all,

part of my real life, as if it had embedded itself into my being

the expulsion of my family from Latvia does not seem to

since childhood, had nestled itself ineluctably into my brain.

have been the end of a story – it was merely a pause. And now it can continue with Ojars’s and my story. In this windy

VIII

white landscape with its blurred contours, the stories of our

The wind drives us through the snowstorm back to the

families weave into a whole written for this very moment.

station. There is nothing more to say. You take my hand. And

Would Oma Bella’s panic stricken flight from occupied

I take it as more than a proof of love – it is the reassurance of

Riga have been any easier if she had known that I am standing

a journey that we have taken together, a journey in which we

here today? That there still is a future despite her feelings

feasted on the past. A journey that has found its fulfilment

that all was lost? While she was still alive she was convinced

in Jurmala, a place that has conquered it’s past and thereby

that there never would be as beautiful a place as the one she

has given us strength. CF

had created for herself in Jurmala. And this dream of her summer idyll accompanied her all her life. She decided never to drive back to her beloved Jurmala. She would not have recognised the place anyhow – this she was clear about.

Today I see the surviving fragments of the backdrop to Oma Bella’s holiday dreams. After the fall of the Soviet Union, they are waking up from their Sleeping Beauty slumber. While next door the Soviet monstrosities crumble, new owners

Creative Feel / March 2018 / 79

Book Reviews Recently published

Footnotes for the Panther | Conversations between William Kentridge and Denis Hirson | Publisher: Fourthwall Books | ISBN: 9780994700933 In June of 2010, William Kentridge asked Denis Hirson to join him in a public conversation at the opening of Cinq Thèmes, the artist’s retrospective exhibition at the Jeu du Paume in Paris.

So fruitful was this event that the two decided to have further conversations, public and private, whenever the time and the occasion seemed right. Nine engagements followed, allowing them to explore at great length the many issues and themes arising from Kentridge’s work. These conversations, in which a writer and an artist grapple with the enormous complexities of making art, grow out of a friendship that stretches back to the 1980s and that is deeply entwined in the fortunes of the city where they both grew up and the country that is the wellspring of their work.

Born in Cambridge in 1951, Denis Hirson lived in South Africa until the age of twenty-two, studying social anthropology at the University of the Witwatersrand in Johannesburg. In 1975 he settled in France, where he has worked as an actor and lecturer at the École Polytechnique. He has written seven books, almost all of them at the frontier between prose and poetry and concerned with memories of South Africa in the time of apartheid. The most recent of these is the novel The Dancing and the Death on Lemon Street. He has also assembled and edited three anthologies of South African writing, including In the Heat of Shadows: South African poetry 1996–2013. Ma langue au chat, a book in French about the delight and torture experienced by an Anglophone when speaking and writing in French, is forthcoming from Les Éditions du Seuil in October 2017.

William Kentridge was born in Johannesburg, South Africa in 1955. He is a graphic artist, filmmaker and theatre artist renowned for his humanist and poetic perspective on apartheid, colonialism and totalitarianism, and on their lingering effects. Best known for his allegorical animations of charcoal drawings that he erases and appends frame by frame, Kentridge has explored disciplines ranging from sculpture to books, stereoscope to opera. His works are included in numerous international collections, including the Museum of Modern Art, New York; Tate Modern, London; the Metropolitan Museum of Art, New York; the San Francisco Museum of Modern Art; the Stedelijk Museum, Amsterdam and the Albertina Museum, Vienna. His acclaimed production of Wozzeck travels to the Metropolitan Opera, New York, for the 2019–20 season.

Tug of War | By Naomi Howarth | Publisher: Jacana Media | ISBN: 9781431425822 It’s a big world for a small tortoise…

Tortoise is on the hunt for a friend, but only encounters huge Elephant and Hippo, who are mean about his small size and wrinkly skin. But though Tortoise isn’t big, he is certainly brainy!

He sets out to show Elephant and Hippo that biggest doesn’t mean best by challenging them to a tug of war. They sneeringly accept… but little do they know that they have really agreed to fight each other!

This funny, heart-warming retelling from Naomi Howarth, alongside beautiful illustrations, teaches children that wit and wisdom are more important than size and physical strength, and friendship is what matters most.

Naomi Howarth was born and brought up in Edinburgh, Scotland, and studied Costume for Performance at the London College of Fashion, where she graduated with a first in 2010.

She worked in the film industry for eighteen months before deciding to pursue a career in illustration. In 2014 she was mentored by Catherine Rayner as part of Booktrust Scotland’s Picture Hooks scheme.

Howarth’s illustrations combine lithography with watercolour, and she has a strong interest in myth, legend and folklore. The Crow’s Tale, her first picture book, was shortlisted for the 2015 Waterstones Children’s Book Prize. Howarth lives on a houseboat in west London.

80 / Creative Feel / March 2018

Music

The latest releases to suit all tastes

ANNE-SOPHIE MUTTER AND DANIIL TRIFONOV EXPLORE SCHUBERT

T

wo stars from different generations, artists of the

tutoring with my Foundation. It’s a piece that allows musical

highest calibre, mark their first collaboration with

friends to work together.’

an album devoted to one of the supreme landmarks of classical music. Anne-Sophie Mutter, who in 2016

The ‘Trout’ team was completed by South Korean violist Hwayoon Lee, German cellist Maximilian Hornung and Slovakian

celebrated the fortieth anniversary of her professional debut,

double-bass player Roman Patkoló, all current or former

and Daniil Trifonov, now in his mid-twenties, joined forces with

scholarship students of the Anne-Sophie Mutter Foundation.

three outstanding young string playing alumni of the Mutter

Mutter compares the interpretative process to mountain

Foundation at the Baden-Baden Festspielhaus in June to perform

climbing, where reaching the top of one peak reveals fresh

Schubert’s Piano Quintet in A major, popularly known as the

perspectives on other, higher peaks yet to be conquered.

‘Trout’ Quintet. They also explored the composer’s Notturno, a

The process of discovery, she adds, was both exciting and

sublime late work for violin, cello and piano, and arrangements

demanding. Differences of opinion over tempo changes within

of his songs Ständchen and Ave Maria for violin and piano. The

a movement and tempo relationships between movements

results were recorded by Deutsche Grammophon.

of the ‘Trout’ were resolved in rehearsal, allowing the players

Mutter and Trifonov were drawn together by a strong

to unlock what Trifonov calls the composition’s ‘essence of

artistic attraction. ‘It was a spontaneous idea to work

energy’, the dramatic outbursts, sharp contrasts and bright

together,’ the violinist recalls. ‘But I was stalking Daniil for

sonorities that give the work its life.

several years,’ she adds with a laugh. Mutter found time

Anne-Sophie Mutter pays tribute to Daniil Trifonov’s

earlier this year to follow the Russian pianist’s Rachmaninov

phenomenal range of tone colours and lightning-quick

concerto cycle with the Munich Philharmonic and Valery

reactions to fresh musical thoughts. ‘Even after discussing

Gergiev. ‘I was also in Moscow when he won the Tchaikovsky

everything in rehearsal, you come to different solutions in

Competition in 2011 and heard him play in the prize

performance,’ she observes. ‘But that only happens with

winners’ concert there.’

musicians who are free to make music, not concerned with

The opportunity to make her first recording of the

working from one recipe.’ In addition to the ‘Trout’, their

‘Trout’ Quintet with Daniil Trifonov, she says, was too good

album contains Mischa Elman’s arrangement of Ständchen

to miss; the pianist, likewise, embraced the project with

together with Ave Maria, more correctly known as Ellens

wholehearted enthusiasm. He sees Schubert, one of the great

Gesang III, arranged by August Wilhelmj in the 1880s and

Classical composers, as an inventor of the purest melodies

subsequently elaborated by Jascha Heifetz. Both performers

and a master of formal structure.

made changes to their parts to create what Mutter describes

While Schubert’s output for violin and piano amounts

as a ‘joint venture’ in the art of arrangement. ‘I think there

to little more than a handful of pieces, his piano trios and

was also a little help from Liszt,’ notes Trifonov, referring to

the evergreen Piano Quintet include magnificent parts for

the Hungarian composer-pianist’s influence on his handiwork.

violin. ‘The “Trout” Quintet is one of the great pieces in

‘Of course, arrangements are arrangements,’ comments

the repertoire,’ Anne-Sophie Mutter reflects. ‘Schubert,

Mutter. ‘But one sometimes has to rearrange them to bring

sadly, wrote very little for violin. The “Trout” gave me the

out the original in a better way.’ Schubert’s Notturno, she

opportunity not only to work with Daniil but also to include

observes, bears witness to the composer’s quest for new

wonderful colleagues, young artists who have gone through

sounds in the final years of his short life. The piece, perhaps

encore Eugene Hön is a ceramic artist with a passion for drawing and ballpoint renderings.

He completed his Master’s degree in Ceramic Sculpture at the University of Cape Town and then chose to pursue a career as an academic and practising artist

at the University of Johannesburg (UJ). Hön’s teaching and learning experience encompasses disciplines as varied as ceramics, architecture, industrial design, the visual arts and jewellery design and manufacture. Over the years, he has held numerous positions at UJ and within local creative industries. Hön was recently appointed as Director of the FADA Gallery at UJ, a position which he is particularly honoured to hold as it allows him to further promote arts and culture in South Africa.

Name three artworks that you love and why.

Name one thing you think would improve the arts and culture

Sunflower Seeds by Ai Weiwei, an installation of 100 million hand-

industry in South Africa.

painted porcelain sunflower seeds at the Tate Modern. Produced by

Making our art museums more relevant, effective and efficient

1 600 artisans from the Chinese city of Jingdezhen, the work celebrates

custodians of our cultural heritage and development.

the handmade while emphasising the imposing strength in numbers.

The couture fashion statements of Alexander McQueen, especially

What is your most treasured possession?

his Spring/Summer 2005 collection entitled It’s Only a Game and his

My home is my sanctuary with everything in it. I especially cherish

Autumn/Winter 2009-2010 collection entitled The Horn of Plenty.

some of the furniture, glass, ceramics and two jade pieces.

Alexander McQueen was a creative genius with a vision of fashion as craft, theatre and a transformative experience.

What do you regard as the lowest depth of misery?

The Hare with Amber Eyes: A Hidden Inheritance by Edmund

I have recently read the book Evicted: Poverty and Profit in the

De Waal. I read this book from start to finish, in one sitting. It is a

American City by Matthew Desmond. It shows the devastation

mesmerising tale of provenance, describing the journey of a family

that an event such as eviction can have on the poorest of our

heirloom – Japanese netsuke or miniature ivory sculptures – from one

communities – it exposes them to increased deprivation.

place to another.

What is it that makes you happy?

Name one artist you would love to meet.

Creativity in art, food and everything stylish.

Ai Weiwei, the Chinese artist and activist.

Describe a defining moment in your life.

What are you reading at the moment?

When I was able to capitalise on my passion for ballpoint pen drawing

Chronicles: Volume One by Bob Dylan.

through digitally-printed ceramic transfers. Ballpoint pen drawings fade with time; as transfers on ceramics, they are immortalised.

What is in your car’s CD player?

On my iPhone – Bye Bye Blackbird (2010) by American jazz singer

What projects will you be busy with during 2018 and

Melody Gardot.

into 2019?

I am working towards a solo exhibition of my latest ceramic shard

If you could change one thing about yourself, what would it be?

series, entitled Manufraction. I am also involved in a number

I am the way I am, and I can’t change that.

of exciting curated exhibitions at FADA Gallery, La Motte and hopefully, the new Zeitz MOCAA.

How have the arts industries in South Africa changed over the last ten years?

Name one goal you would like to achieve in the next

Art fairs, 100% Design and Art in the Winelands are expanding art and

12 months.

design platforms for artists and designers to showcase their latest creative

During my sabbatical, I plan to travel to China to design and

endeavours to the local community. The increasing role social media plays

manufacture my latest ceramic expressive vessels (shards) in

in promoting art and design, including events, is also significant.

vitrified ware and porcelain. CF

e