‘
FUGARD@86
A season at the Market Theatre
JOHN KANI
Stars in Fugard’s ‘The Train Driver’
SA R36,90 (incl. VAT) - May 2018
05018 9
771607
519004
World Symphony Series
Winter Season 2018 30 MAY - 21 JUNE 2018, LINDER AUDITORIUM, PARKTOWN, JOHANNESBURG
Concert 1
30-31 MAY 2018 | 20H00
PROGRAMME Dmitri Shostakovich: Festival Overture, Op. 96 George Gershwin: Piano Concerto in F Major Pyotr Ilyich Tchaikovsky: Symphony No. 1 in g minor, “Winter Daydreams”
Charl du Plessis
Daniel Boico
PIANO
CONDUCTOR
Charl du Plessis rose to fame as the youngest pianist in Africa to be named a Steinway Artist. He has since embarked on an international career working simultaneously as a classical and jazz pianist who illuminates music from Bach to Billy Joel for a new generation of listeners. After debut performances in London’s Royal Albert Hall, Berliner Philharmonie (with Chick Corea) and Shanghai’s Oriental Arts Centre, Charl became the first pianist to perform on top of Table Mountain in 2017.
Daniel Boico was a finalist and prizewinner at the Prokofiev, Pedrotti and Cadaques International Conducting Competitions and is the Associate Guest Conductor of the KZN Philharmonic Orchestra, Durban. His innate musical sensitivity paired with a keen ear and deep musicianship have produced exciting performances with orchestras in the U.S., Europe, Central and South America, Africa and Asia.
Concert 2
06-07 JUNE 2018 | 20H00
PROGRAMME Ludwig van Beethoven: Egmont Overture Édouard Lalo: Cello Concerto in d minor Robert Schumann: Symphony No. 3 in E-flat Major, Op. 97, “Rhenish”
2 / Creative Feel / May 2018 VISIT JPO.CO.ZA FOR MORE INFO
Alexander Buzlov
Brandon Phillips
CELLO
CONDUCTOR
Alexander Buzlov is a winner of top cello competitions such as at the Feuermann Competition, Belgrade, Monte Carlo and the Tchaikovsky Competitions. Today Alexander Buzlov performs throughout Russia’s most prestigious halls as well as at venues abroad such as the Berliner Philharmonie, Carnegie Hall, Lincoln Center, La Scala and Théâtre des Champs-Élysées.
Winner of the Cape Town Philharmonic’s inaugural Len van Zyl Conductors’ Competition, Brandon Phillips is now is the CPO’s resident conductor. He studied conducting at the Northwestern University with Victor Yampolsky and was a conducting intern with the Philadelphia Symphony Orchestra. Phillips is regularly invited as an adjudicator and conductor for competitions. In 2012 he received the Western Cape Government’s award for “outstanding achievements by the youth”.
“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
13-14 JUNE 2018 | 20H00
PROGRAMME Felix Mendelssohn: Ruy Blas Overture, Op. 95 Jean Sibelius: Violin Concerto in d minor, Op. 47 Antonín Dvořák: Symphony No. 5 in F Major, Op. 76
Nikita Boriso-Glebsky
Conrad van Alphen
VIOLIN
CONDUCTOR
Nikita Boriso-Glebsky is a brilliant Russian violinist, deserving to take his place in the world academic music’s elite. Winner of the Jean Sibelius Competition and the Fritz Kreisler Violin Competition, his technical excellence and extraordinary style of performance – exciting as well as able to escape arrogance – have been noted by audiences in many different countries.
The founder, chief conductor and artistic director of Sinfonia Rotterdam, Conrad is known as much for entrepreneurial spirit and depth of preparation as he is for performances that combine exceptional sensitivity, vision and freshness. As a guest conductor he works with some of the world’s most respected orchestras, such as the Montreal and Svetlanov Symphonies, and the Brussels, Bogotá and Moscow Philharmonics.
Concert 4
20-21 JUNE 2018 | 20H00
PROGRAMME Mikhail Glinka: Summer Night in Madrid Overture Edvard Grieg: Piano Concerto in a minor, Op. 16 Nikolai Rimsky-Korsakov: Scheherazade, Op. 35
Spencer Myer
Cathrine Winnes
PIANO
CONDUCTOR
This American pianist is one of the most respected and sought-after artists on today’s concert stage. His orchestral, recital and chamber music performances have been heard throughout the United States, Canada, Europe, Africa and Asia. Spencer Myer’s debut CD for harmonia mundi usa – solo music of Busoni, Copland, Debussy and Kohs – was released in the fall of 2007 to critical acclaim by Fanfare and Gramophone magazines. He is a Steinway Artist.
Cathrine Winnes is a conductor of rare communicative gifts, outstanding precision and uncompromising musicianship. She is known in Norway and beyond for her work on the podium and also for her pioneering work as a broadcaster. Cathrine’s energetic musical style has seen her transcend classical music’s usual boundaries and reach new audiences. She is currently Artistic Director and Chief Conductor of the Östgöta Blåsarsymfoniker.
CONTENTS
COVER IMAGE John Kani PHOTO Brett Rubin SOURCE The Market Theatre Foundation
36 THE ULTIMATE HITS COLLECTION FROM THE LORD OF MUSICALS Andrew Lloyd Webber Unmasked: The Platinum Collection includes some of the composer’s mostloved songs from Cats, Evita, Jesus Christ Superstar, The Phantom of the Opera, School of Rock, and Sunset
cover story 18 FUGARD@86: A CELEBRATION OF ATHOL FUGARD AT THE MARKET
Boulevard.
38
MTN BUSHFIRE 2018: EVEN MORE FIRE Recently named as one of the Top 30 international festivals on the EVERFEST FEST300 list, MTN
In celebration of Athol Fugard’s 86th birthday,
Bushfire takes place from 25 to 27 May 2018.
the Market Theatre will present the Fugard@86 season from 4 May to 15 July 2018. Creative Feel spoke to Artistic Director of the Market Theatre, James Ngcobo, director of The Train Driver,
40 LONDIWE KHOZA: GRAPPLING WITH GAGA Rays of Tel Aviv sunshine stream in from the
Charmaine Weir-Smith, and actor John Kani.
skylights, illuminating the studio where Batsheva’s The Young Ensemble, the junior troupe of Israel’s renowned Batsheva Dance Company, rehearses daily. Londiwe Khoza, 23, stands alert.
arts and culture 26 HOW LONG? After an absence of 45 years, Gibson Kente’s musical
44
HE COUNTRY’S MOST SUPPORTIVE T ART AND DESIGN PRIZE
drama How Long? returns to the South African stage
At a gala event in April 2018, Chris Soal was
in a prestigious new production presented by The
announced as the overall winner of the PPC
Playhouse Company from 5 to 27 May 2018.
Imaginarium Awards 2018.
28 A GLOBAL MUSIC AND ARTS EXPERIENCE Pure artistic passion and creativity will fuel the inaugural
50 SASOL NEW SIGNATURES ART COMPETITION 2018 #LIMITLESS In an industry where creativity and innovation
Soweto International Jazz Festival, slated to take place from
are highly valued, the Sasol New Signatures
14 to 17 June 2018.
Art Competition plays an instrumental role by encouraging emerging artists to adopt a limitless
30 THE JPO WINTER SEASON 2018 The music has not stopped for the great musicians of the Johannesburg Philharmonic Orchestra (JPO) at the Linder Auditorium in Parktown, the home of the JPO.
approach to contemporary art.
52 LOOKING TOWARDS LORENTZVILLE Less than a year ago, if you looked up a list of Joburg’s must-see creative hubs, you wouldn’t have seen Lorentzville ranking very high. Thanks to a few dedicated artistic projects and venues, that’s all beginning to change, writes Dave Mann.
JH Pierneef, Landscape near Golden Gate, 1955 (detail) | Estimates: R2 000 000 - 3 000 000
WINTER AUCTION IN JOHANNESBURG | 17 JUNE Historic, Modern & Contemporary Art Gordon Institute of Business Science | 26 Melville Road | Illovo | Sandton For enquiries and free art valuations, contact our Specialists JOHANNESBURG | +27 11 243 5243 CAPE TOWN | +27 83 283 7427 enquiries@aspireart.net enquiries@aspi www.aspireart.net
CONTENTS
54 A PLACE TO CALL HIS OWN
Dave Mann is in studio with Nicholas Hlobo.
56 AN UNSEEN AND THRILLING PRELLER TO GO ON SALE AT STRAUSS & CO An extraordinary portrait by sought-after painter Alexis Preller depicting Poseidon, the Greek god of the sea, will go on sale at Strauss & Co’s
lifestyle and entertainment 74 76 78
CINEMA NOUVEAU BOOK REVIEWS CD REVIEWS
auction on 4 June in Johannesburg.
58 THE SEA IS CLOSED: SHALLOW WATER 2016 Absa L’Atelier winner Nourhan Maayouf heads to SA for her solo exhibition at Absa Gallery.
60 THE DEVELOPMENT OF VALUE IN THE SA ART MARKET Many who are tempted to begin collecting art, or who are expanding existing collections, want to know how to ‘read’ the art market. When they invest
contributors 24
Ismail Mahomed explores the role public artworks are playing in the new dawn of the KKNK in Oudtshoorn.
money in an art collection, the key question often is: will my art appreciate in value over time?
62 AN AUCTION HOUSE WITH A RICH HISTORY In 1968, Reinhold Cassirer started Sotheby’s South Africa, now known as Stephan Welz & Co., in Braamfontein in central Johannesburg.
64 HARMONIA: SACRED GEOMETRY, THE PATTERN OF EXISTENCE Gordon Froud brings his research into focus for a monumental mid-career show at the Standard Bank Gallery in Johannesburg 13 April to 15 June 2018.
ARTLOOKS & ARTLINES
68
THE ART OF PERFORMANCE
Do graffiti writers have the right to copyright and can advertisers use their work freely? Dave Mann finds out.
72
LITERARY LANDSCAPES On a recent trip to Bad Oeyenhausen in Germany, Indra Wussow found the age of senescence, or the decay of a spa town.
Alexis Preller, The Mapogga Woman
R1 000 000 - 1 200 000
Important South African and International Art Auction, Monday 4 June 2018, The Wanderers Club, Illovo, Johannesburg Preview 1 - 3 June
Enquiries +27 11 728 8246 jhb@straussart.co.za
Strauss & Co: The global leader in the South African art market
www.straussart.co.za
EDITOR’S NOTE
CROSS THE BRIDGE
W
hatever you
Nongogo was written almost 60 years ago in 1959 during
do, make sure
Fugard’s very early years of writing, producing, acting
you cross the
and organising ‘a multiracial theatre’ in which he and his
Nelson Mandela
colleague, black South African actor Zakes Mokae, performed.
Bridge into Newtown during
Nongogo is a reflective piece of theatre and has a long
May, June and July to join in
history that is part of the tapestry of South Africa. It is set in
the celebration of the life and
the 1950s, a vibrant yet turbulent time in the history of this
work of great South African
country. It takes place in a shebeen in the township that is
playwright Athol Fugard.
run by a shebeen queen known as Queenie. The show has a
Hailed as ‘the greatest active playwright in the English-
beautiful hint of romance that never gets realised at the end. The other Fugard@86 production is The Train Driver,
speaking world,’ Athol Fugard
which is considered to be an ‘allegorical meditation on white
has won international praise
South Africans’ collective guilt about apartheid.’
for creating theatre of ‘power,
Fugard himself feels that it is his most important play, ‘I
glory, and majestic language.’
think all of my writing life led up to the writing of The Train
An Honorary Fellow of Britain’s
Driver because it deals with my own inherited blindness and
Royal Society of Literature,
guilt and all of what being a white South African in South
he received Broadway’s top
Africa during those apartheid years meant.’
honour, a Tony Award for
Here, John Kani is Simon the gravedigger in the
Lifetime Achievement for his
desolate squatter camp where the nameless dead are buried
more than 30 plays, written
and he interacts with Roelf (played by Dawid Minnaar) –
over six decades, where he chronicled the struggles of men and women of all races for dignity and human fulfilment.
the train driver. It was very special to talk to John about Athol, about
He holds many honorary degrees from national and
their long shared theatre years and more importantly about
international universities and he received The Order of
their life-long special friendship – ‘he is closer to me than a
Ikhamanga from the South African presidency ‘for his
brother’. Together they made history and put South African
excellent contribution and achievements in theatre.’
plays out into the world and Port Elizabeth on the map.
James Ngcobo, the artistic director of the Market Theatre,
As Fugard said, ‘as fascinated as I was by words on paper,
will pay homage to him with the Fugard@86 season,
it was matched by my fascination with words in people’s
celebrating his eighty-sixth birthday with two wonderful
mouths. The spoken word. And that is the world of theatre.’
productions – Nongogo and The Train Driver.
Fugard@86 is just that – theatre not to be missed.
Lore
Athol Fugard PHOTO Ruphin Coudyzer
John Kani generously gave his time to talk about Fugard@86 and his life-long friendship with Athol Fugard
John Kani in Master Harold and The Boys, directed by Athol Fugard at the Market Theatre in 1983. PHOTO Ruphin Coudyzer
LIMITLESS
We’re searching for South Africa’s best artistic talent. #SasolNewSignatures #Limitless
Enter now.
www.sasolnewsignatures.co.za est. in 1947
TEAM PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Angelia Muller; angelia@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Indra Wussow 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
We love this!
Cyrus Kabiru was born in 1984 in Nairobi, Kenya, where he currently lives and works. He is best known for refashioning waste and recycled materials into various forms as a humorous critique of contemporary living within Kenya. He is a self-taught sculptor, who has exhibited frequently both internationally and on the African Continent. In his ongoing project, C-Stunners, Kabiru creates and wears artistic bifocals using metal scraps and
Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za Printing Raptor Print (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.
used objects. Kabiru then has himself photographed as he poses with the makeshift
While every last effort has been made to check
sunglasses. The work sits between fashion, design, performance, and photography in a
that the information in this magazine is correct at
comment on self-representation through commodity objects. According to Kabiru, the
the time of going to press, the publisher and their
projects captures the sensibility and attitude of the youth generation in Nairobi, where
agents will not be held liable for any damages
they portray culture bling, the ingenuity and resourcefulness of the people, and the
incurred through any inaccuracies.
transformability of the everyday. In 2017 Kabiru presented two solo exhibitions, Macho Mbadala at SMAC Gallery in Johannesburg, and Pandashuka at SMAC Gallery in Cape Town. Kabiru sees his work as a call to innovation, which was highlighted in his 2015 solo exhibition; C-Stunners and Black Mamba, at SMAC Gallery in Cape Town, South Africa.
TM
AUCTION MINERAL SPECIMENS | METEORITES | GEMS | FANCY COLOURED DIAMONDS
29 MAY 2018 | JOHANNESBURG Killarney Country Club, 60 5th Street, Houghton Estate
Viewings will be held at Knox Safe Deposit Boxes, 1 River Street, Houghton Estate, Johannesburg Viewing dates: 23-28 May 9am – 4pm excluding Sunday | Saturday: 9am – 12pm
Call for appointment: 011 880 3125 | stephanwelz@stephanwelzandco.co.za www.stephanwelzadnco.co.za
Joshua Harmon’s Broadway hit
Significant Other comes to South Africa
From the writer of the West End smash hit comedy Bad Jews, which enjoyed soldout runs in Johannesburg and Cape Town, Eric Abraham presents a Fugard Theatre production and the South African premiere of Joshua Harmon’s Broadway success Significant Other. The play opens on 30 May in the Fugard Theatre and is directed by the Fugard Theatre’s resident director Greg Karvellas.
S
ignificant Other follows Jordan and his three closest friends as they navigate love, friendship and New York as twenty-somethings. Jordan is single, and finding Mr Right is much easier
said than done. While surrounding himself with his close group of girlfriends, it comes to pass that the only thing harder than looking for love is supporting the loved ones around him as they pair off and embark on their journey of marriage. The all-South African cast features Gabriel Meltz as Jordan, Dominique Maher as Kiki, Lesoko Seabe as Vanessa, Lucy Tops as Laura, Michèle Maxwell as Helene, with Roberto Kyle and Ryan de Villiers completing the line-up. Set and lighting design is by Wolf Britz, costume design by Widaad Albertus and sound design is by the Fugard Theatre’s resident musical director Charl-Johan Lingenfelder. ‘Joshua Harmon once again uses his razor-sharp wit and eagle-eyed observation to bring us another hilarious, poignant and sensitive story about something we can all relate to – the journey of finding love and how we react when our friends around us find it first,’ says Daniel Galloway, the executive director of the Fugard Theatre. ‘We are proud to be presenting another South African premiere of this exceptional playwright’s work, brought to the stage by an all-South African cast and creative team.’ Tickets from R140 to R250 can be booked through the Fugard Theatre box office on 021 461 4554 or through the Fugard Theatre’s website at www.thefugard.com CF
12 / Creative Feel / May 2018
Significant Other PHOTO Daniel Rutland Manners
HARMONIA:
Sacred Geometry, the pattern of existence
Gordon Froud, Geometry and the human figure 3, 2018, Black and white digital print on archival paper, 1205x900mm framed
An exhibition by Gordon Froud
13 April to 15 June 2018 www.standardbank.com/SacredGeometry #SacredGeometry Standard Bank Gallery, Cnr Frederick and Harrison Streets, Johannesburg Monday to Friday 8am – 4.30pm and Saturdays 9am – 1pm. Tel: 011 631 4467
Authorised Financial services and registered credit provider (NCRCP15). The Standard Bank of South Africa Limited (Reg. No. 1962/000738/06). Moving Forward is a trademark of The Standard Bank of South Africa Limited. SBSA GMS-2067-4/18
A Unique Experience Casta Diva Boutique Hotel, nestled on the northern slopes of the Magaliesberg, is like no other hotel. Guests are met at the parking area and shown to reception with a warm, welcoming smile. The property itself (just under two hectares of lush, green garden) is breathtakingly beautiful. The rooms are individually decorated without any clutter and the on-site restaurant guarantees a culinary adventure. Ask your host about the special of the day, or order one of the signature dishes from the á la carte menu, such as the Dutch Style Beef Fillet. There is also an intimate theatre/art gallery where guests can enjoy a performance by some local talent. The establishment prides itself on arts and culture
Boutique Hotel A unique venue, nestled high on the northern slopes of the Magaliesberg amidst peaceful and tranquil surroundings that offer stunning views and an unsurpassed setting of natural beauty and elegance in an oasis of peace and serenity in the city.
development by hosting young, up-and-coming talent as often as possible. On stage on 5 May: When Jazz Was King! The year is 1935, and the music is jazz! Names such as Louis Armstrong, Dizzy Gillespie, Ella Fitzgerald, Nina Simone and Duke Ellington rule the music scene. These were strange times indeed: America was still very racially divided, but jazz appealed to both black and white. The likes of Louis Armstrong even got to sit in white only restaurants and gained access to the upper echelons of American society because of his abundant talent and charm. Such was the power of this vibrant new style of
Restaurant Guaranteed the true Decadent, Divine, Delightful fine dining experience, the perfect fusion between the magic of Casta Diva, fresh ingredients, a dedicated culinary team and the friendliest service of South Africa.
music they called ‘jazz’. This did not sit well with his fellow African Americans, however, who regarded him as an ‘Uncle Tom’, seemingly participating in the oppression of his own group. In her latest one-woman show, the lively and vivacious Tonya Koenderman pays tribute to that exciting era when jazz ruled supreme. She touches briefly on the history of jazz, but most of all, she pays tribute to the great jazz classics. Koenderman gives her own touch of magic to songs such as ‘All That Jazz’, ‘Mack the Knife’, ‘Feeling Good’, ‘Summertime’, ‘Le Jazz Hot!’, ‘A Nightingale Sang in Berkeley Square’, ‘My Baby Just Cares for Me’, ‘What a Wonderful World’, ‘Calypso Blues’, and many more! Be sure to book your tickets as seats are limited. For bookings call 012 542 4449, or email info@castadiva.co.za. You are guaranteed to be amazed and made to feel special at Casta Diva Boutique Hotel. It truly is the place to just… be. To book a stay, visit the website at www.castadiva.co.za and keep an eye on their Facebook pages for updates on events. CF
14 / Creative Feel / May 2018
Man’s best friend
in the limelight in unique art exhibition A unique collaborative art exhibition featuring the works of Theo Paul Vorster and Hennie Meyer will put man’s best friend in the spotlight. Entitled Re-worked K9, the exhibition, which is taking place at RK Contemporary – Riebeek Kasteel’s newest art gallery – from 27 April until 23 May, will see these two renowned artists depicting reworked artworks of real and fictitious dogs belonging to celebrated artists through the ages. Picasso and Lump, Hennie Meyer
‘I
t is a tongue-in-cheek depiction of the dogs that never
Meyer’s work has evolved over the years from free-
featured in the works of their famous owners,’ explains
standing vessels to include contemporary wall-based art –
Theo Paul Vorster, who is well-known internationally
both of which will be on exhibition at Re-worked K9.
for his bold and colourful linocuts. ‘We are using the
Astrid McLeod, owner and curator of RK
dogs as a metaphor to remind us not to forget the special
Contemporary, says that ‘Hennie and Theo have always
things in life that are not recorded or shared.’
admired each other’s art. Both artists have a unique
Vorster’s original hand-cut and coloured lino blocks will
style and share elements such as lively line work, vibrant
be featured in the exhibition as well as limited edition lino
colour and a whimsical thematic approach. This is a
prints of this work.
very exciting collaboration and I cannot wait to see the
Hennie Meyer, an acclaimed ceramist who works predominantly in earthenware, carving into the clay and
completed works. ‘RK Contemporary was launched towards the end of 2017
then using a printing technique to transfer images onto the
with the purpose of bringing fresh new art and art experiences
clay, explains that although he and Vorster have known each
to the public. This collaboration, and its unusual theme, is a
other for many years this will be the first time the two artists
first for these two acclaimed artists and is in keeping with RK
will be working together.
Contemporary’s goal,’ concludes McLeod. CF
‘As there were mutual interests in the subject matter, this exhibition provided the ideal opportunity for our
For more information visit www.rkcontemporary.com or
collaboration. We also have many similarities in our artistic
contact Astrid McLeod on 083 6533 697 or email
processes – with both end products being very tactile.’
art@rkcontemporary.com
16 / Creative Feel / May 2018
It’s all happening at Truth Recrea�on Commi�ee 24-25 May 2018
Alcohol Fes�val 26 May 2018
“Led by the trumpeter Mandla Mlangeni, this alliance of young South African musicians delves into the country’s syncretic cultural heritage-then ventures beyond. You hear Balkan folk, American funk, West African high life, South African free Jazz. Most of all, you hear 5 bristling improvisers dancing together, modeling a kind of thoughtful communion” New York Times. Tickets: R150
You have been to a beer festival, possibly a wine festival or even maybe a whiskey festival but have you ever been to an Alcohol festival? We guess not. This innovation will be taking place for the first time at Soweto Theatre and promises to be an event that caters to those of all different tastes. Come be pleasantly surprised, be curious enough to explore! See you there! Tickets: R70-R100
Soweto Interna�onal Jazz Fes�val 14-17 June 2018
Soweto Day 20 June-22 July 2018
The wildly anticipated Soweto International Jazz Festival is finally here! The Soweto International Jazz Festival Highlights Soweto’s cultural currency including music, art, cuisine accommodation and adventure.
Celebrate all that is and about Soweto, the people, Institutions, History, Arts, Culture and Heritage. Soweto Day Festival will showcase the best of Soweto, Movies, Music, Arts @ Craft, Food, Fashion, Visual Arts and Drinks for the whole family. Tickets to the Festival are Free
Tickets: R450
Seven Colour Sundays 27 May 2018
Soweto’ s first food market that takes place every last Sunday of the month at Soweto Theatre and is fast becoming one of Jozi’s favourite food market. Seven Colour Sundays attracts food and music lovers from all over Gauteng while providing a platform for young talented DJ’s to do their thing. Tickets: R20
DON’T MISS OUT - BOOK NOW!
www.sowetotheatre.com. Free and safe parking.
Free Entrance
Poe�c Thursdays 31 May 2018
Outstanding spoken word showcases. Tongue twisting, word bending magic, enchanting and breath-taking display of poetry. Featuring an open mic, DJ and exhibitions by some of the country’s leading performers on our headline section. One of Joburg’s leading poetry platforms. Tickets: R30
cfd
WINTER SYMPHONY SEASON
CALL 031 369 9438 TO SUBSCRIBE & SAVE UP TO 20%
Making music together. THURSDAY, 07 JUNE 2018, 7:30PM, PLAYHOUSE OPERA THEATRE Conductor:
Daniel Boico
Soloist:
Antonio Pompa-Baldi, piano
Beethoven
Egmont Overture
Beethoven
Piano Concerto No. 3 in c minor, Op. 37
WORLD SYMPHONY SERIES
Borodin
Symphony No. 1 in E-flat Major
WINTER SEASON 2018
031 369 9438 • www.kznphil.org.za
WITH
OUTSTANDING
THURSDAY, 14 JUNE 2018, 7:30PM, PLAYHOUSE OPERA THEATRE
SOLOISTS,
Conductor:
Brandon Philips
Soloist:
Alexander Buzlov, cello
Schumann
Overture to Genoveva, Op. 81
Lalo
Violoncello Concerto in d minor
Brahms
Symphony No. 3 in F Major, Op. 90
THURSDAY, 21 JUNE 2018, 7:30PM, PLAYHOUSE OPERA THEATRE Conductor:
Conrad van Alphen
STAR CONDUCTORS AND A MASSED
Soloist:
Nikita Boriso-Glebsky, violin
CHOIR, THE KZN PHILHARMONIC
Mendelssohn
Overture to A Midsummer Night’s Dream, Op. 21
Sibelius
Violin Concerto in d minor, Op. 47
Dvorák
Symphony No. 5 in F Major, Op. 76
ORCHESTRA PROUDLY PRESENTS THE
WINTER
SEASON
OF
ITS
RENOWNED WORLD SYMPHONY SERIES FROM 7 TO 28 JUNE 2018.
THURSDAY, 28 JUNE 2018, 7:30PM, PLAYHOUSE OPERA THEATRE Conductor:
Cathrine Winnes
Soloist:
Nozuko Teto (soprano)
Choirs:
Prince Mshiyeni Choir Clermont Community Choir Durban Symphonic Choir Thokozani Choral Society
The first half of this programme will feature Mendelssohn’s Symphony No. 4. The second half will include excerpts from world-famous oratorios by Haydn, Handel and Mozart, as well as highly-regarded African composers Mzilikazi Khumalo, John Knox Bokwe, Phelelani Mnomiya and Qinisela Sibisi, in celebration of the centenary birth of our South African icon President Nelson Rolihlahla Mandela. Bongani Tembe, Artistic Director
“The
KZN
Philharmonic
is
committed
to
enriching the cultural life of South Africa’s diverse audiences by presenting world-class concerts and implementing education and community engagement programmes.”
Single tickets priced from R68 – R240 are available at Computicket. All concerts commence at 7:30pm at the Playhouse Opera Theatre. Pre-concert talks are held from 6pm - 6:40pm. The Playhouse precinct, including surrounding parking garages, is patrolled by a dedicated security team.
Brandon Philips
Cathrine Winnes
Antonio Pompa-Baldi
SOME OF THE
Alexander Buzlov
Conrad van Alphen
ARTISTS FEATURED IN THE KWAZULU-NATAL
Nikita Boriso-Glebsky
PHILHARMONIC’S WINTER SEASON 2018
Daniel Boico
Prince Mshiyeni Choir
Clermont Community Choir performing with the KwaZulu-Natal Philharmonic Orchestra
Nozuko Teto
FUGARD@86rd A
a g u F l o h t A f o n o i t a t r e b k r e l a e c M e at th
In celebration of the 86th birthday of legendary playwright Athol Fugard, the Market Theatre will present the Fugard@86 season from 4 May to 15 July 2018. Creative Feel spoke to Artistic Director of the Market Theatre, James Ngcobo about the season and the two plays that he has chosen: The Train Driver (4 May to 3 June) and Nongogo (15 June to 15 July).
J
ames Ngcobo has served as artistic director for the
another thing pops up, but the most important thing that
Market Theatre for the past five years, curating
pops up is the truth of this country. He’s always put on
works that have seen an evolution of the space. But,
paper, with honesty, the people of this country.
he says, ‘I am very pragmatic about the fact that you
‘When you read Boesman and Lena for example, at face
can’t satisfy everyone. You need to be an artistic director who
value you judge it and you go, “it’s about bergies living on
has a very clear vision that you can defend at any time, and
the street.” But it’s a love story, it’s about two people and
that’s what I’ve done for five years and it’s what I’m going to
when life was dealing out cards, they got that card there in
carry on doing for another five years.
the streets. Sometimes Boesman says to Lena: “fuck off” but
‘I love the idea of having an eclectic mix in the theatre. I say to my team all the time that we never know what works until we put it on. If you worry that it’s not going to work,
what he’s saying is “hug me, hold me” – he doesn’t have the faculty to be warm.’ So for Fugard@86, Ngcobo says, ‘I had to sit and think
you become a safe theatre, you do only what is done. There
of two plays that could marry each other nicely; plays that
are things that I’ve done at the Market Theatre that I’ll never
articulated his apt hand at being able to write about black
do again, there are things that I’ve done at the Market that I
life and white life in this country.’ Thus, Nongogo (1959) and
want to do more of.’
The Train Driver (2010) were chosen.
With Athol Fugard turning 86 this year, ‘In my view, there
Athol Fugard’s Nongogo is a reflective piece of theatre
isn’t a theatre that should celebrate that milestone but the
and has a long history that is part of the tapestry of South
Market,’ says Ngcobo, ‘Athol Fugard is tied to the hip with
Africa. It is set in the 1950s, a vibrant yet turbulent time in
the Market Theatre.
the history of the country. It takes place in a shebeen in the
‘I always say that Athol Fugard is one of the most
township that is run by a shebeen queen known as Queenie.
beautiful literary giants. When you go through Fugard, for
The show has a beautiful hint of romance that never gets
me it’s like opening a pop-up book. You keep going and
realised at the end. Queenie falls for Johnny, a travelling
20 / Creative Feel / May 2018
“HE’S ALWAYS PUT ON PAPER, WITH HONESTY, THE PEOPLE OF THIS COUNTRY”
stepping in front of a train in the Cape Flats. The resulting play focuses on the traumatised Afrikaner train-driver, Roelf, who feels morally responsible for the suicide. So he goes to a desolate squatter camp, where the nameless dead are buried, to seek the grave of the woman who threw herself on to the tracks. His sole companion is a poor black gravedigger, Simon, whose shack he shares and to whom he unburdens his troubled conscience. For this season, The Train Driver will be directed by Charmaine Weir-Smith, with John Kani playing Simon and Dawid Minnaar playing Roelf. James Ngcobo PHOTO Brett Rubin
‘The directors we choose for the Market need to become the extension of the Market Theatre’s vision, people who
salesman who somehow works his way past her protective
are in love with theatre as I am, and as passionate about
shell, and coaxes her into confiding her long-buried secrets
theatre,’ says Ngcobo.
to him. Ngcobo will be directing Nongogo – not for the first time.
‘The second I stopped reading The Train Driver, I thought Charmaine needed to direct it. She’s got such a love for text,
‘I did Nongogo before I became artistic director of the Market
for people’s stories… she’s mad, she’s absolutely mad, she’s
Theatre and then I brought it to the Market Theatre. It’s an
got a lovely madness, she’s bubbly. And why wouldn’t you
Athol Fugard, like Boesman and Lena, that is not done a lot. I
get someone like that to direct at the Market?’
love the ones that are not done a lot – I love the others too, but they are staged more frequently.’ Fugard described his play The Train Driver as, for
Ngcobo has some other incredible works planned for the rest of the year, including Sam Shepard’s Fool For Love, which will be directed by Janice Honeyman, with Kate Liquorish
himself, the most important he has ever written. Fugard’s
playing the lead; a Ugandan play – a first for the Market
inspiration came from the horrific story of a black woman
Theatre; as well as a series of short pieces on the Gautrain,
who, clutching her three children, killed herself and them by
bringing the immediacy of theatre to the people. CF
Creative Feel / May 2018 / 21
FUGARD@86
e v i t c e p s r e p n a m u h y l e u q i n u A
Charmaine Weir-Smith is an award-winning actress, director and writer who has performed in and directed over 40 theatre productions. She will bring her skill as a storyteller to The Train Driver, directing John Kani and Dawid Minnaar in Athol Fugard’s powerful piece. Creative Feel sat down with Weir-Smith to chat about the play.
W
hen James Ngcobo approached Charmaine-
to work with John and Dawid, who have never shared a stage
Weir Smith to direct The Train Driver, she
together, so that was going to be an amazing opportunity for
went home, read the play and gave Ngcobo
the two of them as well.’
an immediate and emphatic ‘yes!’ At the
Fugard’s brilliance as a playwright is often attributed to
time, they had been discussing the possibility of casting
the universality of his plays – that the characters he creates
John Kani and Dawid Minnaar, which, she says, ‘just excited
are instantly relatable to anyone, anywhere in the world.
me to no end.’
‘He chooses quite simple stories, but he tells them from a
Weir-Smith’s love of storytelling and of Fugard’s work
uniquely human perspective,’ says Weir-Smith. ‘For example,
is evident as she delves into the reasons she chose to direct
I don’t think the story is ever sacrificed because of the
the play. ‘One has got to understand who Fugard is in the
character, I don’t think the characters are sacrificed because
lexicon of South African theatre. You can read any Fugard
of the story. I think he uses those characters, like the train
play and it comes with a humanity that is always profound,
driver from Transnet, to tell that side of the story, and as the
on some level he’s analysing or examining human beings
gravedigger hears it, he interprets the story and we as the
in a way that hasn’t been profiled before or looked at, and
audience see the universality of the themes, and the themes
so the language around certain characters is extraordinary.
are loss, they are about grief, they are about somebody
When I read it, I was immediately taken in by that, the
coming to grips with who he is in South Africa at this point
language that he uses around these two men, who are
in time. But it doesn’t matter if an American audience sees
totally different – they come from different parts of South
the play because what they’re looking at is a man grappling
Africa and society – but yet his understanding of the way
with his own humanity, that’s the joy of Athol, he writes
human beings speak, no matter if they are a train driver
from such a universal place.’
from Transnet Rails or a gravedigger in the Eastern Cape, his language is always so authentic. ‘So if you ask me what drew me to the production, that is the first thing. And the second thing was the opportunity
22 / Creative Feel / May 2018
The Train Driver was originally staged in Cape Town before travelling to the UK and then the US, making this the first time it will be seen on Johannesburg stages. It is also the first time it will be directed by a woman – Fugard
“HE CHOOSES QUITE SIMPLE STORIES, BUT HE TELLS THEM FROM A UNIQUELY HUMAN PERSPECTIVE”
John Kani, Charmaine Weir-Smith and Dawid Minnaar PHOTO Brett Rubin himself was the first director, with Stephen Sachs directing
people, people who haven’t been claimed, and that in
the US premiere.
itself resonates quite strongly with us South Africans
But the strength of a good director, male or female, is
because who doesn’t claim a loved one who has died? And
in their ability to connect with a story and tell it; to ask:
that brings up a whole lot of other issues, but you cannot
‘how do we tell the story in the best way we can tell it?’
explore this play and not awaken something politically in
The answer, Weir-Smith says, lies in the collaboration
the audience.’
between herself, Kani and Minnaar and their collective storytelling abilities. The play brings up questions surrounding Afrikaner
In addition to Lobese (set and costume design), the creative team is made up of Ntuthuko Mbuyazi (sound design) and of course, Mannie Manim (lighting design).
angst and black poverty, with some reviewers questing which
‘Mannie is doing the lighting in the Mannie Manim Theatre
should have more emphasis. ‘We had a vigorous debate
at the Market, so I feel that’s such a full-circle moment
about that in our first rehearsal – John, Dawid and myself,’
and it’s amazing,’ says Weir-Smith. Manim is probably one
says Weir-Smith. ‘I’m not going to tell you the outcome of it,
of the only people who can claim to have lit every single
except to tell you that I think our production addresses it in
Fugard play. ‘He knows Athol’s work so well and he’s lit other
a very real, three-dimensional way. You can’t read this play
productions of The Train Driver. Mannie is in a class of his
from a South African perspective and not address that.
own, the creative team already, at the start of the rehearsal,
‘Fugard’s got a very clear stage direction and he talks about what he suggests for the set. In his final line in
brings such a rich offering, it’s going to be such a rich creative experience.’
describing the set, he says, “It is an image of desolate
While official rehearsals were only just about to
finality” and that pretty much sums up what he feels
begin when we spoke, Weir-Smith laughs that she, Kani
is happening politically in the Eastern Cape. And I’m
and Minnaar were so excited to be working on The Train
working with Thando Lobese, my set designer, looking at
Driver that they had been getting together and had
how one interprets that and we have gone a long way to
started exploring the work from her lounge at home. ‘We
addressing that. The setting is a graveyard of nameless
couldn’t wait,’ she says. CF
Creative Feel / May 2018 / 23
FUGARD@86ful, r e w o p , e l b i d e r c n i An y e n r u o j l eterna
John Kani, who will play Simon the gravedigger in
The Train Driver at the Market Theatre this May, has been working and collaborating with Fugard since the genesis of their careers. Creative Feel spoke to the acclaimed actor, director and playwright.
‘I
met Fugard in 1965 when we were doing Antigone,’ says
leaves it open and does not close it behind him like many
John Kani. He was introduced to the playwright with
white South Africans did. He opens it. He does say before
the words ‘John, this is Athol and Athol, this is John’,
he sits down, “I am not alone”. He does not say to me:
with Fugard extending his hand to shake Kani’s. Kani
“You do understand”.’
waited, confused by this – ‘I was supposed to be introduced
When Ngcobo called about the Fugard@86 season, Kani
this way: “John, this is Mr Fugard”, “Mr Fugard, this is John”.
said, ‘I really want this, I want to be part of this moment for
How the hell do I go on first-name basis with this man like
my friend’, but needed to get his schedule sorted out with
I’ve known him all my life? But then I took his hand and he
Disney, which he is currently under contract with until July
shook mine, very warmly, just like that, and said, “Let’s go in”.
2019 for the upcoming CGI live action film, The Lion King.
‘It was during a very difficult time in my life because we were thinking of leaving the country to go for military
Fortunately, he is only needed after June this year. ‘To pay tribute to Athol Fugard and work together with
training,’ says Kani. ‘But it was impossible because the
the Market Theatre – to really talk about this man, talk about
security had closed all borders. So it was in a frustrated
his work, his role in the South African landscape, I mean
manner that I went to this rehearsal.
socially, dramatically and politically – that is why I am doing
‘In the discussion of the play, we asked: if the state is
The Train Driver.
unjust, do the people have the right to fight and oppose?
‘I grew up with this man, this man is close to me.
This is what made me stay and not leave South Africa. I
Sometimes I say even more than my brothers and close
thought, perhaps this platform could be a different weapon,
cousins. I am even the godfather of his daughter, Lisa, and
that is, the stage for change.’
his daughter is the godmother of my daughter. So I have a
Kani and Fugard’s relationship was ‘built on trust and
long history with him. Instead of having to do research in
the truth, but we both had one desire for a free society.
the rehearsal room, I am present. I can talk about the time,
Our journeys were meeting somewhere and we thought
about what was important when the play was written, about
perhaps we could exploit the given situation. This man
what was happening in his life and where Athol was in his
can go into this door because he is white. Maybe he
life, what he was dealing with,’ says Kani.
24 / Creative Feel / May 2018
“I HAVE A LONG HISTORY WITH HIM. INSTEAD OF HAVING TO DO RESEARCH IN THE REHEARSAL ROOM, I AM PRESENT. I CAN TALK ABOUT THE TIME, ABOUT WHAT WAS IMPORTANT WHEN THE PLAY WAS WRITTEN, ABOUT WHAT WAS HAPPENING IN HIS LIFE AND WHERE ATHOL WAS IN HIS LIFE, WHAT HE WAS DEALING WITH” John Kani PHOTO Brett Rubin ‘When you read The Train Driver, it is an incredible,
‘This is the beauty of this play,’ says Kani. ‘The fact that
powerful, eternal journey of this one white person who
there is another pair of eyes and ears that are willing. All this
blames himself and needs to come to terms with why
time, this young person has been struggling with this horrific
he was the one chosen to kill this black woman and her
accident, having therapists saying to him that it is not his
four children.
fault. He said “no, not until she says it was her fault, she has
‘One has to understand the situation in which this train
to say it to me. She can’t do that to me” and this is where the
driver finds himself and that he finds, in this desolate place
old man at the graveyard interacts with him. He becomes
of the dead, silence; in a graveyard you can at least hear
a clinical psychologist that analyses how his brain works
yourself think.
and finally arms him with a process of resolution, and in
‘He finds this old man who is a gravedigger and he finds
coming to a resolution, he accepts this as part of life. There
someone who can listen to him. When they meet for the
is closure in the end, which he gets from being counselled by
first time, he is shocked that this guy can see him. It’s two
this old man.
human beings who stop in the middle of everything that is
‘For the Market Theatre or for South Africa, including
going on in our country, and in life generally, and scrape off
the other theatres that want to honour Athol Fugard in
all of the unnecessary issues that surround our business –
his 86th year, for me, it is important that we take time
our going somewhere, coming somewhere, doing this, not
in this South Africa to honour our own. That this does
doing that – and suddenly two human beings stop. Four
not become a posthumous ceremony,’ says Kani. ‘For me
eyes meet. They see each other and they can hear each
to take a moment and say we are paying tribute to Athol
other. As they are listening to each other, they acquire that
Fugard as South Africans and as Africans is important and
unique quiet moment of having a conversation. “I have a
it is one of the reasons that made me agree to be part of
story to tell you”.
this project.’ CF
Creative Feel / May 2018 / 25
ARTLOOKS & ARTLINES |
ISMAIL MAHOMED
Public artworks mark a new dawn in Oudtshoorn
ATKV Speelbos at KKNK 2018 PHOTO Hans van der Veen
T
Babbelagtig at KKNK 2018 PHOTO Hans van der Veen
he Klein Karoo Nasionale Kunstefees (KKNK
offensive slogans. It didn’t matter if you did not speak
National Arts Festival) debuted in 1994 with the
Afrikaans, you were still welcome. You could buy halaal
dawn of Nelson Mandela’s Rainbow Nation but
shawarmas alongside Karoo kudu-wors. The local Chinese
for several years after that, the Festival had a
migrants in the Western Cape even visited the Festival. A
chequered history which included beer cans and bottles being
mixed-race couple walking down Baron van Rheede Street no
thrown at Miriam Makeba when she appeared on stage at
longer raised an eyebrow. On the day that Winnie Mandela
the 1997 festival. The Festival gained a notorious reputation
died, even a reference to her in Mike van Graan’s satire, State
when a small group of revellers popped up the old South
Fracture, didn’t get a jolly howl from the audience.
African flag at the Festival and on their t-shirts. Perhaps the
Even though the Festival was still largely White, it
most offensive was when revellers boasted the slogan on their
was not unusual to see significant numbers of White and
t-shirts that proclaimed, ‘Praat Afrikaans of hou jou bek’ (Speak
Coloured people sitting at the same table socialising and
Afrikaans or keep your mouth shut).
engaging each other while their toddlers jovially played on
This year’s twenty-fourth edition of the Festival has come a
the jumping castle. Music was the magnet that was holding
long way, far from that hostile past. A more humanised Festival
them together. In the Netwerk24 venue, which housed some
has entered a democratic and constitutional South Africa with
difficult but essential conversations about the state of the
vigour, passion and with its arms, hearts and minds wide open;
nation, there was a shared passion for a South Africa that
and the Festival has given an opportunity for good Afrikaners
must be a home to all its people.
to be noticed. Oudtshoorn was full of them! At this year’s Festival, there were no old South African flags popping up. There were no stalls selling t-shirts with
26 / Creative Feel / May 2018
The Festival’s Uitkampteater project was a testament to a Festival that is fast changing. Established three years ago with funding from the Embassy of the Netherlands, the
Uitkampteater Project is one of the most exciting initiatives in South Africa to grow new writing, build new audiences and to transform the arts. Set up as a series of small ‘blackbox’ theatres on the promenade near the marketplace, each ‘blackbox’ seats about 20 people and has a production that is about 20 minutes long. Each production is performed about five times during the day. The productions range from a high
“AT THIS YEAR’S FESTIVAL, THERE WERE NO OLD SOUTH AFRICAN FLAGS POPPING UP. THERE WERE NO STALLS SELLING T-SHIRTS WITH OFFENSIVE SLOGANS. IT DIDN’T MATTER IF YOU DID NOT SPEAK AFRIKAANS, YOU WERE STILL WELCOME” of problems, a solution-seeker and a real change-maker. He is a man with a vision and a mission. Supporting him is a small team of five full-time staff and six interns who are bright, sprightly and full of smiles. It’s a dream team for any festival director. The KKNK has courageously embarked on a new journey and the South African festival sector could not be in more capable hands. The Festival’s future is full of promise and hope. This year, there were five permanent public artworks funded
Rymklets van Oos tot Wes at KKNK 2018 PHOTO Hans van der Veen
by the Festival’s title sponsor, Absa, which will remain in the town beyond the Festival to continue to inspire its town’s folks. Next year, Absa intends to install five more
school production mentored by professionals, a community-
permanent public artworks. Each of these artworks are
based theatre production, a professional solo play, a new
dynamic testimonies to how the arts can bury dinosaurs and
cutting-edge experimental work, a professional production
let new birds fly with freedom. This year marks ten years
and an international work. There is even one ‘blackbox’
since Miriam Makeba died. From wherever her soul soars,
with a children’s theatre production. The tickets for each
it must be pleased that there’s a new dawn in Oudtshoorn.
production cost R20.
Maybe next year, Dr Paul Bayliss, the curator of Absa’s public
The Uitkampteater site is literally the new soul of the
artworks programme will find a way to commission an artist
reformed and integrated KKNK Festival. It is from here that
to gather broken beer bottles to create an artwork that will
audiences are flowing over to other sites at the Festival,
stand as a redemption of the Festival’s past.
and it’s not going to be very long before Oudtshoorn’s
For now, start saving money because next year’s twenty-
neglected communities fully embrace the Festival. There is
fifth edition of the KKNK Festival is going to be one of South
a driving force behind all this positive energy. It’s an artistic
Africa’s best festival highlights. CF
director who is passionate about people in as much as he is passionate about the arts. He is a visionary man who understands that for excellence to thrive, a genuine and committed investment must be made in development. During the Festival, artistic director Hugo Theart is seen
Artlooks & Artlines is a monthly column
around in the streets engaging with people. His long and
written by ISMAIL
busy schedule includes an umpteenth number of meetings
CEO of the Market Theatre Foundation.
MAHOMED,
with media, sponsors, community and arts stakeholders, artists and audiences. He is an empathetic listener, a healer
Creative Feel / May 2018 / 27
Playhouse Company revives GIBSON KENTE’S CLASSIC MUSICAL DRAMA
HOW LONG?
After an absence of 45 years, Gibson Kente’s musical drama How Long? returns to the South African stage in a prestigious new production presented by The Playhouse Company, an agency of the Department of Arts and Culture. The show will run in the Playhouse Opera Theatre from 5 to 27 May 2018.
How Long? stars from left: Khaya Dladla, Mlamli Ningiza, Thembi Mtshali, Lungelo Ndlovo, Phindile Gwala and Mondli Makhoba PHOTO Val Adamson
28 / Creative Feel / May 2018
‘I
t is fitting, as we salute Africa Month that we honour the memory of Gibson Kente, one of the formative figures of South Africa’s theatre scene,’ says Chief Executive and Artistic Director of The Playhouse
Company, Linda Bukhosini. ‘We at The Playhouse Company are proud to have assembled some of the best artists in our country. How Long? is directed by Duma Ndlovu, with choreography by Somizi Mhlongo and musical direction by Phelelani Mnomiya. The production stars, among others, Thembi Mtshali-Jones, Phindile Gwala, Khaya Dladla, Mondli Makhoba and Nqobile Ndlovu. ‘At the request of Duma Ndlovu, The Playhouse has commissioned the orchestration of Gibson Kente’s music which will feature a six-piece band and a 13-piece orchestra ensemble, thus ensuring a musical collaboration among artists of different races groups. This highlights the importance of making social cohesion and nation building a practical reality, thus encouraging a positive narrative of common artistic experiences among people of different racial groups,’ says Bukhosini. A melodramatic musical play with political undertones in Gibson Kente’s famous township theatre style, the work is based on the death of Khulu, a helpless grandmother, through brutal police action under apartheid bureaucracy. Kente wrote the play as a response to pressure from Black Consciousness structures that all cultural work needed to reflect the material conditions of Black people in South
How Long? actors Khaya Dladla, Phindile Gwala and Sanele Gwala
Africa. Kente rose to the occasion and How Long? exploded in township halls and the black masses responded. The
a body of work that reads like a lexicon of creativity in
play was later banned and Kente was imprisoned as a direct
the annals of South African show business. From creating
result. Part of a trilogy of the only political plays by Kente,
early masterpieces such as Bergville Stories, to big stage
the work was written and last performed in 1973 before it
productions such as The Game, and creating hugely
was banned.
successful, long-running TV soap operas such as Muvhango
‘Gibson Kente was a man who generously shared his theatre expertise with younger actors privileged to work
and Uzalo, and most recently, Imbewu The Seed. Choreographer Somizi Mhlongo has been in the
under him,’ says Ndlovu. ‘He helped launch the careers of
entertainment business for almost 30 years. His
South African icons such as Darlington Michaels, Mbongeni
career began when he was 13 years old – he joined the
Ngema, Sello Maake KaNcube and Brenda Fassie. Shortly
Broadway musical Sarafina! and later starred in the
before he died in 2002, Gibson Kente entrusted me with the
film adaptation, which also became the first big project
responsibility of representing his music. To this end, in 2004
he choreographed. As a young star, he featured in the
I was instrumental in the Gibson Kente Foundation coming
movie, Cry, The Beloved Country. CF
into being,’ says Duma Ndlovu. ‘As the custodian of the Gibson Kente Foundation, it is
Showtimes for this not-to-be-missed production are 19:00
my honour to keep Bab Kente’s legacy alive, and I am excited
Tuesday to Friday, 14:00 and 19:00 on Saturdays, and 14:00
to be directing this masterpiece, The Playhouse Company’s
on Sundays. Tickets range from R100 to R150. Special school
new production of How Long?,’ continues Ndlovu.
performances are available at R30 per scholar. Bookings for
Ndlovu is internationally renowned as a playwright,
these performances are via telephone: 031 369 9460/07 or
director and executive producer, working in the fields of
via email sales@playhousecompany.com Public bookings are
film, television, stage and many others. Ndlovu has produced
through Computicket.
Creative Feel / May 2018 / 29
Kreesha Turner
The Soweto brand is globally recognised, revered for what it represents: history, rebellion, strength, and the perseverance of beautiful people. If one dives under the blanket of the brand, layers beyond the obvious, you’ll find the fuel of Soweto – pure artistic passion and creativity. It’s that fuel that will live in the inaugural Soweto International Jazz Festival, slated to take place from 14 to 17 June 2018.
A global music and arts
experience WORDS: NOLAN BAYNES
T
he Joburg City Theatre’s state-of-the-art Soweto
The four-day
Theatre will be the home for the festival. The event
affair is designed
will utilise the entire Soweto Theatre compound,
to be a pedestal for
with indoor and outdoor stages housing some of
the fantastic energy
the most celebrated names in music. South African artists
of an incredible
will perform with acts from across Africa, the Caribbean and
place with song
the US, a symbolic way to celebrate the global potency of the
and art created by
Soweto brand and promote pan-Africanism.
rebellious visionaries.
The objective of the Soweto International Jazz
Uncompromising
Marion Meadows
Festival is multi-tiered. Primarily, it serves as an anchor
talent will be the
event to help attract pan-African, North American
prominent filter of all
and Caribbean tourism. The festival will also launch
the artists. Every alluring component of Soweto’s culture will be
a mentoring programme for young people seeking to
on display. The commonality and connectivity that the African
gain experience and skills in the live entertainment
diaspora shares will be front and centre. From a vast offering
business. There will also be an entire day dedicated to
of global cuisines to a vibrant marketplace, fine arts gallery,
the recognition of women, with workshops, panels and
multimedia station to share the experience across the social
information exchange programmes.
media sphere, entertainment business workshops designed to
30 / Creative Feel / May 2018
Third World
Sypro Gyra
educate and inspire, and one-on-one interviews with some of the
DAY THREE (SATURDAY 16 JUNE)
most compelling minds in entertainment and media. The festival
Saturday is ‘international day’, a spotlight on incredible
will celebrate the enormous power of women and young people,
acts from across the globe. Daytime panels and artist
all set to a soundtrack curated for maximum enjoyment.
one-on-one interviews will continue on day three. The evening will feature incredible jazz, reggae, R&B, and
DAY ONE (THURSDAY 14 JUNE)
soul performances.
The festival will launch with a celebration of our future; a day dedicated to young people. During the day, the Soweto Theatre
DAY FOUR (SUNDAY 17 JUNE)
will play host to a series of panels, business discussions and
The fourth and final day is dubbed ‘inspiration’, and is
exclusive storyteller-style performances. GRAMMY Award-
dedicated to jazz and gospel. The morning sessions will
winning songwriter and producer, Rico Love (Beyoncé, Diddy,
focus on panel discussions about spirituality in music, the
Pato Rankin, French Montana, Usher, etc.) will lead the
power of music and smaller sessions will explore the origins
programme, conducting a version of his I Love Music College
of genres and songs. The evening concert will highlight
conference, a US-based project started in 2015 to help educate
gospel, jazz and R&B acts.
emerging artists via the guidance of established ones. The
The first wave of acts truly represents the spirit of the
evening’s concert will highlight hip-hop, dancehall and dance
festival with multiple GRAMMY Award-winning acts such
music with acts from all over the world.
as legendary New Orleans band, The Neville Brothers, jazz greats Bob James and New Orleans jazz star Irvin Mayfield.
DAY TWO (FRIDAY 15 JUNE)
The ‘international day’ will feature twelve-time GRAMMY
The incredible power of women will take centre stage with
nominee and R&B icon Charlie Wilson. Other incredible
business and lifestyle exchange panels and workshops.
acts such as eight-time GRAMMY nominated, reggae music
Industry leaders will discuss fitness and wellness, business
legends, Third World; KORA Award and multiple SAMA award
and entrepreneurship, fashion, beauty and art. The evening
winner, Ernie Smith; and jazz star, Marion Meadows are all
concert will feature some of the most critical voices in
part of the early wave of acts to sign on.
jazz, R&B, spoken word and dance music. Day two of the
New acts and details will be announced every month.
festival will feature GRAMMY-nominated singer, actress and
For more information, visit www.sowetoijf.com or
Broadway star Deborah Cox.
www.sowetotheatre.com CF
Creative Feel / May 2018 / 31
The JPO
Winter Season 2018 The music has not stopped for the great musicians of the Johannesburg Philharmonic Orchestra (JPO) at the Linder Auditorium in Parktown, the home of the JPO. Since the much-celebrated relaunch of the JPO in August last year, the concert hall has been full and enthusiastic audiences have given their full support.
T
he upcoming 2018 JPO Winter Season has it all: a programme of wonderful music and an exciting line-up of famous conductors and soloists. Starting on 30 and 31 May, covering four weeks until 20 and
21 June, the season will be presented as part of the renowned World Symphony Series (WSS), which was launched in Durban 22 years ago and was introduced to JPO audiences late last year. One of four programmes will be presented each week during the season, with Wednesday evening performances reprised the following Thursday evening.
‘We are excited to continue with the second leg of our 2018 World Symphony Series, presenting an array of top-flight international conductors and soloists to our concert platforms, along with prominent South African artists, while continuing to carry out the Orchestra’s broad mission of developing its dynamic artistic vision,’ says Chief Executive and Artistic Director of the Johannesburg and KwaZulu-Natal Philharmonic Orchestras, Bongani Tembe. ‘We continue to focus on offering music-making of the highest excellence to the city of Johannesburg. This endeavour dovetails with our community engagement programmes. By presenting a series of world-class concerts, as well as promoting the transfer of skills to young musicians, the Johannesburg Philharmonic remains committed to enriching the cultural life of all South Africa’s citizens. ‘As before, our season runs at Johannesburg’s beautifully appointed Linder Auditorium and our From left: CEO and Artistic Director of the JPO Bongani Tembe, American Indian pianist Pallavi Mahidhara, First Lady Dr Tshepo Motsepe and Canadian Trinidadian conductor Kwamé Ryan
32 / Creative Feel / May 2018
audiences are assured of a feast of fine musicmaking by the gifted artists who will collaborate with the JPO in bringing our programmes to life.’
The Johannesburg Philharmonic Orchestra performing at the Linder Auditorium
The 2018 Winter Season starts with conductor Daniel Boico and soloist Charl du Plessis, who will be performing George Gershwin’s Piano Concerto in F major. 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 newly appointed associate guest conductor of the KwaZulu-Natal Philharmonic Orchestra. His innate musical sensitivity, paired with a keen ear and deep musicianship, have produced exciting performances with orchestras in the US, Europe, Central and South America, Africa and Asia. His debut with the New York Philharmonic took place in 2009, sharing the podium with Riccardo Muti, and was followed by his subscription debut in April 2011 when he replaced Kurt Masur on short notice in what the New York Times called ‘a smoldering performance’ of Sofia Gubaidulina’s Two Paths (A Dedication to Mary and Martha for Two Violas and Orchestra). Charl du Plessis rose to fame as the youngest pianist in Africa to be named a Steinway Artist. He has since embarked on an international career working simultaneously as a classical and jazz pianist who illuminates music from Bach to Billy Joel for a new generation of listeners. After debut performances in London’s Royal Albert Hall, Berliner Philharmonie (with Chick Corea) and Shanghai’s Oriental Arts Centre, Du Plessis became the first pianist to perform on top of Table Mountain in 2017. He was also invited to perform at the opening of Steinway Hall (Beijing) with fellow Steinway Artist Lang Lang. Concert tours to the
Daniel Boico
Creative Feel / May 2018 / 33
Alexander Buzlov
Brandon Phillips
US, Europe and the Far East have contributed to the press
conducting Cape Town City Ballet in various productions,
hailing him as a ‘cult pianist’, an ‘edutainer’ and a pianist
and will debut in his first opera, The Magic Flute, for Cape
with the ‘x-factor’.
Town Opera/University of Cape Town in December. Phillips
The second programme of the season will be a special
was appointed resident conductor of the CPO in 2015 and
concert on 6 and 7 June with conductor Brandon Phillips and
is supported by RMB Starlight Classics. He shares the stage
soloist Alexander Buzlov performing Édouard Lalo’s Cello
with Richard Cock in the RMB Starlight Classics each year in
Concerto in D minor.
Cape Town and Johannesburg.
Winner of the Cape Town Philharmonic Orchestra’s
Alexander Buzlov has been described by the New York
inaugural Len van Zyl Conductors’ Competition in 2010,
Times as ‘a cellist of true Russian tradition, possessing
Brandon Phillips began his music career in the New
a great gift to make an instrument sing, bewitching the
Apostolic Church where he learned various instruments and
audience with his sound.’
also choral training. He studied bassoon and viola at the
He was born in Moscow in 1983 and studied at the
University of Cape Town, receiving his Diploma in Orchestral
Moscow Conservatoire with Natalia Gutman and at the
Studies and BMus Honours in solo bassoon in 2005. Phillips
Musikhochschule Köln, Germany, with Frans Helmerson.
is also currently principal bassoon of the Cape Town
Through masterclasses he has worked with such renowned
Philharmonic Orchestra (CPO).
cellists such as Mstislav Rostropovich, Daniil Shafran
As a result of the Len Van Zyl Conductors’ Competition, Phillips studied conducting in the United States at the Northwestern University in Chicago under Maestro Victor
and Bernard Greenhouse. He teaches at the Moscow Tchaikovsky Conservatoire. Buzlov performs throughout Russia as well as at venues
Yampolsky in 2010. While in the US, Phillips was a conducting
abroad such as the Berliner Philharmonie, Carnegie Hall,
intern with the Philadelphia Symphony Orchestra.
Herkulessaal Munich, Lincoln Center, Santa Cecilia, La
He works with many of South Africa’s orchestras and choirs and has also become a sought-after ballet conductor,
34 / Creative Feel / May 2018
Scala, and Théâtre des Champs-Élysées. He has appeared with many renowned ensembles, among them the Mariinsky
At the turn of the new millennium, Van Alphen founded Sinfonia Rotterdam, of which he remains chief conductor and artistic director. The orchestra presents concert series at de Doelen in Rotterdam, at the Nieuwe Kerk in The Hague and at the Royal Concertgebouw in Amsterdam. Under Van Alphen’s leadership, it has become an internationally recognised ensemble, has made acclaimed recordings, and has toured Mexico, Brazil, Colombia Chile and Russia.
Nikita Boriso-Glebsky
Conrad van Alphen PHOTO Rogier Bos
Theatre Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Orchestra of St Luke’s, Deutsche Radio Philharmonie Saarbrücken, the Svetlanov State Academic Symphony Orchestra, the Moscow Soloists Chamber Ensemble, Munich Chamber Ensemble, ‘New Russia’ Symphony Orchestra, the National Philharmonic Orchestra of Russia, the Grand Tchaikovsky Symphony Orchestra, Stuttgart Chamber Orchestra, the St Petersburg Academic Philharmonic and numerous others. For week three on 13 and 14 June, the conductor will be much-loved Conrad van Alphen, while Nikita Boriso-Glebsky will be performing Jean Sibelius’ Violin Concerto in D minor, Op. 47. South African-born Conrad van Alphen is known as much for his entrepreneurial spirit and depth of preparation as he is for performances that combine exceptional sensitivity, vision and freshness. He enjoys a particularly close association with the Russian National Orchestra and is currently an artist of the Moscow Philharmonic Society, in which capacity he regularly conducts the major Moscow orchestras and many more throughout Russia. He was chief conductor of the State Safonov Philharmonic Orchestra for four years.
Creative Feel / May 2018 / 35
Brilliant Russian violinist Nikita Boriso-Glebsky
Gergiev, Vladimir Fedoseyev, Krzysztof Penderecki, Yuri
was born in 1985 in Volgodonsk, southern Russia, and
Simonov, Sakari Oramo, David Afkham and Hannu Lintu.
attended the Moscow State Tchaikovsky Conservatory.
As a chamber musician, he has collaborated with Rodion
At just 18, he became the youngest solo violinist in the
Shchedrin, Natalia Gutman, Yuri Bashmet, Boris Berezovsky,
Moscow Philharmonic Orchestra. The way to the world’s
András Schiff, Vadim Repin and Alexander Rudin.
best concert halls was paved for Boriso-Glebsky with
The final concert of the season on 20 and 21 June will
a series of successful performances at international
see Cathrine Winnes conducting soloist Spencer Myer
contests, including the Tchaikovsky in Moscow (2007)
performing Edvard Grieg’s Piano Concerto in A minor,
and the Queen Elisabeth (2009) competitions. He took
Op. 16.
first prizes in the Jean Sibelius and the Fritz Kreisler
Cathrine Winnes is a conductor of rare
Violin Competitions and in 2013 he won the Monte Carlo
communicative gifts, outstanding precision and
Violin Masters in Monaco. After gaining eleven awards in
uncompromising musicianship. She is known in Norway
different competitions, he decided to begin developing a
and beyond for her work on the podium and also for her
career on the international stage.
pioneering work as a broadcaster.
The ensembles he plays with include the National
Winnes’ conducting career in Scandinavia has seen her
Orchestra of Belgium, the Finnish Radio Symphony
work with the Oslo Philharmonic Orchestra, Kristiansand
Orchestra, the São Paulo Symphony Orchestra, the
Symphony Orchestra and Nörkopping Symphony Orchestra
Bournemouth Symphony Orchestra, the Helsinki
among other ensembles. She will soon return to the
Philharmonic, the Gothenburg Symphony Orchestra and the
Oslo Philharmonic and debut with the Royal Stockholm
NHK Symphony Orchestra. Boriso-Glebsky has performed
Philharmonic Orchestra and at the Royal Swedish Opera in
under the baton of renowned conductors such as Valery
Stockholm. Future engagements will also take her to the
Cathrine Winnes PHOTO John Andresen
36 / Creative Feel / May 2018
reunited with the Kristiansand Symphony Orchestra for their 2013 TV production marking the centenary of women’s voting rights in Norway, uncovering lost works by female composers from the era. Winnes’ interest in contemporary music has seen her lead a number of world and Scandinavian premieres. She was the conductor for the contemporary group KammarensenmbleN’s Inversion programme for Swedish television broadcaster SVT, and in 2015 she conducted the premiere of Cecilie Ore’s opera Adam and Eve at the Bergen International Festival and at Ultima Festival in Oslo. In August 2015, Winnes’ recording of music by Klas Backman with the Norrkoping Symphony Orchestra was released on the Naxos label. Lauded for ‘superb playing’ and ‘poised, alert musicianship’ by the Boston Globe, and labelled ‘definitely a man to watch’ by London’s The Independent, American pianist Spencer Myer is one of the most respected and sought-after artists on today’s concert stages. An in-demand chamber musician, he has appeared for the past four summers at the Lev Aronson Legacy Festival in Dallas with cellists Lynn Harrell, Ralph Kirshbaum, Amit Peled and Brian Thornton, and has enjoyed a recurring partnership with the Miami String Quartet at the Kent/ Blossom Music Festival. Other artistic partners include clarinettist David Shifrin, sopranos Nicole Cabell, Martha Spencer Myer
Guth and Erin Wall, the Jupiter and Pacifica String Quartets and the Dorian Wind Quintet. Spencer Myer’s career was launched with three
Malmö, Jönköping and Stavanger Symphony Orchestras.
important prizes: first prize in the 2004 UNISA
Winnes is currently artistic director and chief conductor of
International Piano Competition in South Africa, the 2006
the Östgöta Blåsarsymfoniker and at the start of the 2016-
Christel DeHaan Classical Fellowship from the American
17 season took up a new position as chief conductor of the
Pianists’ Association and the gold medal from the 2008
Stockholm Blåsarsymfonikerna.
New Orleans International Piano Competition. He is also
Winnes’ energetic musical style has seen her transcend classical music’s usual boundaries and reach new audiences.
a laureate of the 2007 William Kapell, 2005 Cleveland and 2005 Busoni international piano competitions. CF
She appeared as both conductor and presenter for the Norwegian state broadcaster NRK’s Art and Regime series,
Please see full line-up for the JPO winter season inside the
examining the life and works of Dmitri Shostakovich. She
front cover of this issue or at www.creativefeel.co.za
Creative Feel / May 2018 / 37
UNMASKED: THE PLATINUM COLLECTION
JUST RELEASED:
The Ultimate Hits Collection from the Lord of Musicals
Includin
Andrew Lloyd Webber Unmasked: The Platinum Collection includes some of the composer’s most-loved songs from Cats, Evita, Jesus Christ Superstar, The Phantom of the Opera, School of Rock, Sunset Boulevard and features Barbra Streisand, Beyoncé, Donny Osmond, Gregory Porter, Lana Del Rey, Madonna, Michael Ball, Michael Crawford, Nicole Scherzinger, Sarah Brightman and many more.
A
s one of the most successful composers of the
The collection is personally curated and overseen by
THE ULTIMATE GREATEST HITS modern era, Andrew Lloyd Webber’s repertoire
Lloyd Webber to include classics from his earliest work,
includes some of the world’s most celebrated
starting with 1968’s Joseph and the Amazing Technicolor
musicals, Sunset Boulevard; Cats; Aspects of Love;
Dreamcoat through to his most recent, School of Rock.
Joseph and the Amazing Technicolor Dreamcoat; Jesus Christ
Of the new album, Lloyd Webber says, ‘I owe everyone
ng tracks by Gregory Porter, Lana Del Rey, Nicole Scherzinger and an exclusive performance by B Superstar; Evita; Starlight Express; The Phantom of The Opera;
involved in putting this compilation together a huge thank
School of Rock; and Love Never Dies – to name but a few.
you. A vast amount of thought has evidently gone into
Last year, Lloyd Webber became the only person to equal
selecting tracks from my almost 50-year-old career. This
Available for purchase on CD, download compilation and to stream streaming brings backon a heap of memories –services. it has made
the record set in 1953 by Rodgers and Hammerstein with
four shows running on Broadway concurrently. Two of his
this ancient composer very happy. I particularly love the
shows are currently running on both Broadway and the West
new tracks and of course I love the orchestral suites. There’s
End: School of Rock and The Phantom of the Opera, with more
nothing a composer likes more than hearing their melodies
returning to the UK this year.
played by a cracking orchestra.’
In celebration of his 70th birthday in March, Andrew
Newly recorded songs from superstar artists Gregory
Lloyd Webber Unmasked: The Platinum Collection is now
Porter (‘Light at the End of the Tunnel’, Starlight Express),
available through UMC/Polydor.
Lana Del Rey (‘You Must Love Me’, Evita) and Nicole
38 / Creative Feel / May 2018
Oliviers, seven Tonys, three GRAMMYS, one Golden Globe
THE ULTIMATE GREATEST HITS and an Oscar.
Also in celebration of his 70th birthday, Lloyd Webber’s
new autobiography, Unmasked, is scheduled for release by HarperCollins. Written entirely in his own words, Lloyd
recounts his fascinating and remarkable performance career. ng tracks by Gregory Porter, Lana Del Rey, Nicole Webber Scherzinger and anlifeexclusive by A natural storyteller, with his signature humour and selfdeprecating tone, Lloyd Webber shares the details of his
personal and professional years, including his early Available for purchase on CD, downloadearly and to stream on streaming services. artistic influences. He takes stock of his achievements, the twists of fate and circumstance, which brought him both success and disappointment, and the passions that inspire and sustain him. CF
ANDREW LLOYD WEBBE
Scherzinger (‘Memory’, Cats) add to the collection of his cherished works from the past five decades.
The set also contains recordings by world-class
UNMASKED: THE PLATINUM COLLECTIO
performers such as Barbra Streisand, Madonna, Michael Crawford, Sarah Brightman, Michael Ball and, released
for the first time, Beyoncé singing ‘Learn To Be Lonely’ from the 2005 Academy Awards with Lloyd Webber accompanying on piano. As the most successful composer of musicals in history, Lloyd Webber’s productions have sold more than 330 million tickets worldwide. The Phantom of the Opera is the second longest-running show in West End history. Cats and The Phantom of the Opera are two of Broadway’s four highestgrossing shows. In addition to his worldwide sales and audiences, Lloyd Webber has been recognised by critics and peers with numerous accolades and awards including seven
ANDREW LLOYD WEBBER Creative Feel / May 2018 / 39
UNMASKED: THE PLATINUM COLLECTION
MTN Bushfire
2018: even more fire! Winner of the African Best Responsible Event Award in 2017, hailed by CNN as one of the ‘seven African music festivals you really have to see’, and listed by BBC as a ‘Top African Festival’, MTN Bushfire can now add a new accolade to this list, recently named as one of the Top 30 international festivals on the EVERFEST FEST300 list. This top festival takes place from 25 to 27 May 2018.
M
TN Bushfire has announced an artist lineup that reflects the Festival’s identity as a uniquely African, and yet globally infused festival experience. Many of these artists will
also tour the region as part of the innovative IGODA Southern African Festival Circuit that includes Azgo Festival (Maputo, Mozambique), Bassline Africa Day (Johannesburg, South
40 / Creative Feel / May 2018
experience made up of a rich texture of arts, culture, crafts, food markets, and specialised zones that combine to create an explosive three-day event and a memorable take-home experience. This year, MTN Bushfire is also excited to announce a host of new developments and experiences for guests in attendance. New for MTN Bushfire 2018, the #BringYourFire Zone is expanding into a fully interactive space devoted to specialised activities where all guests can share their own #BRINGYOURFIRE experiences. The Zone embodies the Bring Your Fire mandate and encourages people, personally and collectively, to commit to social change based on specific themes for 2018. These themes include education, sexual health, inclusivity with a focus on LGBTQ rights, environmental sustainability, rural development, and youth care and development. This year, MTN Bushfire will be partnering with no less than eight organisations devoted to the promotion of social responsibility. All of these organisations, including Khula Tree Planting, Conservation Music, Young Heroes, STEM, BOMAKE Rural Projects and others, will be activating in the space, fostering discussions and igniting social change. In order to alleviate the major traffic and border-related issues, MTN Bushfire is excited to welcome campers on-site from Thursday 24 May. MTN Bushfire 2018 camping will open on Thursday, for campers only, from noon. Campers will have Africa), MTN Bushfire (Malkerns, Swaziland), Zakifo Festival
access to Malandela’s restaurant in the festival area. Main gates
(Durban, South Africa) and Sakifo Festival (Saint-Pierre,
for general festival goers will open at 16:00 on Friday 25 May.
Reunion Island). The line-up includes Manu Sija (Argentina), Flavia Coelho (Brazil), Elida Almeida (Cape Verde), Dub Inc (France), Sekou Kouyate (Guinea), Oki Dub Ainu Band
There are also a host of new and exciting VIP, glamping and camping options, all of which can be booked via the MTN Bushfire website. In another exciting innovation, this year MTN Bushfire
(Japan), Salif Keita (Mali), Yemi Alade (Nigeria), Alice Phoebe
will become a cashless environment. Following on the latest
Lou (South Africa), Ladysmith Black Mambazo (South
trends in payment systems, guests will be able to create an
Africa), Samthing Soweto (South Africa), Sipho ‘Hotstix’
online account before getting to the Festival. They will then
Mabuse (South Africa), Tlale Nakhane Toure, (South Africa),
receive an armband linked to their ticket that enables tap-and-
Nonku Phiri (South Africa), Makhene (Swaziland), and Mario
go payments at bars and food vendors on site. Throughout
Batkovic (Switzerland), among others.
the weekend, guests can top-up online or at various top-up
The MTN Bushfire main stage consistently plays host to some of Africa (and the world’s) top artists, featuring wellknown and loved favourites, as well as introducing crowds to international artists of the highest calibre. With additional stages including the House on Fire
stations. This exciting new development will ensure less time in queues and more time taking in the MTN Bushfire experience. Tickets are on sale NOW for MTN Bushfire as well as various travel and accommodation options. Festival guests are strongly encouraged to book early as tickets for the
Amphitheatre and The Barn, DJ focused dance floors and a
Festival sell out well in advance of the weekend and many
range of other activities, MTN Bushfire caters to a diverse
accommodation options are also booked well in advance.
and eclectic audience of over 29 000 annually. More than a music festival, MTN Bushfire is a holistic
For more information www.bush-fire.com and www.facebook.com/MTNBUSHFIRE/ CF
Creative Feel / May 2018 / 41
LONDIWE KHOZA 42 / Creative Feel / May 2018
grappling with
Gaga
Rays of Tel Aviv sunshine stream in from the skylights, illuminating the studio where Batsheva’s The Young Ensemble, the junior troupe of Israel’s renowned Batsheva Dance Company, rehearses daily. Londiwe Khoza, 23, stands alert amid the
Naharin plunged into the professional dance world in the mid-1970s. Fresh out of the Israeli military, where he served in the entertainment corps, he landed an apprenticeship with Batsheva and was singled out for a solo role by the legendary Martha Graham. After moving to New York to dance with Graham’s company, he brushed up on ballet and modern dance technique at The School of American Ballet and at Juilliard. As Naharin developed as a choreographer, his quest to
international assortment of preternaturally
communicate with his dancers led him to create his own
talented dancers. Together, the group
movement language, which he dubbed Gaga. Rich with
shifts seamlessly, like a school of fish, their
physical sensations and textures, Gaga continues to evolve
serpentine spines twisting and their limbs
through constant exploration. ‘What I like is to share what I discover, because I invest in it time, energy and thought,’
deftly sculpting the space. Later they whirl with dizzying speed before tilting, daringly off-kilter and tearing across the floor.
A
Naharin muses, referring to his research of Gaga and the broader wisdom he has gleaned inside and outside the studio. ‘I feel it’s a privilege to meet very talented people, not less talented than me, but who didn’t have the time to invest in this research, and I can just give it to them.’ Upon meeting Khoza, Naharin recognised her gifts as
t every turn, Khoza and her counterparts meet
a dancer, lauding her ‘passion, hunger, curiosity, talent’, as
the gaze of audience members scattered around
well as her potential. Meanwhile, Khoza quickly perceived
the perimeter; they watch raptly as the ensemble
that Naharin had much to offer and decided, ‘the best thing
rehearses Kamuyot, by Batsheva’s Artistic Director
for me to do is just be completely open to anything and
Ohad Naharin. The dancers periodically take a seat among the spectators, but they return again and again to the centre,
everything, and literally be a sponge.’ Having made the long journey to Tel Aviv, Khoza needed
where Khoza pours every molecule of her being into Naharin’s
to bridge the distance between her ballet roots and Naharin’s
playfully idiosyncratic choreography.
unconventional approach. The choreographer observed of
Khoza’s nuanced, full-bodied performance of Kamuyot
his protégée, ‘Londiwe is very rich, she’s very committed, she
springs from a thoroughly immersive experience with
has natural talent, yet her experience created a gap between
Naharin. A graduate of the rigorous Cape Academy of
what she can do and what she does.’
Performing Arts, she performed with the neoclassical Cape
Although Khoza’s extensive ballet training was rounded
Dance Company and Joburg Ballet before making the leap
out with modern and contemporary dance, hip-hop and tap
from her native South Africa to Israel in August 2016,
– and singing and acting courses for good measure – Gaga
steeping herself in Naharin’s world through daily classes,
classes presented dramatically new terrain. Rather than
rehearsals and performances. ‘One of the best things is that
execute a series of structured exercises based on codified
Ohad insisted I come here for the year,’ she reflects at a
movements, Khoza accepted Naharin’s invitations to explore
bustling patisserie a few steps away from Batsheva’s base at
his multilayered instructions while improvising. Rather
the Suzanne Dellal Centre for Dance and Theatre.
than striving to shape her body into a predetermined form,
Naharin has served as Artistic Director of Batsheva
she now sought to listen – really listen – to her sensations.
since 1990, energising the troupe and propelling it – and
‘Sometimes I felt like I was a newborn giraffe – everything
contemporary Israeli dance – into the international
just felt foreign,’ she says.
limelight. His choreographic career of nearly 40 years
Naharin challenged her to increase her attention to
has been widely celebrated, his works shaping not only
the multitude of information transmitted from her body,
Batsheva’s identity but the repertories of companies
including details previously unnoticed. ‘As a dancer, you’re
throughout North and South America, Europe, Asia and
aware of your body, but you are not as aware as you think,’
Australia. Nevertheless, when it came time to pick a
Khoza acknowledges. ‘Ninety per cent of the time you’ll
protégé, he notes, he ‘wanted to work with a dancer, not a
focus on what your legs are doing and not focus on what’s
choreographer... Dancers need schooling. And dancers learn
happening anywhere else. Here, I have to be aware of
by meeting people who can teach them the right stuff.’
everything. I have to be aware of my fingernails!’
Creative Feel / May 2018 / 43
While grappling with Gaga, Khoza tackled another formidable task: embodying Naharin’s repertory. Her previous performance experience had encompassed corps de ballet parts in the classical canon, as well as roles in contemporary dance by choreographers tracing their lineage from Alvin Ailey to Akram Khan, but Naharin’s idiosyncratic style was wholly unfamiliar. Working primarily under the watchful eye of the ensemble’s rehearsal directors, Khoza immediately began to learn Deca Dance, a fluid frame remixing excerpts from the choreographer’s masterpieces. Next, she undertook the family-friendly Kamuyot, then the audacious Naharin’s Virus, a 2001 tour de force featuring text from Peter Handke’s Offending the Audience. Khoza recounts that during her first few months with the ensemble, ‘there was what I did in class, and then there was learning repertory, and I couldn’t quite bridge the gap between what I’d learned in class and apply it to the repertory.’ Yet the dancer’s increasing grasp of Gaga – which Naharin often refers to as a toolbox relevant not only for his repertory but for other contexts – enabled her to more readily inhabit the choreography. Newly absorbed in the restaging of Naharin’s now classic Mamootot (2003), she reveals, ‘I am immediately feeling that flow of energy and implementing things that I’ve really connected to in class into the repertory. The gap is getting a little bit smaller.’ Input in rehearsals from Naharin and his trusted team has further enriched Khoza’s interpretation of the repertory. ‘You’ll be working on something for three weeks, and then [Naharin
44 / Creative Feel / May 2018
will] come in and say something, and you’ll completely
more her own than a phrase she learned and needs to execute.
understand what you’ve been trying to do,’ she says.
It becomes her language, instead of her quoting somebody
Working with Naharin has afforded Khoza an alternative perspective stretching far beyond her performance of a specific body of work. Without discounting her previous
else. But it’s still a beginning. She’s been here only a few months. She will continue to grow for many years.’ Khoza can sense changes in her body and dancing are
training and experiences, she believes new artistic avenues
afoot, and while Naharin and others have spoken to her
have opened up for her to explore, from improvising to
about these developments, she recognises that some shifts
bringing her own state of mind into a choreographic work,
will become clearer to her only with more time.
and dancing from the inside out rather than the outside in.
‘It’s something that will probably have a ripple effect
‘I had to learn to come with a completely different
along the line,’ Khoza says, noting this experience is ‘giving
approach and allow myself freedom, without thinking of
me new tools to be able to really get out what I want to say,
every count and eyeline and arm line. It’s giving yourself the
do things in a way that I would actually want to do them and
freedom that you don’t have to look exactly like the next
not limit myself to what I think I am and who I think I am.’
person. Now it’s that next step of being able to allow myself
It’s a statement that Naharin, who frequently urges his
to tap into my fantasy of things and really explore that
dancers to go beyond their familiar limits, might appreciate.
without worrying about things being right or wrong. That’s
‘I’m really glad that I’ve had the time that we’ve had
where I’m at, being able to merge the fantasy of things into
together,’ Khoza declares. ‘It’s very rare that you get an
the physicality of things, and not just worry about what it’s
opportunity like this to be in an environment like this with
meant to look like.’
someone like this and be able to learn from him.’ With a
This transformation in Khoza’s approach is visible
contract for the ensemble’s upcoming season in hand, Khoza
to Naharin. ‘It’s not about a particular style or particular
is poised to absorb even more insights from Naharin as she
schooling,’ he remarks approvingly. ‘It’s about the body, the
continues her artistic journey. CF
use of gravity, the use of distribution of effort, the clarity of her state of mind, the sublimation of emotions and feelings
Deborah Friedes Galili is a dance researcher and Gaga teacher
into the clarity of movement. There’s something very alive,
whose writing includes the book Contemporary Dance in
more animalistic and sophisticated at the same time. I can
Israel, as well as articles for newspapers, magazines and
see with Londiwe that she opened up. She learned to be in the
academic journals. This article was published with kind
moment when she dances. She learned about her instinctive
permission from Rolex. Naharin and Khoza partook in the 2016
movement. Even when it’s very choreographed, it’s much
– 2017 cycle of the Rolex Mentor and Protégé Arts Initiative.
Creative Feel / May 2018 / 45
46 / Creative Feel / May 2018
A penetrating work on urban soccer wins the country’s most supportive art and design prize for emerging creatives At a gala event held at the University of Johannesburg (UJ) Art Gallery in April 2018, upcoming young artist Chris Soal was announced as the overall winner of the PPC Imaginarium Awards 2018. The 24-year-old sculptor, a fine arts graduate from the University of the Witwatersrand, garnered R150 000 in prize money, and participation in an eight-month-long, nationwide travelling exhibition.
F
irst launched by the innovation department of
on concrete and tar, but also to the relationship of soccer to
the renowned cement company PPC Ltd, the
South African industry. One example of this relationship is
PPC Imaginarium Awards is an art and design
the 2010 FIFA World Cup. To this day, questions are posed
competition that challenges emerging artists
regarding the event’s benefit for the country.
and designers to demonstrate their knack for innovation
Soal’s artwork was chosen as the winner by the PPC
by incorporating concrete into their respective disciplines.
Imaginarium Awards national judging panel. The panel
In 2014, PPC extended its existing sculpture, fine art
includes globally acclaimed contemporary artist Mary
and industrial design competition (The Young Concrete
Sibande and Daniel van der Merwe (who heads the PPC
Sculptor Awards) to include the creative disciplines of
Imaginarium Awards), in addition to renowned local artist
jewellery, fashion and film. Thus, the PPC Imaginarium
Stephen Hobbs and UJ Art Gallery curator Annali Dempsey,
Awards was born. The ambitious art and design contest
bringing a wealth of industry know-how to the judging of
gives emerging artists and designers the chance to
South Africa’s top art and design contest.
showcase their talents through the medium of concrete. Chris Soal’s winning piece, entitled Imposed Structure to the Detriment of the Members, consists of cement cast into
The national judges were also responsible for choosing the various category winners and runners-up. Each of the category winners received R50 000 in
the shape of a deflated and scuffed soccer ball, through
cash with the runners-up getting R15 000, bringing
which a construction rebar has been forced. This sculpture
the total prize money for the competition to R500 000.
lies on the floor, leaning up against the wall, as dejected,
These winners were chosen from a record number of 62
pierced and deflated as abandoned soccer balls often are.
national finalists from 302 regional entrants, topping
The work speaks not only to the realities of growing up in a city environment, where soccer is played in the streets,
last year’s number, which saw 55 finalists chosen from 869 regional entries.
Creative Feel / May 2018 / 47
Growing from strength-to-strength each year of its existence, the award-winning competition has once again outstripped expectations with a dazzling selection of concrete pieces by upcoming local talent. The awards programme has been in existence for four years, with entrants submitting work across a number of categories, including film, fashion, sculpture, jewellery, industrial design and architecture. Earlier this year, regional entries for the 2018 PPC Imaginarium Awards were showcased in a series of popup public exhibitions held in Durban, Cape Town and Port Elizabeth during February 2018. Regional entries were judged by experts, practitioners, scholars, artists and curators. Award-winning artist and curator Raimi Gbadamosi judged entries from Pretoria, which sent twelve finalists to the national gala exhibition. Mary Sibande and accomplished curator Rolihlahla Mhlanga judged Johannesburg’s entries, choosing 29 finalists, while Tumelo Mosaka, whose stellar career led to his appointment as the curator of the Investec Cape Town Art Fair, chose eleven finalists from Cape Town. Award-winning sculptors Mellaney Ruiters and Eugene Hlophe chose three entries from Port Elizabeth and two from Durban, respectively, and Adelheid von Maltitz, sculptor and fine art lecturer at the University of the Free State, selected one from Bloemfontein. Documentary filmmaker and visual artist Wessel van Huyssteen chose four finalists for the film category of the 2018 PPC Imaginarium Awards. Unlike in previous years, entries in the Architecture category will be showcased and judged at the 2018 ArchitectureZA conference, replacing the prestigious Des Baker Award for outstanding work by an architecture student. ‘The winner will be seen as the best design student currently enrolled for a degree in architecture,’ says Van der Merwe. After its stop at the UJ Art Gallery, the finalists’ work will form part of the awards’ prestigious travelling exhibition, visiting platforms like the Turbine Art Fair and 100% Design South Africa 2018 in Gauteng, the AVA Gallery in Cape Town, and the KZNSA Gallery in Durban. ‘The initiative has enabled and empowered more artists and designers than any comparable project in South Africa,’ states Van der Merwe. For its role in supporting local developing artists and designers, the PPC Imaginarium Awards has been recognised by several Business and Arts South Africa (BASA) Awards. The PPC Imaginarium Awards has now extended its reach from South Africa to Zimbabwe, and is running its first PPC Imaginarium Awards in Zimbabwe in 2018.
48 / Creative Feel / May 2018
Jewellery Winner: Aleks Ashton Runner-up: Daniella Sachs Aleks Ashton’s Tiara of the Heart and Head showcases the lightweight quality of concrete as well as its potential to accompany traditional jewellery materials, amplifying their glamour while conveying its own beauty. The design is inspired by a celebration of life’s physiology. All physiological systems develop around the nervous and circulatory systems. The heart and head form life’s foundation, supporting life the way concrete supports civilisation. Over the years, the designer (a former research psychologist) and her mother (a cardiologist) have had many conversations about psychological wellbeing – its impact on cardiac health and vice versa. The functions of the heart and the head are commonly viewed as separate. The head is responsible for logic and rational thought. The heart, which is often considered inferior, is responsible for irrational emotion. This isn’t true in reality. In reality, the brain governs the rational and irrational – that is, thought and emotion – both of which are essential for engagement with and appreciation of the human experience. The head is the seat of consciousness, while the functions of physiological systems are underpinned by the heart and circulatory system. The heartbeat determines both life and death.
Creative Feel / May 2018 / 49
Sculpture Winner: Chris Soal Runner-up: Franli Meintjes The concept for Chris Soal’s Imposed Structure to the Detriment of the Members was inspired by materiality – of both cement and the object captured by the sculpture. The relationship between rebar and cement is synonymous. Their use in construction is responsible for the architectural makeup of cities in general. While the nature of this relationship is suggested by their functionality, the relationship between a soccer ball (represented by this sculpture) and cement is more complex. For many children who grew up in cities, the environment is less one of grass, sand and wood than of concrete, steel and tar. Sports like soccer
Fashion Winner: Gabrielle Foulis Runner-up: Nangamso Dana
were played on concrete or tarred surfaces. This environment was not conducive to games: falls were often rewarded with bleeding knees or worse. The aim of this piece was to cast cement into the shape of a deflated and scuffed soccer ball, through which a rebar rod was
Having grown up in the city, Gabrielle Foulis regards concrete as the
forced. This sculpture lies on the floor,
quintessence of city living. Concrete symbolises life and community. Solid
leaning up against the wall, as dejected,
and durable, it serves as the protective housing of the community. As our
pierced and deflated balls often are.
society changes and grows, we influence the city’s infrastructure and thus its
The work speaks not only to the realities
concrete appearance. To a greater extent, moreover, the city and its buildings
of growing up in a city environment, but
influence us and our fashion decisions and styles.
also to the relationship of soccer to South
The Art of Destruction is inspired by the deconstruction of buildings, and
African industry. One example of this
specifically the lives of these structures. This mini-collection interprets the
relationship is the 2010 FIFA World Cup.
concept of deconstruction through the lens of Japanese garment design. This
To this day, questions are posed regarding
contemporary Japanese style mirrors the great, monumental buildings of
the event’s benefit for the country. This
history, as both have clean lines and convey elegance.
work seeks to explore the textures and
The materials and processes include: linen painted with cement; bronze
associations of cement and, through its
details (leather and buckles); cement buttons; wire mesh; a chiffon chenille
form, raises questions about its presence in
technique to produce a textured effect; and broken-down print graphic.
South Africa.
50 / Creative Feel / May 2018
Industrial Design
Film
Winner: Giovanni Zambri
Winner: Phumulani Ntuli
Runner-up: Anton van Reenen Phumulani Ntuli’s essay film, Tied Rope, explores Giovanni Zambri’s concept bicycle GIO aims to benefit the
performative gestures within an architectural environment
user by encouraging psychological wellbeing and promoting
as well as diverse vernacular actions produced by the users
physical health. The piece shows that cement can be enjoyed
of the space. The thematics of oral history, narration, the
while also making a bold statement with minimal visual
poetics of the body and public space are approached using
cues. The bicycle is lightweight, functional and simple –
different information apparatuses. The audience enters a
delicate in idea yet physically strong.
non-linear narrative through the gaze of two artists – co-
GIO allows one to explore the essence of passion and
founders of Bag Factory Artists’ Studios David Koloane and
freedom felt by a cyclist who journeys into the unknown.
Patrick Kagiso Mautloa – and Thuli Mlambo-James, director
This journey evokes passion, freedom and independence.
of Bag Factory Artists’ Studios. CF
The bicycle is also a symbolic reminder of the past: while we may look to the past, we are always moving forward in space and time. The concrete contains the bicycle’s history, showing that great designs never change but are developed into symbolic icons. It shows the design’s forward progress in history. Other meanings are evoked, too. The bicycle’s repetitive rhythm causes a meditative state to arise during the journey, evoking the state of South African society. As the bicycle suggests, we remember the past while always moving forward in time.
Creative Feel / May 2018 / 51
Ke sale teng, Lebohang Kganye. 2017 Sasol New Signatures Winner
Sasol New Signatures Art Competition 2018
#Limitless S The scope of an artist’s influence is often
equivalent to their willingness to challenge the limits of current thinking in artistic
hining the spotlight on South African artistic talent and creating opportunities to showcase undiscovered artists is the focus of the Sasol New Signatures Art Competition. As the longest running competition
practices. In an industry where creativity
of its kind in South Africa, Sasol New Signatures has over the
and innovation are highly valued, the
mainstream. On winning the overall honour in 2017, Lebohang
Sasol New Signatures Art Competition plays an instrumental role by encouraging emerging artists to adopt a limitless approach to contemporary art.
years provided a platform for unknown artists to break into the Kganye says, ‘I don’t know if anything prepares you for winning such a competition and for the aftermath of receiving an award like this. It is quite a surreal experience – almost like I was looking in from the outside. Actually, it is pretty difficult to fully express.’ Since winning the competition, Kganye has had the opportunity to showcase her work at prestigious local and international events such as the Design Indaba. Sasol’s name is synonymous with supporting the visual arts and this continuing sponsorship provides emerging artists with the opportunity to start their careers. Sasol has been collecting artworks by home-grown talent since the early 1980s, and features an impressive corporate collection
52 / Creative Feel / May 2018
Umbamgo (conflict), Sthenjwa Hopewell Luthuli 2017 Sasol New Signatures Runner-up As part of the competition, Information Sessions will be held across the country from the end of April. The purpose of these sessions is to educate emerging artists on how they can produce and submit winning work, thereby contributing to improving the quality of entries every year. Cocoon, Carol Anne Preston. 2017 Sasol New Signatures Merit Award Winner
Furthermore, there will also be National Feedback Sessions at various selection points countrywide. Artists who’ve submitted their works will have the opportunity to understand from the judges why certain entries were
of art and sculpture. Art as a metaphor for life is a deeply
accepted and others not. The intention is to assist aspiring
embedded idea in the collective cultural consciousness.
artists to grow and guide them on how they can further
Charlotte Mokoena, Sasol Executive Vice President: Corporate Affairs and Human Resources says, ‘Art is so
better their art. Contemporary, innovative and emerging artists with
powerful and makes an invaluable contribution to society
winning aspirations are invited to submit their artworks at one
by creating platforms for engagement within communities.
of several collection points around the country between 10:00
Art has the potential to inspire, challenge and heal. The
and 16:00 on Monday 2 July 2018 and Tuesday 3 July 2018.
importance of corporate South Africa supporting the arts
The final round of judging takes place at the Pretoria Art
must remain on the agenda as art plays an important role for
Museum on Wednesday 8 August 2018. The winner of the
our country as a whole.’
Sasol New Signatures Art Competition will be announced on
Entries for the Sasol New Signatures Art Competition
Wednesday 29 August 2018 at a gala event, after which the
2018 are now officially open. Held annually, in proud
winning works will be displayed at the prestigious Pretoria
partnership with the Association of Arts Pretoria, this
Art Museum from 30 August to 7 October 2018. The winner
competition is open to all South African artists who are
will receive R100 000 and a solo exhibition at next year’s
18 years and older and have not yet held a solo exhibition.
exhibition, with the runner-up winning R25 000 and the five
Artists can submit their artworks in all artistic media –
merit award winners receiving R10 000 each.
painting, drawing, printmaking, sculpture, photography, performance art, video and installation. ‘The competition has been alive and running for close
As part of her prize last year, Kganye will be presenting her solo exhibition this year. ‘As one of the longest-running art competitions, I am grateful for the commitment Sasol
on half a century, not only becoming South Africa’s oldest
has demonstrated to the careers of young artists by investing
and most prestigious art competition, but also developing
their expertise and resources. Plus the Sasol prize money is
criteria to judge the merits of artworks, namely the artistic
invaluable in assisting artists to further their careers.’ CF
concept, the use of materials, the quality of craft and demonstrated skills,’ says Pieter Van Heerden, Director of
For more information on the competition, artists can visit
the Association of Arts Pretoria.
www.sasolnewsignatures.co.za.
Creative Feel / May 2018 / 53
Looking towards Lorentzville, Joburg’s up-and-coming arts hub Less than a year ago, if you looked up a list of Joburg’s must-see creative hubs, you wouldn’t have seen Lorentzville ranking very high. In fact, there’s a good chance that most Joburg residents didn’t even know where Lorentzville was. Thanks to a few dedicated artistic projects and venues, that’s all beginning to change, writes Dave Mann.
L
orentzville is a small stretch of land that sits behind
Robbie Brozin opened it in the early 1990s, and after a
the Jukskei River and runs alongside Bertram’s,
redesign of the building a few years ago, it doesn’t seem like
New Doornfontein, and Troyeville. Once a working-
it’ll be going anywhere soon.
class Jewish neighbourhood, Lorentzville became
The Nando’s Central Kitchen features an upstairs
a predominantly Portuguese area before transforming into
party deck, water features and installations, loads of local
a multicultural working-class suburb. In the years that
artworks, and even its own radio station. Of course, it’s not
followed, the area became characterised by a collection of old,
the many features of the Central Kitchen that make it such
crumbling buildings and disused factories.
a special venue, but rather the various relationships and
Nowadays, though, Lorentzville’s looking good. The old
community-based projects it’s helped foster over the years.
Johannesburg suburb is filling up with new venues, artists,
Through its unique flair and sustained commitment to the
and pockets of creativity, and it seems as if it’s having a
arts, the Nando’s Central Kitchen has brought some much-
domino effect on the surrounding areas too.
needed attention to the Lorentzville area which has resulted
The creative core of the area is the Nando’s Central Kitchen. The building’s been there since Nando’s co-founder
54 / Creative Feel / May 2018
in some truly innovative projects and developments taking root there.
From left: Daville Baillie Gallery, Impi Brewing Company and Art Eye Gallery
One of these is the Victoria Yards complex. Spearheaded
A short walk from Victoria Yards will find you at the
by developer Brian Green, who’s well known for his work on
studio of internationally renowned South African artist,
Milpark’s 44 Stanley Complex and Melville’s 27 Boxes, the
Nicholas Hlobo. A beautiful old building that used to be the
Victoria Yards is an exciting new property that’s home to
area’s local synagogue, Hlobo has been working from the
artist studios, gallery spaces, restaurants, and more.
studio space since 2012. Paying homage to the history of the
Each time you visit the former collection of warehouses
area, the artist has maintained the building’s original layout
and chop-shops, it’s a little bit greener. Vertical gardens,
and architecture, replete with mezzanine flooring, Victorian
water features, and organic vegetable patches see
ceilings, and carpeted stairways.
horticulturalists from the area hone their skills, while quiet,
A few streets down from this you’ll find the Art
industrial studios tucked away down the many pathways of
Eye Gallery. Situated in Ellis House Art Studios in New
the premises see local and internationally renowned artists
Doornfontein, the Art Eye Gallery is a collaborative project
such as Ayanda Mabulu, James Delaney, Blessing Ngobeni,
and gallery space that strives towards free expression
and Dario Manjate hard at work.
through community collaboration. They host regular
Doubleshot Coffee and Impi Brewing Company are on site to quench your thirst, while glassblowing and furniture workshops fill up some of the larger revamped warehouses.
exhibitions and events, including poetry readings, talks, and even works by local graffiti artists. Holding down the party front is The Tennis Club, also
The Daville Baillie Gallery was one of the first to set up shop
located in New Doornfontein. The result of two gallery owners
at The Victoria Yards, having moved from their former space
buying up Ellis Park’s original tennis club, the venue is
in Norwood, and has already hosted two exhibitions in the
another example of an old, disused building in the area being
new space.
transformed into an exciting and well-frequented venue.
Still, the Victoria Yards is ever-evolving. Plans for live-
Through a combination of great Sunday parties, excellent live
music sessions are underway, while a beautiful old building
acts, and a fresh take on Joburg’s nightlife scene, the Tennis
overlooking a tiered vegetable garden is set to become
Club is fast becoming one of Joburg’s favourite party spots.
a restaurant and small hotel. With many of the project’s
So if Braamfontein’s a little too busy and Maboneng’s no
employees being from the surrounding areas, including
longer your scene, you’d do well to pay a visit to Lorentzville
women from the local Bethany Home for survivors of abuse,
and its surrounding areas. With its hub of artists and foodies,
it’s safe to say that the Victoria Yards seeks to be a venue
and its ongoing commitment to community-based projects,
that serves Lorentzville itself.
Lorentzville could just be your new favourite arts hub. CF
Creative Feel / May 2018 / 55
A place to call his own: IN STUDIO WITH NICHOLAS HLOBO
In the bustling residential-turned-artshub of Lorentzville, there stands an old blue building. It used to be a synagogue, although no one’s practised their faith
I
t’s just past noon on a Tuesday and inside, Nicholas Hlobo and his two assistants are hard at work. It’s completely still throughout the
studio, just the way he likes it these days.
there for some time now. Well, not in the
This year alone, the artist must produce
conventional sense at least. For the past
Lehmann Maupin Gallery in New York,
few years, the building has served as internationally renowned South African artist Nicholas Hlobo’s private studio. Dave Mann visited the artist in this historical space.
56 / Creative Feel / May 2018
work for SCAD museum in Savannah, and Stevenson Gallery in South Africa. ‘Yes, we’re quite busy at the moment,’ says Hlobo. The artist is sitting behind a small desk to the back of the old hall. Above him, mezzanine flooring works its way around the higher reaches of the structure, while below, loose materials such as piping and
PHOTOS Dave Mann
wooden pallets, and rows of canvases take up the bottom floor – signs of works to come. At the one end of the room, the original ark of the building stands tall, reaching its curve just below the Victorian-style tiled ceiling. ‘The space itself, I find it to have calmed me down. It’s allowed me to surrender myself onto a space of redemption,’ says Hlobo. ‘I’m growing less and less loud, nowadays. When the guys are playing music, I ask them to turn it down or put it off completely. So that’s what the space has done to me… Being in a place of redemption has planted a rather wonderful seed in my practice.’ First used as the ‘Valley Bioscope’ in 1918, the building was later consecrated in 1926 before being deconsecrated in 1983. Since then, it’s stood as a reminder of the shifting heritages and cultures of the broader Bertram’s and Lorentzville area. Hlobo acquired the building in 2012 after a mutual friend put him and former owner Marianna Nielsen in touch. Before selling the property to Hlobo, Nielsen had received offers from property developers looking to flatten the building and erect residential flats, and members of the Islamic and Christian communities looking to use the space as a community hall. She turned all offers down, waiting until she found someone equally committed to maintaining the structure and its history. ‘I enjoy the integrity of the structure itself and I feel it’s worthy of preserving and conserving,’ explains Hlobo. ‘It speaks very much of the architectural structure of the city, especially this part of the city. It would be very ignorant and unkind, and disrespectful were we to decide to bash walls off and things like that.’ Hlobo’s so preoccupied with the building, in fact, that he spends much of his time restoring and maintaining it. The building is important to him for many reasons. Beyond the redemptive and historical elements the space affords him, it’s also his fourth ever studio, and the first studio he owns. Each studio space he’s worked in has had its unique qualities – the cramped optimism of a home studio, the bustling nature of a studio space in the heart of Maboneng, and the communal inspiration that comes with a studio in August House – but as Hlobo explains, ‘The longing had always been for a place to call my own.’ Because of the size of his current studio, Hlobo’s also been able to fill it with the various books, trinkets, and pieces of furniture he loves. Some were gifted to him
“It speaks very much of the architectural structure of the city, especially this part of the city”
by Nielsen after she moved out, while others are items he’s collected over the years. Listening to him speak about the items – historical maps of Gauteng, braille typewriters, Victorian-style couches and cabinets – you gain a better understanding of the artist’s own approach to his practice. ‘The curiosity with [these objects] is more about how things were made,’ he explains. ‘I think it used to be more about nourishing the eye, about how different elements and components were made to fit together. There was attention to detail. So I find a lot of pleasure in the old things.’ And what will become of the space once Hlobo moves on from it? ‘My fantasy, if the universe allows me to, would be to turn the space into a museum. It will be nice to have it honour all the previous activities that took place here, more specifically the religious aspect than my rather obscure kind of religion,’ he says as he points to a group of metal sculptural works in progress. ‘I still want to get someone to write the number of the building, and what the building is, in the Hebrew scroll as well as in Roman lettering. Something like “Bertram’s Synagogue” as well as “Nicholas Hlobo’s studio”.’ CF
Creative Feel / May 2018 / 57
Poseidon, Alexis Preller. R3 000 000 – R5 000 000
An unseen and thrilling Preller to go on sale at Strauss & Co An extraordinary portrait by sought-after painter Alexis Preller depicting Poseidon, the Greek god of the sea, will go on sale at Strauss & Co’s auction on 4 June in Johannesburg.
T
he undated painting, executed in Preller’s signature
comes from the artist’s most important, late-career
intaglio style and acquired directly from the artist,
series of symbolically charged, disembodied heads,’ says
carries a competitive pre-sale estimate of R3 million
Dr Meredith.
to R5 million.
Alastair Meredith, who heads up Strauss & Co’s art
Held in the same private collection for decades, Poseidon, like Adam from the November 16 sale missed being
department in Johannesburg, is unambiguous about the
documented in Esmé Berman and Karel Nel’s definitive 2009
importance of Preller’s stylised interpretation.
book on Preller – adding extra excitement to its offering.
‘With his plaited hair, tousled beard and sleek almond eye executed in Preller’s thrilling electric blue, Poseidon
58 / Creative Feel / May 2018
The unusual choice of subject stems from a research trip to Greece and Turkey that Preller undertook in 1968.
Consider the Lizard, Alexis Preller. R3 000 000 – R4 000 000
On his return home, Preller worked on an extended cycle of
Strauss & Co achieved combined sales of R33.5 million from
paintings engaged with Grecian motifs and themes.
just 24 Preller lots sold in 2017. The top Preller lot in 2017
Preller initially worked on flat surfaces, producing lavishly painted icons, but in 1969 began to experiment with a novel method that first involved modelling a scene in clay.
was a transformative study of a wounded soldier, Fleurs du Mal (1944), which sold for R8.2 million. ‘Strauss & Co has played a pivotal role in building the
He then created a fibreglass cast onto which he applied his
market for Preller and has achieved many records for the
paint treatment.
artist,’ says Dr Meredith.
Preller named the process ‘intaglio’ and described the resulting three-dimensional works as ‘part sculpture and part painting’. Preller’s intaglio works are highly prized among collectors.
Strauss & Co’s June sale features other works by Preller. It will also include a special section focusing on abstraction. For any enquiries, contact Strauss & Co on 011 728 8246 or 021 683 6560 or visit www.straussart.co.za CF
In 2015, Stephan Welz, Strauss & Co’s charismatic founding chairman, sold Preller’s intaglio study of an unclothed male figure Apollo Kouros II (1971) for R5.5 million. And in 2016, Strauss & Co sold a life-size rendition of the biblical first man, Adam (1969), for R6.8 million. Vigorous bidding among collectors for Preller at Strauss
AUCTION DETAILS: Important South African and International Art
& Co auctions has consolidated this Pretoria-born painter’s
Johannesburg, Monday 4 June 2018
reputation as one of South Africa’s leading post-war artists.
Preview: 1 to 3 June, 10:00 to 17:00
After South African masters Irma Stern and JH Pierneef, Strauss & Co’s best-performing artist in 2017 was Preller.
Walkabouts: 2 to 3 June at 11:00 The Wanderers Club, Illovo, The Ballroom, 21 North Street
Creative Feel / May 2018 / 59
The Sea is Closed: Shallow Water, Nourhan Maayouf
2016 Absa L’Atelier winner
Nourhan Maayouf heads to SA for solo exhibition
Being named the overall winner in the 2016 Absa L’Atelier art competition didn’t only change Nourhan Maayouf’s life as an artist, it provided part of the inspiration for the young Egyptian photographer’s upcoming solo exhibition, The Sea is Closed: Shallow Water, at the Absa Gallery.
60 / Creative Feel / May 2018
B
orn and raised in Egypt, Nourhan Maayouf had never ventured out of her home country before winning the Absa L’Atelier award, which saw her spending six months at the renowned Cité
Internationale des Arts in Paris. This brought to life the complexities many Egyptians grapple with as they face the prospect of leaving behind their homes in search of a better life in the face of increasing political and economic instability. ‘The importance of one’s original home has dramatically changed among many Egyptian youths, who suffered after the Arab Spring’s political and economic transitions. This has been felt in particular by middle-class Egyptians, who began to seek opportunities that would allow them to move, often outside the country. The result is that they have been forced to leave their memories and families behind to pursue economic and psychological well-being. ‘In recent years I have battled anxiety from fear of independence, facing my obligations, and detachment from my family due to the social norms that prevent Egyptian women from leaving their family homes until they get married. I have also suffered from extreme loneliness due
The Nest, Nourhan Maayouf
to my friends leaving Egypt, and have been affected by the drastic economic situation in our country. All these circumstances have resulted in anxiety, and a strong desire to flee,’ explains Maayouf of the inspiration behind the body of work on show. In this sense, The Sea is Closed component of the exhibition analyses the contemporary relationship between one’s home and that individual’s independence. The sea, although it represents freedom, remains ‘closed off’ to so
“I have also suffered from extreme loneliness due to my friends leaving Egypt, and been affected by the drastic economic situation in our country”
many Egyptians. The Shallow Water part of the exhibition reflects Maayouf’s personal emotional struggles between her home
open new doors for artists, but broaden their personal and
in Cairo and living in Paris for six months. It documents
artistic perspectives as well.
the struggles she experienced during this, her first-ever period of displacement. ‘Arriving in Paris, a developed and free world, I thought
‘So many L’Atelier artists find new inspiration in either their subject matter or medium during the art residencies awarded as part of the L’Atelier prizes. This is a valuable
I would get over all that I had suffered in Cairo. However,
component of the competition as it exposes artists to new
I still battled anxiety. I was chased by my memories, my
experiences that eventually help shape their career. This is
unbreakable family bond, and my conservative upbringing,
vital to young, up-and-coming artists,’ notes Dr Bayliss.
making it difficult for me to merge with the foreign world.
Maayouf embarked on her artistic journey in 2010
Shallow Water is a metaphor for my experience in Paris. I was
by engaging with diverse forms of photography. She
neither a temporary tourist nor a permanent resident. I was
eventually settled on staged photography as her preferred
swimming in a foreign world but still grounded in my home
style, working with simple props and natural lighting. She
country,’ she adds.
relies primarily on self-portraits, being the actor, having a
Aside from this inspiration, Maayouf’s time in Paris also saw her expanding her art practice to include video. This, says Dr Paul Bayliss, Absa art and museum curator, speaks to the power of the Absa L’Atelier art competition to not only
private relationship with the camera, and freely expressing intimate issues. The Sea is Closed: Shallow Water runs from 20 May until 15 June 2018 at the Absa Gallery. CF
Creative Feel / May 2018 / 61
The development of value in the SA art market Many who are tempted to begin collecting art, or who are expanding existing collections, want to know how to ’read’ the art market. When they invest money in an art collection, the key question often is: will my art appreciate in value over time?
O
WORDS: RUARC PEFFERS, DIRECTOR, ASPIRE ART AUCTIONS
f course, art is not an asset class in the same sense
The South African market, however, punches well
as stocks or bonds. Returns on investment are
above its weight, and is responsible for some of the top
never a straightforward proposition, and most
contemporary art produced and traded globally – including
collectors do it for the passion and love of the art
in major art centres like London and New York.
rather than for financial gain. But a closer look at how value is created and has grown
According to the Africa Art Market Report, as of 2017: ten of the top 20 modern artists (born between 1850 and
in the art market in recent times reveals some interesting
1939) and seven of the top 20 contemporary artists (born
trends. Though reports differ, according to Barron’s, the
after 1940) are South African – an assessment judged by the
global art market was worth $63.7 billion in 2017, up after a
artist’s value at auction and the number of exhibitions in
two-year decline. While, according to TEFAF (The European
museums and commercial galleries.
Fine Art Foundation), the African art market in its entirety
Several examples demonstrate the value that South
represents no more than 1% of global market value, despite
African modern and contemporary art is realising in the
African artists being responsible for more than 20% of the
current market. In a recent sale at Aspire Art Auctions
work offered through global auction houses.
in Johannesburg, a sculpture by Sydney Kumalo, titled
62 / Creative Feel / May 2018
“The South African market, however, punches well above its weight, and is responsible for some of the top contemporary art produced and traded globally – including in major art centres like London and New York” most desirable works by the artist ever to have been offered, there is a limited market that can accommodate and show a work of this scale and, consequently, results in fewer bidders vying for it. At the other end of the market, Hodgins’ well-known prints were selling at about R1 000 to R2 000 ten years ago. Today, they sell closer to the R10 000 to R20 000 range. Assuming they maintain the same trajectory, in ten years from now, they could be trading at R100 000 each. The market is also accommodating growth in other, more Night of the Awards, Robert Hodgins, 1988
challenging conceptual areas. In March 2017, Aspire sold a work by young contemporary artist Mohau Modisakeng, Ditaola XV, for R204 624. Modisakeng was the leading light
Mythological Rider (1970), estimated between R700 000 and
at the 2017 Venice Biennale, showing at the celebrated South
R1 million, sold for R1 932 560 (November 2017). Kumalo
African pavilion, which received high-profile international
was a leading light of the Amadlozi Group of modern
media coverage.
sculptors. The appreciation in value is because of changes
One particular South African international superstar
in the way these artists have been represented, and a
who is leading the change and diversification in the market
diversification of the market that was largely pioneered by
is conceptualist and performance artist Athi-Patra Ruga,
Aspire. This work was also purchased by a black collector,
whose work is represented in major local and international
which is indicative of a growing appreciation of the value
collections, including the Louis Vuitton Foundation and in
of South African art among a more diverse audience. A
Cape Town’s Zeitz MOCAA. His staged photograph, Night of
comparable work – similar sized, also bronze and from an
the Long Knives III, sold at Aspire’s March 2018 auction for
edition the same size – by Kumalo, Ndebele Reclining Figure,
R295 568, just short of double the pre-sale low estimate.
sold in 2007, fetched R155 960 – representing a 1 200% increase in the artist’s value over the decade. In areas of the art market where value has traditionally
The success of these young contemporary artists at auction indicates the full circle that has turned for previously under-represented artists, between, for example,
resided, such as with work by JH Pierneef, the same growth
the Amadlozi generation of the 1960s, and artists like
pertains. Fifteen years ago, a Pierneef print would have sold
Ruga and Modisakeng. It’s in this contemporary growth
for between R1 000 and R5 000. Aspire recently sold a rare
segment that Aspire has a strategic focus, a commitment
self-portrait linocut by the artist for R47 746, in March 2018.
that extends to the Artist’s Resale Rights royalties that the
Again, this represents an increase in value of approximately
company pays to living South African artists whose work
1 000% over the period.
sells at its auctions.
An interesting example is the recent sale by Aspire of
Ultimately, today’s collections and collectors are
the largest painting ever produced by the respected artist
changing. The same people that were buying historic works
Robert Hodgins. His Night of the Awards, an oil on canvas
a decade ago are today buying much more adventurous and
painting from 1998, sold for over R2 million in March 2018,
challenging works as well. It tells us that fundamentally, art
despite a tough economic climate. At just under two metres
collecting is about what you love and what you want to live
high by almost five metres wide, though this is one of the
with – and that represents its true value. CF
Creative Feel / May 2018 / 63
An auction house with a rich history In 1968, Reinhold Cassirer, a German collector, dealer and the husband of Nadine Gordimer, one of South Africa’s most celebrated authors and the winner of the Nobel Prize in Literature, started Sotheby’s South Africa, now known as Stephan Welz & Co., in Braamfontein in central Johannesburg.
T
he first auction took place on 24 November 1971 and was held in Lawson’s Building, Jorissen Street
Adam Willaerts’s painting of Table Bay
in Braamfontein in a car showroom, premises which now house the Wits Art Museum. The sale was
taken by Paul Thomson, a director of Sotheby’s London who flew out for the occasion. The sale realised R92 000 and 1 000
and the sale was marked by purchases made by Dr Marino
people attended the sale, with seating for only 400!
Chiavelli, a larger than life character who developed a
Zake Nakedi joined the company in 1970, finally retiring in 2016 after 46 years with the company. Having started as
reputation of buying strongly at auction. Some of the more unusual sales at the time include a sale
a porter, he finished his career as a director of the company
of game at Makouvlei in the Orange Free State on a farm
and retired with a wealth of knowledge of South African art
belonging to Anglo American. There was also a vintage and
as well as many close relationships with clients. Stephan
veteran car sale, which included motorcycles. The sale took
Welz started in 1972, previously having been employed in
place on what is now of Wits University’s West Campus.
Hammanskraal at a paper factory.
There has only been one auction out of the country, a house
The first auctions comprised mainly paintings, Cape
sale that took place in Zimbabwe. The house had to be
silver and the odd Africana book, with other categories being
cleared of snakes and other unwelcome guests before the
added later. Antony Wiley joined the company circa 1975,
sale could take place.
around the time that Reinhold Cassirer retired and Welz took the reins as the managing director. Danny Swart then joined and stamps became a large
The company also managed the Nederburg Wine auction, with auctioneer Patrick Grubb coming out from London to take the sale. During the 1980s, the company held the Cape
part of the business, sometimes comprising three auctions
Independent Winemakers Guild auctions, the auction was
annually. The first stamp sale took place in 1979 at the Good
preceded by a series of tastings held in Durban, Cape Town
Hope Centre in Cape Town. Swart retired in 2015, having
and Johannesburg.
ended his career as a stamp consultant in Cape Town. Stephan Welz & Co.’s first house sale was the contents of
The Africana collection of Sir Alfred and Lady Beit was one of the highlights of the auction held in 1991. The sale realised
Whitehills, a property owned by Gordon Richdale, a wealthy
R2 021 750, a huge sum at the time. Another notable event was
Johannesburg resident. The first house sale in Cape Town
the sale of a painting by Adam Willaerts of Table Bay, the first
was the contents of Newlands House, a property now owned
recorded painting of the Cape. The painting was produced circa
by the Department of Public Works and previously occupied
1636, and sold in 1984 for R190 000. It now resides in one of the
by Robert Gwelo Goodman and Joyce Newton-Thompson.
most important collections in the country.
One of the more notable house sales includes the collection of the Holt sisters. The property was known as Nederburg
64 / Creative Feel / May 2018
Two other important works, by Thomas Baines, from the Beit collection fetched R280 000 and R220 000 on the sale in
A Thomas Baines artwork, auctioned in 199
The first Auction in 1971
Robert Gwelo Goodman’s painting of his beloved Newlands house
1991, the works today would probably fetch somewhere in
and will continue to do business with the same levels of
the region of R3 million to R5 million each.
discretion and integrity that it has for the last five decades.
The company has had many notable staff members over the years. Most notable is probably Stephan Welz, who steered the company through the politically
The company strives to unlock the true value of every South African’s precious collection and artworks. Stephan Welz & Co. has premises in Alphen Estate,
difficult 1980s, and who more than anyone established
Cape Town and Killarney Country Club, Johannesburg
the credibility and the market in fine and decorative
and will gladly evaluate and consign fine collectables
art auctions. Many previous members of staff are now
upon appointment. CF
employed within the art auction world, having cut their teeth at Stephan Welz & Co. The company has been at the forefront of fine and decorative art auctions for 50 years, in various iterations,
Get in touch via Johannesburg: +27(0)11 880 3125, Cape Town: +27(0)21 7946461 or visit www.stephanwelzandco.co.za
Creative Feel / May 2018 / 65
HARMONIA Sacred Geometry
THE PATTERN OF EXISTENCE
66 / Creative Feel / May 2018
Geometric solid 1, Gordon Froud, 2017 Mixed media on brown paper. 1580 x 850mm
Gordon Froud, artist, senior lecturer in sculpture at The University of Johannesburg (UJ) and curator, has been working on an exhibition that investigates various aspects of sacred geometry in the world around us. His large cone
a master-plan and so on. In its application (from the Greek
virus sculptures (pointed polyhedra) on
metron (to measure) and geo (the earth)), geometry is often
rooftops, in parks and on the streets in Johannesburg, Pretoria, Stellenbosch and most recently in Richmond in the Eastern Cape have become iconic. Having
imbued with notions of the divine or the sacred referring to a creator or god or energy force. In the catalogue essay that accompanies the exhibition, Froud talks about how his work over the last 15 or so years has focused on modular repetition as a mode of construction, he became more and more interested in
featured steel mesh geometric sculptures
geometry and pattern as blueprints for the forms that he
at Nirox Sculpture Park, Hermanus FynArts
these repetitions, ratios and formulae, locating them in all
festivals, Boschendal and Almenkerk wine estates, here, Froud brings his research into focus for a monumental mid-career show at the Standard Bank Gallery in Johannesburg 13 April to 15 June 2018.
makes. During his Master’s studies in 2007/8, he explored spheres of existence from crystalline structures in minerals, the Fibonacci sequence as found in nature, the golden ratio utilised in design and architecture through to a personalised application in his sculptures; quite literally as building blocks. In this way, geometry has become vitally important to his working process and to the, mostly, abstracted forms that constitute his sculptures.
H
armonia: Sacred Geometry, the pattern of existence extends beyond these iconic sculptural works and includes drawing, printmaking, digital imaging, embossing and even animation. Gordon Froud finds
sacred geometry in the landscape, the cityscape, in the human form and spirit, reinforcing the extent to which geometry is inherent in both our corporeal existence and the patterns of the universe. Froud’s exploration of the spiritual is not partisan (as he does not ascribe to a particular belief system) but explores sacred geometry across many belief systems from ancient Egypt, the Maya, Judeo-Christianity and Islam, to contemporary belief in aliens; the inter-dimensionality of beings; the authenticity of crop circles and so forth. Froud believes that geometry is widely held to be the universal plan by which all material existence is described. The patterns of proportion, shape, form and numbers are found in the smallest atomic structures and are perpetuated at every level of existence. Most belief systems acknowledge geometry as a plan, blueprint or map through which matter has come into being. This has variously been described as the thoughts of God; divine utterances; proof of a creator; Circular table top, Gordon Froud, 2017 Digital print on archival paper. 1205 X 900mm Creative Feel / May 2018 / 67
He began reading widely; from historical mathematical studies to spiritual treatises that attempt to explain the existence of a divine force, God, creator, call it what you will. This took him back to readings on Pythagoras, Plato, Galileo, Copernicus and the written origins of the story of geometry on one hand, through to the musings of writers, such as Drunvalo Melchizedek; on alchemy, spiritual enlightenment studies, ancient religious texts – the Bible and Kabbalah for example – and into design and architectural principles, still employed to this day, on the other. The more he read and explored, the more he noticed geometry inherent in everything around him. In his approach to sacred geometry for this exhibition, Froud focused on the aesthetics of geometry as found in four different aspects of our existence, namely geometry in nature; geometry in construction and the city; geometry in
“In his approach to sacred geometry for this exhibition, Froud focused on the aesthetics of geometry as found in four different aspects of our existence, namely geometry in nature; geometry in construction and the city; geometry in the human body and, finally, geometry in the spiritual realm”
the human body and, finally, geometry in the spiritual realm. Each is treated as a station or visual chapter in the gallery, leading a narrative, from left to right, around the outer walls and punctuated by larger works and wall texts. During his residency at Nirox Sculpture Park, in the
One chapter explores geometry in the form of the triangle as found in various poses of the human body.
Cradle of Humankind, in July 2017, the chance meeting of
These triangles are superimposed onto black and white
a circular glass-topped table in the outdoors led to a series
photographic prints of the human body. The poses relate to
of photographic works. In these images, the shapes of some
the way we, on a daily basis, stand, sit, lie and move, and how
of the Platonic Solids and the circle disrupt the landscape
this framework is dependent on triangular geometry.
through their displaced reflections. In this way, geometry is
In the final chapter, he examines sacred geometry as it
imposed on the landscape through the lens of the camera
is recognised, revered and utilised in many belief systems
and the eye of the artist.
as a spiritual occupation. He purposefully does not align
The next visual chapter explores geometry in the
himself with any of these beliefs but unpacks the imagery in
city. Through landscape drawings (based on images
a way that relates to them. For example, The Tree of Life and
photographed in areas of Johannesburg that he knows well,
Metatron’s Cube are two highly complex geometric patterns
as his city of residence), geometric forms are highlighted or
on which most geometry is based. These tie in with the Solids
emphasised, serving to, almost, deconstruct the city while
articulated by Plato, the Chakra points of eastern meditation,
drawing attention to the importance of geometry for the
the Jewish or Kabbalistic Tree of Life, articulations of the days
formation and construction of a city.
of creation and many other beliefs. He even refers to imagery
68 / Creative Feel / May 2018
Platonic solids with shadows, Gordon Froud, 2017 Digital print on archival paper. 600 x 450mm
View from August House V, Gordon Froud, 2017. Mixed media on Fabriano paper. 1450 x 900mm
Metatrons’s cube, Gordon Froud, 2017. Laser Engraving on Supawood, Graphite and gold dust. 2700 x 2700mm from crop circles, star maps and other popular beliefs in his investigations. The squaring of this narrative on the outer walls encloses the inner circular core of the gallery in and around which the sculptural pieces are arranged. (He designed the show around the geometric structure of the squared circle that makes up the Standard Bank Gallery — the viewer is thus always aware of the geometry of the gallery, the symmetry of the exhibition and their embodied relationship to the spaces housing the exhibition and the works themselves). The exhibition, as a whole, seeks to acknowledge and recognise the existence of geometry and patterns of structure inherent in the world around us and draws the attention of the viewer to the recognition of these. CF The Standard Bank Gallery will be open on First Thursday evenings during the exhibition. Find more information about First Thursdays and artist walkabout dates on www.standardbank.com/
White cone virus, Gordon Froud, 2017. Plastic road cones. 4500 x 4500mm
SacredGeometry Creative Feel / May 2018 / 69
THE ART OF PERFORMANCE |
DAVE MANN
The original graffiti by Revok, with the H&M logo written over by TheHatKid in solidarity
The fashion retailers are at it again In case you missed the headlines or the social media activity, Swedish multinational clothing-retail company H&M recently took American graffiti writer Revok to court after using one of his works in a campaign without his knowledge or consent.
T
he campaign, which featured a model doing
in the same vein as the recent apology for their racist kids’
backflips and other unnecessary sporty actions,
hoodie images (yup, they’re not doing the best work) and the
was for their ‘New Routine’ sportswear line. The
case was dropped.
problem is, they made use of one of Revok’s
So why should you care about a short-lived court
artworks in the images – a black linework piece he painted on
case from America? Cases like this can often set global
a handball court in Brooklyn. Revok saw the advert circulating
precedents for future cases. Brands, property developers,
online and slapped them with a cease and desist letter. H&M
and marketers have been using the works of artists in
hit back, basically saying that, no, they would neither cease
their campaigns, ads, and brand activations without credit
nor desist.
or remuneration for ages. Seeing a retail giant like H&M
Their main argument essentially stated that because the
backing down from a single artist can be a great thing. As
work was actioned out illegally, Revok had no right to assert
with the H&M vs Revok case, it revealed that not only can
his copyright to it. Things then got messy for H&M, with
artists stand up to corporate bullies, but that the work they
graffiti writers, artists and supporters calling for nationwide
create is theirs alone, whether or not it was created illegally.
boycotts of the brand. There were also a few cases of H&M
Before H&M backed down, South African artists and
storefronts receiving vigilante makeovers courtesy of a fat
graffiti writers such as Rasty, Falko1, Faith47 and more were
cap and a spray can. Ultimately, H&M put out an apology
joining the call to boycott the brand. Johannesburg graffiti
70 / Creative Feel / May 2018
“BRANDS SHOULD DO THEIR RESEARCH – APPROACH THE ARTIST, ASK FOR PERMISSION, AND ENTER INTO A LICENSING AGREEMENT”
of The World for All Foundation contracting artists for their ‘Not All Is Black And White’ initiative. One of the artists was Cape Town graffiti writer Toe – an artist well-known for his work across Cape Town and beyond. Artists were asked to apply their unique style and concept to the sculptures and so Toe did what most graffiti writers would do – he wrote his name. The result was a black-and-white zebra with ‘TOE’ as well as the artist’s crew name ‘40HK’ written on the side of it. A few weeks after the zebras went public and were placed at strategic points throughout the city, the council ordered the cleaning off of Toe’s work, believing it to be vandalism. Bless them, they even painted inside the lines to get rid of the tags. It’s not exactly the same thing as the H&M case, I know, but it does illustrate the sheer lack of knowledge and understanding of the medium of graffiti when it comes to brands and government initiatives looking to pick up an ‘urban’ edge. Left and above: artwork/graffiti by Riot PHOTO Dave Mann
A more recent case was the use of an artwork by Joburg-based graffiti writer Riot in an online video advert
store and gallery Grayscale even posted a fairly dramatic
by a local cellular network and a bank. Riot, who’s been
video of an H&M shopping bag filled with empty spray cans
painting for around 16 years now, has work up all over the
being set alight.
city. He also paints a fair amount of legal, commissioned
They have a right to be angry. Similar cases of brands
works such as murals for stores, gyms and more. Around
messing graffiti writers around have taken place here in SA,
the time the ad was circulating, Riot made numerous
often without any further action being taken against the
attempts to contact the people involved, but received no
brands. One of the main problems is likely due to the fact that
responses. The ad continued to run and he never received
brands simply don’t take the time to research the medium,
any credit or compensation.
and hope only to cash in on the ‘edgy-ness’ of graffiti.
‘Illegal or not, that work was done by someone else,’ says
In 2010 for example, when the Soccer World Cup
Riot in relation to the ad. ‘[They should] have some respect
descended on South Africa (and, ironically, Cape Town
and at least have the decency to ask. [Brands] get away with
began its militant anti-graffiti campaign) a series of zebra
it until they get caught doing it.’
sculptures popped up around town. There were 33 of them,
He explained that because artists here don’t receive as
each one by a different artist. The campaign was the result
much attention in the media as artists based in the US, it’s
Creative Feel / May 2018 / 71
THE ART OF PERFORMANCE |
DAVE MANN
Graffiti and photo by Riot
often the case that artists don’t pursue the issue further, and
all, rather than let one artist determine what public space
that brands simply do what they like.
can be filmed or not by painting it. So, if a work is in a public
And look, this isn’t to say that relationships between advertising and graffiti artists can’t work. Artists like
space, South African copyright law doesn’t do much to protect it.’
Nardstar, Page, Zesta, and more have been commissioned by
Here’s the thing, though. Graffiti writers, street artists,
numerous brands to create new work, and get paid for it. The
and all public artists, still have moral rights to their public
issue is with the use of pre-existing work throughout the
work, which Stern says includes their right to be credited as
city, and the ways in which it’s used.
the creator.
Many artists (and SA citizens in general) often don’t
‘Even though street artists don’t necessary have
know their way around things like copyright law. When you
copyright protection in their work if they’re in a public
take into account the fact that many graffiti writers work
space, most people think that they should. And so if a brand
anonymously, this can make things even more complicated.
uses work without permission, although they’re possibly
Legalese, a Cape Town-based creative legal agency,
allowed to, it’s still viewed as highly exploitative,’ says Stern.
specialises in accessible, affordable and understandable
‘Brands should do their research – approach the artist, ask
legal services for small businesses, creatives, and start-ups.
for permission, and enter into a licensing agreement.’
Director of Legalese, Eitan Stern, explains that there’s a basic understanding in South African law which is that if you do something illegally, it cannot be protected. Intellectual
In Riot’s case, then, remuneration probably wasn’t likely to begin with, but credit was always due. In a city like Johannesburg, where advertising and graffiti
property protection still applies to an artwork that has been
exist in equal measure, it’s likely we’ll see more examples of
created, however, and it doesn’t depend on the location or
brands making use of public art without credit. Hopefully,
circumstances of its creation.
as cases like H&M vs Revok continue to be taken seriously
‘Copyright pertains to a work, not the context of a work,’
across the globe, we’ll see local brands attempting to
explains Stern. ‘So, although an image may be somewhere
collaborate more with artists in ways that see them being
illegally, the image itself is not illegal – just its application.
both credited and compensated for their work, illegal or not.
Therefore, an artist should still have copyright in the work.’
Because as Riot puts it: ‘The level of work here in Africa is
So, does this mean that artists should be remunerated for the use of their work in an advert? Stern goes on to explain
off the charts. We run with the best in the world.’ Let’s hope the suits start taking note. CF
that when it comes to the ‘public’ aspect of graffiti, the South African Copyright Act particularly makes an exception to copyright protection. ‘The Copyright Act states that the copyright in an artistic work shall not be infringed by its reproduction or inclusion in a cinematograph film or a television broadcast or transmission in a diffusion service, if such work is
DAVE MANN is an editor and
permanently situated in a street, square or a similar public
award-winning arts journalist.
place,’ he explains. ‘The law has to find the balance between protecting artists, and allowing public spaces to be used by
72 / Creative Feel / May 2018
Creative Feel
www.creativefeel.co.za
www.creativefeel.co.za
Creative Feel
posed Structure to the Detriment of
‘
o the shape of a deflated and scuffed rebar has been forced. This sculpture
all, as dejected, pierced and deflated as
JOHN KANI
MAY 2018
JUNE 2017
AT U L AT E S
FUGARD@86
A season at the Market Theatre
ners of SA’s most rt and design prize
Stars in Fugard’s ‘The Train Driver’
SA R36,90 (incl. VAT) - May 2018
I N A R I U M AWA R D S
05018 9
771607
519004
Creative Feel Magazine subscription for 6 months for only R205 or 12 months for R365. Visit www.creativefeel.co.za/shop/
J O I N T H E C O N V E R S AT I O N Creative Feel
|
@CreativeFeel |
@creative_feel
W W W. C R E AT I V E F E E L . C O. Z A
LITERARY LANDSCAPES |
INDRA WUSSOW
THE AGE OF SENESCENCE OR THE DECAY OF A SPA TOWN
Bad Oeynhausen PHOTOS Indra Wussow
I
t’s a dark and cloudy afternoon in March… it is still winter,
dark, obtuse and grey here. Passers-by are stubbornly
barren trees line the railway line. The advent of spring
indifferent and ignorant; they look depressed. The
feels like a promise denied its fulfilment. A dirty old train
landscape, the hustling people, everything is part of the
jogs through the uninviting flat countryside of Germany’s
infamous constant nörgeln (grumbling, moaning) that
north. It jogs through tiny, bleak villages that seem to be stuck in a bygone era. It feels as if my childhood is still happening and not decades away. Two old men loudly bemoan the misery of the world. They look the same and act the same as those grumpy old people I had listened to on the long bus rides to school in my youth. West Germany’s countryside still seems locked in the past. I have heard so much about the advent of the ‘new’ Nazis and while I sit in this time capsule of a train, I reckon that
seems to be the German disease. I have never felt at home in the German countryside, but today I feel like an alien who has been beamed into a strange galaxy. The conventionality is as palpable as the indifference towards others. Bad Oeynhausen, the town my mother lives in, is a small provincial town in the centre of Germany. It is a popular destination for the retired and sick. In its golden era at the beginning of the 20th century,
the nationalists never quite left this destitute place – they
this town was a famous spa for the rich and beautiful, it
just kept quiet for a few decades and now some sort of stone
boasted a casino and splendid palaces for hydrotherapy.
has been lifted and they have crawled out into the light
These golden days are so beautifully portrayed in
again to spill their racist and fascist poison.
Buddenbrooks, the novel by Nobel Prize in Literature
Grey is the predominant colour – the landscape,
recipient, Thomas Mann. One of the protagonists, Joachim,
the clothes of the people and also their attitude of
went for a spa retreat in Bad Oeynhausen, which was
frustration. My beloved birch forests, shiny silver in the
the epitome of luxury during the fin de siècle (end of the
wintry Latvian tundra of my grandmother’s home, are
century). Splendid palaces and Badehäuser (hydrotherapy
74 / Creative Feel / May 2018
“In its golden era at the beginning of the 20th century, this town was a famous spa for the rich and beautiful, it boasted a casino and splendid palaces for hydrotherapy” Bad Oeynhausen spas) were in the famous spa gardens where the wealthy
It is a sentimental journey that teaches me a lot about
flâneurs (men who saunter around observing society) walked
the decay of old Europe. It is a journey into ageing societies
around or listened to the live music played every lunchtime
that seem to oversleep innovation and the future. A future
in the historic concert place. These buildings are still there,
which the current inhabitants may not experience anyway.
some even renovated, but the spirit has changed. There are still many clinics and rehabilitation
The former luxury hotel ‘Der Königshof’ had a long and ambivalent history that came to an end this year when its
centres and a whole medical industry has been built as
owner died. The hotel was the central headquarters of the
the backbone of the town. Because these facilities have
English army after World War II, following which it was
excellent reputations, many pensioners move to the town
turned back into a hotel but never regained the success of
to profit from it. The wealthy ones buy property or live in
its pre-war years. Now it will dilapidate and become another
exclusive old age homes. The majority are less fortunate
legendary landmark of Bad Oeynhausen to slowly disappear.
as they cannot afford a decent place with their pension.
Instead, there is a mall on the outskirts of the town
The homes for those who depend on social benefit are
that attracts visitors with its cheap chain stores and fast
shockingly grim and inhumane. For years strangers have to
food restaurants. With pensions being low, these self-serve
share triple rooms and the only occupation they have is to
cafeterias have become the new meeting place of the spa
sit and wait for their death.
travellers and locals. The sight of these disillusioned sick
This is literally a dying town and almost every service
or old sitting around with their plastic trays next to their
is built around the sick and the old. Care services seem to
Zimmer frames or crutches haunts me long afterwards. Their
be the most profitable businesses right now and reflect the
trays are full of the plastic waste that so defines our times.
senescence of the place. The inner city, once filled with fancy shops and
It is a bitter world and very different from what you expect of a country that boasts a booming economy and
restaurants, is a wasteland today. Many shops are empty,
plays a leading role in Europe. The sadness is even worse
others sell cheap goods imported from China.
as many of these people are the ones who are against
I remember the fashion emporium of Ilse Lang. A haven
immigration and each foreigner seems a suspicious subject.
of designer clothing that was hip in the 1980s, when festive
The truth is that the new immigrants and refugees who
dances and galas still took place in town. Women from even
settle in these forgotten areas are the only young people
Hannover flocked into the two-story paradise of Ilse – how
whose aspirations might end the sleepy stagnation of these
customers affectionately referred to the flamboyant owner.
towns and give them back their future. CF
My sister and I loved to accompany our mum when she went there twice a year to buy a new wardrobe for winter or summer and slurped champagne while trying on the Lanvin dress she would refuse to buy anyway, opting to rather
Literary Landscapes is a monthly column by
buy trousers again. Back then, the countryside was still
INDRA WUSSOW, a writer, translator
connected to the world. Today, the former paradise is empty
and director of the Sylt Foundation.
and only the Ilse Lang emblem still embellishes the dirty and deserted shop windows.
Creative Feel / May 2018 / 75
BASED ON A TRUE STORY DIRECTOR: Roman Polanski STARRING: Emmanuelle Seigner, Eva Green, Vincent Perez Delphine is the author of a highly personal novel devoted to her mother that has become a best-seller. Exhausted by countless requests and made fragile by her memories, Delphine is then tormented by anonymous letters accusing her of having thrown her family to the lions. The novelist is in a rut, paralysed by the idea of having to start writing again. Her path then crosses that of Elle. The young woman is charming, intelligent and intuitive. She understands Delphine better than anyone. Delphine grows fond of Elle, confides in her, opens up. How far will Elle go after moving into the writer’s apartment? Has she come to fill a void or to create one? To give her fresh impetus or to steal her life?
76 / Creative Feel / April 2018
13L
AT CINEMAS 8 JUNE Creative Feel / May 2018 / 77
BOOK REVIEWS |
R E C E N T LY P U B L I S H E D
MICHAEL K By Nthikeng Mohlele | Publisher: Picador Africa, an imprint of Pan Macmillan | ISBN: 9781770104792 ‘Those in the know claim Michael K disembarked from a diesel-smoke-spewing truck one overcast morning, looked around, and without missing a beat, chose a spot where he set down a small bucket (red, burnt and disfigured) that contained an assortment of seedlings, some fisherman’s twine and a rudimentary gardening tool – probably self-made.’ How is it that a character from literary fiction can so alter the landscapes he touches, even as he – in his self-imposed isolation – seek to avoid them? How is it that Michael K, bewildered and bewildering, can remain so fragile yet so present, so imposing without attempting to be so? In this response to JM Coetzee’s classic masterpiece, Life & Times of Michael K, Nthikeng Mohlele dabbles in the artistic and speculative in a unique attempt to unpack the dazed and disconnected world of the title character, his solitary ways, his inventiveness, but also to show how astutely Michael K holds up a mirror to those whose paths he inadvertently crosses. Michael K explores the weight of history and of conscience, thus wrestling the character from the confines of literary creation to the frontiers of artistic timelinessness Nthikeng Mohlele was partly raised in Limpopo and Tembisa Township, and attended the University of Witwatersrand, where he obtained a Bachelor of Arts in Dramatic Art, Publishing Studies and African Literature. He is the author of four critically acclaimed novels: The Scent of Bliss (2008), Small Things (2013), Rusty Bell (2014) and Pleasure (2016). Pleasure won the 2016 University of Johannesburg Main Prize for South African Writing in English as well as the 2017 K. Sello Duiker Memorial Prize at the South African Literary Awards. It has also been longlisted for the International Dublin Literary Award. Michael K is Mohlele’s fifth novel.
78 / Creative Feel / May 2018
THE DRUGS THAT CHANGED OUR MINDS: THE HISTORY OF PSYCHIATRY IN TEN TREATMENTS
AUTISM: HOW TO RAISE A HAPPY AUTISTIC CHILD
By Lauren Slater | Publisher: Simon & Schuster UK |
By Jessie Hewitson | Publisher: Orion Spring, an imprint of The
ISBN: 9781471136894
Orion Publishing Group | ISBN: 9781409176282
As our approach to mental illness has oscillated from
An essential read for all parents of autistic children.
biological to psychoanalytical and back again, so have our
‘A wise SatNav for what is often a bewildering, or even
treatments. With the rise of psychopharmacology, an ever-
scary, zone of parenting. The book offers real-world, road-
increasing number of people throughout the globe are taking
tested, child-first and family-friendly advice; while also
a psychotropic drug, yet nearly 70 years after doctors first
highlighting the twin truths that autism is not a tragedy, and
began prescribing them, we still don’t really know exactly
that adaptation and acceptance are not resignation,’ David
how or why they work – or don’t work – on what ails our
Mitchell, bestselling author and co-translator of The Reason
brains. In The Drugs that Changed our Minds, Lauren Slater
I Jump.
offers an explosive account not just of the science but of the people – inventors, detractors and consumers – behind
The definitive guide for parents of autistic children, written from the perspective of neurodiversity.
our narcotics, from the earliest, Thorazine and Lithium, up through Prozac, Ecstasy, ‘magic mushrooms’, the most
Written by Jessie Hewitson, an award-winning journalist at The
cutting-edge memory drugs and neural implants. In so
Times, Autism is the book she wishes she had read when her
doing, she narrates the history of psychiatry itself and
son was first given the diagnosis of autism spectrum disorder.
illuminates the signature its colorful little capsules have
It combines her own experiences with tips from autistic
left on millions of brains worldwide, and how these wonder
adults, other parents – including author David Mitchell – as well
drugs may heal us or hurt us.
as advice from autism professionals and academics such as Professor Simon Baron-Cohen. Autism looks at the condition
Lauren Slater is an American psychologist and writer. She is
as a difference rather than a disorder and includes guidance on:
the author of nine books, including Welcome To My Country
what to do if you think your child is autistic; how to understand
(1996), Prozac Diary (1998), and Lying: A Metaphorical
and support your child at school and at home; mental health and
Memoir (2000). Her 2004 Opening Skinner’s Box: Great
autism; and the differences between autistic girls and boys.
Psychological Experiments of the Twentieth Century, a
Jessie Hewitson is a staff property and personal finance
description of psychology experiments ‘narrated as stories’,
writer on The Times from London. Before working at The Times,
has drawn both praise and criticism. It was nominated for a
she worked as a freelance journalist, writing for The Sunday
Los Angeles Times Kirsch Award For Science And Technology
Times and the Telegraph, and edited Tatler magazine’s 2013
Writing, and was named as a 2005 Bild Der Wissenschaft
guide to the best doctors. She is a mother of two; her seven-
Book of the Year in Germany.
year-old son is autistic.
Creative Feel / May 2018 / 79
MUSIC |
T H E L AT E S T R E L E A S E S TO S U IT A L L TA S T E S
Trifanov’s Chopin Evocations WORDS: AN EXCERPT FROM AN ESSAY BY OSCAR ALAN
Chopin Evocations | Daniil Trifanov | Mahler Chamber Orchestra | Mikhail Pletnev | Deutsche Grammophon | 47975182
R
obert Schumann’s description of his first encounter with the music of Chopin suggests what a revelation the Polish-born keyboard prodigy represented as he burst on to the European musical
scene. In his ecstatic review of the ‘Là ci darem la mano’ Variations Op. 2, published in the Allgemeine musikalische Zeitung on 7 December 1831, Schumann proclaimed: ‘Hats off, gentlemen, a genius.’ He marvelled at Chopin’s kaleidoscopic daring: ‘Genius is gazing at you from every bar.’ In 1835,
Mikhail Pletnev’s streamlined instrumentation, in
Schumann immortalised his reverence for the composer
Trifonov’s words, ‘liberates the soloist. The new orchestral
musically with a brief, intimate portrait in his Carnaval Op. 9.
transparency allows the pianist greater spontaneity and
Almost two centuries later, another pianist-composer,
sensitive engagement with the other voices.’ Himself a
Daniil Trifonov, is no less enthralled by his forebear’s
brilliant pianist-composer, Pletnev’s intimate knowledge of
astonishing originality: ‘Chopin revolutionised the
the scores as both performer and orchestrator make him an
expressive horizons of the piano. From very early in his
ideal partner in Trifonov’s Chopinist evocations. The Mahler
musical output, Chopin’s lyrical grace, thematic sincerity,
Chamber Orchestra, a dynamic ensemble of soloists steeped
harmonic adventure and luminous virtuosity embodied
in the responsiveness demanded by opera and chamber music,
all the qualities the Romantics, like Schumann, found
realises Pletnev’s refreshed balances of voice and colour.
irresistible.’ Retracing Schumann’s footsteps, Trifonov
Pletnev’s contribution to the musical constellation is not
performs Chopin’s Op. 2 Variations on the celebrated theme
only material, but also spiritual. As Trifonov explains: ‘My
from Mozart’s Don Giovanni. Although the youthful works
mentor and teacher, Sergei Babayan, studied with Mikhail
are often more extrovert and protracted in their musical
Pletnev in Moscow in the 1980s. That makes him a little bit
elaboration than his more compact and emotionally distilled
like my musical forefather.’ The family portrait is completed
later compositions, the breathtaking fantasy of Chopin’s
on this album by a rendition of Chopin’s rarely heard and
musical imagination is here already fully evident. These ‘Là
devilishly difficult Rondo Op. posth. 73, performed by
ci darem’ Variations conjure the seductive flamboyance of
Trifonov and Babayan together.
Mozart’s libertine hero, whose tales of amorous conquest captivated the young Chopin. Schumann was, of course, not alone in admiring Chopin’s
This autobiographical element closes the circle of thematic motives in Trifonov’s project revolving around Chopin. ‘Chopin is one of the world’s most beloved
combination of seemingly limitless melodic imagination
composers – the poetry of his music goes straight to the
and formal rigour. His influence can also be heard in stylish
heart and requires no justification,’ Trifonov contends. ‘But
miniatures such as Tchaikovsky’s Un poco di Chopin, Grieg’s
in a sense, the genius of Chopin becomes even more clear
Hommage à Chopin and Samuel Barber’s Nocturne, ‘a piece
in the context of those who influenced him and those who
dedicated to John Field,’ Trifonov explains, ‘but its structure
have been inspired by him.’ The programme affords an
and brooding idiom unmistakably allude to Chopin and the
opportunity to hear his familiar music afresh, transfigured
nocturne form he pioneered.’ Trifonov weaves these four pieces
within a tapestry of historical, musicological, personal and
by German, Norwegian, American and Russian composers into
expressive ‘evocations’, as well as a glimpse of the young
a kind of suite, tracing a century of ‘Chopinism’ around the
man to whose ‘genius, steady striving, and imagination’
world in a single, continuous stream of musical consciousness.
Schumann bowed his head. CF
80 / Creative Feel / May 2018
ANDREW LLOYD WEBBER UNMASKED: THE PLATINUM COLLECTION
THE ULTIMATE GREATEST HITS Including tracks by Gregory Porter, Lana Del Rey, Nicole Scherzinger and an exclusive performance by Beyoncé Available for purchase on CD, download and to stream on streaming services.
ENCORE DANIEL VAN DER MERWE is a professional architect. He is part of the PPC team as an innovator. Van der Merwe is the chief curator of the PPC Imaginarium, one of SA’s largest art and design support platforms. He initiated the annual AA (ArchitectureZA) Conference and has acted as convener since. Van der Merwe is a past president of the Gauteng Institute for Architecture.
Name three artworks that you love and why.
where arts education has been made compulsory alongside maths
Ludwig van Beethoven: Symphony No. 9 in D minor, Op. 125. For
and science, there has been an almost magical transformation.
its sublime third movement which touches the deepest part of the
Arts education in all schools will teach our young people specific
soul and carries us gently upwards into Elysium. Only pieces that
sets of thinking skills not adequately addressed elsewhere in the
have great melodies can do this.
curriculum. Children need a broad education that includes the arts,
The Alchemist by Paulo Coelho is a profoundly insightful psychological novel that propounds the ‘philosophy’ that people
and the continued development of our society and the future of creative innovation depends upon a creative education.
only discover themselves when they understand how to listen. ‘Alchemy is the projection in the material world of all spiritual
What is your most treasured possession?
concepts.’ It calls on us to be faithful to our own Personal Legend.
A book passed down through several family generations. My
Guernica was created by Picasso to express his outrage over
beautiful 300-year-old, leather-bound, hand-printed Bible with
the Nazi bombing of a Basque city in northern Spain, ordered by
the most exquisite illustrations. Its written in Gothic High Dutch
General Franco. Since then, this monumental black-and-white
so one can’t really read it – but the steel plate etched gravures
canvas has come to be an anti-war symbol and a reminder of the
are so masterfully done that one could frame each and every one
tragedies of war. Everyone should make a personal pilgrimage to
of the several hundreds of images. I often just page through it to
the Museo Reina Sofía in Madrid to witness this and its thousands
absorb the incredible detail of each illustration.
of accompanying detailed drawings. What is it that makes you happy? Name one artist you would love to meet.
Maybe it takes one to reach a certain age to be able to conclude
Banksy! He is the world’s most elusive street artist whose real
that contentment gives real happiness... Yes, it’s my interpretation
identity has never been revealed. The Scarlet Pimpernel of the
that happiness is a temporary ‘high’, whereas contentment is a
art world, his graffiti art highlights prominent issues in our world
longer lasting, deeper feeling of satisfaction and gratitude for
with a smattering of humour. He is one of the most provocative
spiritual blessings and/or people/relationships. It is through my
artists of our day. But just who is he? Don’t you also itch to know?
job, my friends and by feeling that I’m in charge – the author of my own life. All of this gives me the fulfilment that leads to the sense
If you could change one thing about yourself, what would it be?
of contentment that I think is what true happiness is all about.
To have more patience, to be slower in savouring the good and quiet moments of life. I think we are all trapped in this hectic and neurotic
What projects will you be busy with during 2018 and into 2019?
pace of delivering at all costs and against all odds. The other day I
PPC has allowed me to extend the PPC Imaginarium into
stopped myself from sending emails at 4:30 am – it was just so wrong!
Zimbabwe, with the possibility of further reaching out to emerging artists in Botswana, Ethiopia and other African
Name one thing you think would improve the arts and
countries. This is a very exciting prospect. Imagine an Africa
culture industry in South Africa.
where a platform can bond emerging artists together in support
Make arts education compulsory in schools. Never mind the creative
and mentorship! PPC is a truly remarkable company to allow
industry – let’s talk about improving the entire country! In countries
these opportunities to creatives. CF Some questions have been omitted, for the full interview visit
82 / Creative Feel / May 2018
www.creativefeel.co.za
A Dazzling Gala
With the Stars and Full Company of Joburg Ballet And Special Guests Sibongile Mngoma, Timothy Moloi, Musanete, Angela Kilian, Samantha Peo, Zubz The Last Letta
THE TEATRO AT MONTECASINO SATURDAY 19 MAY • 15:00 & 20:00
BOOK NOW computicket.com • montecasino.co.za 0861 915 8000
ONE GREAT BALLET COMPANY • TWO MEMORABLE BALLETS Joburg Theatre 29 June – 8 July 2018 Book now on 0861 670 670 or joburgtheatre.com Book before Monday 7 May for an Early Bird discount of 30%
RAYMONDA ACT III A Classical Jewel and
A WORLD PREMIERE
By Redha • One of Europe’s leading choreographers
CHRIS SOAL’S winning piece, entitled Imposed Structure to the Detriment of the Members, consists of cement cast into the shape of a deflated and scuffed soccer ball, through which a construction rebar has been forced. This sculpture lies on the floor, leaning up against the wall, as dejected, pierced and deflated as abandoned soccer balls often are.
C O N G R AT U L AT E S all the winners of SA’s most supportive art and design prize 84 / Creative Feel / May 2018
T H E P P C I M A G I N A R I U M AWA R D S
