Creative Feel December 2016/January 2017

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771607

519004

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SA R36,90 (incl. VAT) - Dec 2016 / Jan 2017

West Side Story in Joburg

The Sound of Music in Durban

2 / Creative Feel / December 2016 / January 2017

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 249503

Where there is passion

We are inspired

Left to right: Abel Selaocoe (Music) Thandazile Radebe (Dance) Beth Diane Armstrong (Visual Art) Monageng ‘Vice’ Motshabi (Theatre) Dineo Seshee Bopape (Performance Art) Benjamin Jephta (Jazz) #SBYA

www.standardbank.com/sbya

Cover image: Bianca le Grange and Christopher Jaftha in West Side Story

cover story 24 WEST SIDE STORY

36

The Fugard Theatre production of West Side

Abel Selaocoe, Thandazile Radebe, Beth Diane

YOUNG ARTISTS

Story, which enjoyed a staggeringly successful,

Armstrong, Monageng ‘Vice’ Motshabi, Dineo

sold-out run at the Artscape Opera House, Cape

Seshee Bopape and Benjamin Jephta join a

Town in 2015, is coming to the Joburg Theatre,

pantheon of South Africa’s creative luminaries.

contents Johannesburg in January 2017.

arts and culture 30

THE ART OF DIRECTING MUSICALS

Creative Feel speaks to Matthew Wild, the director of West Side Story, which will be showing at the Joburg Theatre from January to March 2017.

32 THE HILLS ARE ALIVE! This festive season, The Playhouse Company is staging

52 SOUTH AFRICA: THE ART OF A NATION The British Museum is currently hosting the first major UK exhibition on South African art that explores a 100 000-year history through archaeological, historic and contemporary artworks, which look at the long and rich artistic

a fresh, new production of The Sound of Music from 26

heritage of the country. South Africa: the art of

November to 30 December.

a nation uses art to tell the story of the region’s deep history, the colonial period, apartheid, the birth of the ‘rainbow nation’ and South Africa today. Objects from the British Museum’s own South African collections are displayed alongside contemporary acquisitions.

6 / Creative Feel / December 2016 / January 2017

lifestyle and entertainment 14 56 63

GIFT GUIDE CINEMA NOUVEAU CD REVIEWS

contents contributors 58 AND WHERE WERE YOU?

20

Talking to Marianne Thamm about her latest

Artlooks & Artlines is a monthly column

book Hitler, Verwoerd, Mandela and me: A memoir

by Ismail Mahomed, CEO of the Market

of sorts turned out to be a very frank and open

Theatre Foundation.

interview with Lore Watterson for Creative Feel

60

ARTLOOKS & ARTLINES

– after an initial clash on what it means to be

22

LITERARY LANDSCAPES

German from two different view points.

Literary Landscapes is a monthly column written

by Indra Wussow, a writer, translator and director of

the Sylt Foundation.

THE YOGA KITCHEN

The Yoga Kitchen: 100 Easy Superfood Recipes

by Marlien Wright is an appealing cookbook that delivers on its promise of delicious, simple, satisfying and nutritious meals.

Creative Feel / December 2016 / January 2017 / 7

Annus horribilis

E

ven if I am not commenting – as is Creative Feel’s policy – on the political landscape, be it our local turmoil or international news like Brexit, populism in the US or terror attacks around the world, 2016 truly was an annus horribilis – not a good year at all.

Derived from the Latin phrase annus mirabilis – year of wonders (or miracles) – it really

describes 2016. In fact, so much so that social media users are jokingly asking if 2016 was directed by Quentin Tarantino.

Kofi Annan, then Secretary-General of the UN, was recorded as one of the first to use the phrase in a speech on 21 December 2004: ‘There’s no doubt that this has been a particularly difficult year, and I am relieved that this annus horribilis is coming to an end.’

Leonard Cohen

But it was Queen Elizabeth II who brought the phrase into popular use after she used it to describe 1992, the year that the marriages of her two sons, Charles and Andrew, broke

Mduduzi ‘Mandoza’ Tshabalala

down and Windsor Castle caught fire.

For the world of the arts it has not been any better. As I was writing this editor’s note, my own annus horribilis had just gotten worse with the news of the passing of Leonard Cohen.

The Canadian-born poet, songwriter and singer’s intensely personal lyrics exploring themes of love, faith, death and philosophical longing made him the ultimate cult artist. Cohen’s David Bowie

enigmatic song ‘Hallelujah’ became a celebratory anthem recorded by hundreds of artists.

Through my Canadian friends, I had been a fan long before he became so fashionable. It seems like forever that I have been listening to songs like: ‘I’m Your Man’, ‘Anthem’, ‘Tower of Song’, ‘Dance Me to the End of Love’, ‘So Long, Marianne’, ‘Bird on a Wire’, ‘Everybody Knows’, ‘Famous Blue Raincoat’, ‘Suzanne’ and his greatest hit ‘Hallelujah’.

This news came at the end (hopefully) of a long string of bad news for the arts community during 2016, which started off in January with the passing of singer David Bowie, ‘pop music’s ambassador to the realms of science fiction and fantasy’, and Alan Rickman, the actor who portrayed memorable villains in films like the Harry Potter series,

Prince

Die Hard and Robin Hood: Prince of Thieves, followed by author Harper Lee in February.

In To Kill A Mockingbird, Lee used the memorable characters of Scout Finch, the novel’s narrator, and her father Atticus Finch, an attorney, to explore civil rights and racism in the segregated southern United States of the 1930s.

The year just followed this pattern with superstar singer Prince, actor Gene Wilder and some great South African stars all passing. International stars like Reuben Malusi Khemese who, alongside his brothers Sandile and Thami, was a founding member of the Soweto String Quartet; the great South African opera singer Johan Botha; the legendary musician Papa Wemba; and of course kwaito legend Mduduzi ‘Mandoza’ Tshabalala.

I agree with Kofi Annan. ‘There’s no doubt that this has been a particularly difficult year, and I am relieved that this annus horribilis is coming to an end.’

Here’s to annus mirabilis 2017!

ERIC ABRAHAM PRESENTS A FUGARD THEATRE PRODUCTION THE BROADWAY SMASH HIT MUSICAL

««««

“SPECTACULAR ... A SA SUCCESS STORY” THE CAPE ARGUS

ROBBINS, LAURENTS, BERNSTEIN & SONDHEIM’S

DIRECTED BY MATTHEW WILD

24 JANUARY – 5 MARCH 2017 BOOK NOW AT COMPUTICKET.COM

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PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za

We loved this!

COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Abigail Phiri; abigail@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Indra Wussow SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Oupa Sibeko; oupa@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION subs@creativefeel.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not

The Market Theatre Foundation, in partnership with

Creative Feel and DeskLink Media, launched the Market Theatre Forty Years of Storytelling coffee table book in mid-November to much excitement. It was a night of remembering the wonderful past of the Market Theatre, while looking forward to the future. The first page of the book summarises the intention and content of the book perfectly: ‘This book is dedicated to all the people who felt as passionate about the Market Theatre during the past 40 years as Barney Simon and Mannie Manim did when they started it.’ Market Theatre Forty Years of Storytelling is available for purchase from the Market Theatre for R200.

10 / Creative Feel / December 2016 / January 2017

necessarily represent the views of the publisher.

While every last effort has been made to check that the information in this magazine is correct at the time of going to press, the publisher and their agents will not be held liable for any damages incurred through any inaccuracies.

Dance Forum Presents

Feb 23 2017 - Mar 05 2017 Johannesburg Photograph by John Hogg

VUYANI SIGNS OFF 2016 IN

WITH SIGNATURES

S

ignatures, the theme for this year’s Vuyani Week programme, will showcase the artistic signatures of seasoned dancers and their outreach protégés.

Vuyani Dance Theatre’s annual showcase of

professional, emerging and youthful talent – to be staged

dancers under Vuyani’s in-house training programme. Page

at the John Kani Theatre at Johannesburg’s Market Theatre

27, which premiered at the Market Theatre last year and

over the weekend of 2 to 4 December 2016 – will be bigger

has also been performed at the Afrovibes and SANAA arts

and bolder than before, thanks to a grant from the National

festivals, interrogates social issues such as gender inequality.

Lotteries Commission.

Vuyani Executive Creative Director, Gregory Maqoma explains: ‘Vuyani Week forms the heart of VDT’s outreach culture. This annual production gives our dancers a platform

The programme also includes Julia Burnham’s new work, Something Black and Yellow, a duet performed by two of Vuyani’s female dancers: Lulu Mlangeni and Sinazo Bokolo.

Says Burnham: ‘I was inspired to do this work from

to showcase what they have spent the year teaching to

personal past experiences, which raised questions about why

young kids in schools. Vuyani Week is a way of introducing

I had to go through things in my relationships and how that

theatrical culture to younger generations who would usually

has personally influenced my character to what it is now. This

not have this opportunity.’

includes my work, family, friendship and love relationships.’

This year’s jam-packed Signatures season brings together

Nyanga’s work Beyond will be performed by four

dance trainees, the company’s dancers and the learners

male Vuyani dancers: Xolisile Bongwana, Kwazi Madlala,

they mentor at various local schools. Artists with distinct

Otto Nhlapo and Phumlani Mndebele. This work is about

personal and creative signatures will reimagine historical

understanding a relationship that is beyond our physical

works to be performed by a new generation of dancers at

comprehension but has a huge influence on our daily lives.

these family-friendly performances.

The programme features Rhythm Colour, one of Maqoma’s ‘signature’ works from 2002, themed around the 1976 Soweto student uprisings. This evocative piece was

The final day of the programme, on Sunday 4 December 2016, will feature performances by Vuyani’s outreach protégés, mentored by the company’s gifted dancer-choreogreographers.

Adds Maqoma: ‘Vuyani Dance Theatre is grateful for the

re-mounted earlier this year at the Soweto Theatre to mark

National Lotteries Commission’s support in recognising the

40 years since the landmark protests, with a new generation

need to develop new emerging choreographic voices, as well

of Vuyani dancers taking the baton, and will be performed

as the need to provide a professional setting for emerging

during Vuyani Week by outreach protégés.

dancers through our training and outreach programmes.

Another highlight is Vincent Mantsoe’s iconic ‘pigeon’

‘Vuyani Week is a family-oriented event that is also

work Gula, which will be interpreted by sensational young

about discovering talent. More importantly, it gives young

Vuyani dancer and choreographer Phumlani Nyanga. He

dancers an opportunity to perform on world-acclaimed

will be presenting Gula fresh from performing the work at a

stages like the John Kani at the Market Theatre.’ CF

festival in Burkina Faso at the end of November.

In keeping with the Signatures theme, Lulu Mlangeni’s Page 27 will be performed by the trainees, a new cluster of

12 / Creative Feel / December 2016 / January 2017

Tickets for each performance cost R120 and are available through Webtickets or at the door.

BREATHTAKING ACROBATICS AT

Cirque Éloize iD

C

irque Éloize iD made its Cape Town debut at Artscape on 16 November 2016 and after just 15 performances, this highenergy production that blends breathtaking acrobatics and street dance, moved to Montecasino’s Teatro for a limited

season from 30 November until 24 December.

Directed by Jeannot Painchaud and brought to South Africa

by leading local promoter, Showtime Management, Cirque Éloize’s iD has been enjoyed over the past seven years by more than one million spectators in over 1 000 performances in almost 100 cities across the globe.

Positioned at the heart of the renewal of circus arts, this Montreal-based company has been creating moving performances filled with magic for more than 23 years.

Cirque Éloize’s iD is a blend of circus arts and urban dance: b-boying/b-girling, breakdance, hip-hop and more, expressed to a stimulating soundtrack created by composers Jean-Phi Goncalves (Beast) and Alex McMahon. The company is integrating multimedia for the first time in its ninth original creation, giving this show a unique feel. Fifteen performers from 14 disciplines help create iD’s entertaining and resolutely urban universe.

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2016/11/04

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he above statement is straight from one of our guests. Guests who stay at Casta Diva Boutique Hotel, nestled on the northern side of the Magaliesberg mountain, are hardly ever disappointed.

A look at their TripAdvisor.com profile exposes the

Boutique Hotel for what it is – a hidden gem where guests feel welcome and taken care of. Currently ranking number six out of 339 B&Bs in Pretoria, with a Certificate of Excellence, Casta Diva is the ideal location for… well, any kind of stay. If you need to be in Pretoria for work, why not stay at a place where you can combine the ‘office’ with a touch of leisure? As summer is on its way, the half-Olympic size swimming pool will give you a sense of paradise as you enjoy the sunshine with a glass of wine whilst staring at the Magaliesberg Mountain range. Their beautifully maintained garden (just under two hectares) offers an almost fairy-tale escape as you wander through the tropical vegetation.

With the excellent on-site Charisma Restaurant, you can conveniently take a culinary adventure without driving far to find great food. Serving a variety of dishes, the general consensus by guests is that the food is ‘excellent’. Not to mention the attentive service provided by the hosts. For the wine lover, there is a selected range of delicious, especially local (South African) wines to choose from.

The Boutique Hotel revealed five new guest rooms and a new self-catering unit last year, bringing the number of accomodation to a total of 28. Las Terrazzas, as the new rooms are named, offer guests a feeling of ‘Out of Africa meets Mexico’. As with all the rooms at Casta Diva, the decorative art is tasteful and inspiring, the rooms are uncluttered and comfortable.

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

So treat yourself to a getaway like no other. Visit Casta 14 / Creative Feel / December 2016 / January 2017

Diva – The place to… simply be.

The second Unisa National Voice Competition The long-awaited Second Unisa National Voice Competition will take place from 8 to 15 July next year.

As with the recent national piano competition, this competition will consist of two categories: Jazz and Classical.

South African vocalists are invited to enter for the competition no later than 24 February 2017. Candidates must submit a DVD for the Qualifying Round and approximately 20 candidates will be invited to attend the live competition in Pretoria in July next year.

Classical vocalists must include an aria from the 17th

Eric aE lo

the Z K Matthews Great Hall in

lburg sie Ah Sus t i ed Cr ff

or 18th centuries, two art songs, one of which must be in German, and an opera or concert aria on their DVD recording.

Jazz vocalists must include a jazz standard (medium or up-tempo swing) that includes a minimum of two choruses of improvisation, a Latin American or South African jazz standard that includes a minimum of two choruses of improvisation, and a jazz ballad that includes one chorus of improvisation.

The main prize in each category is R70 000 with the runner-up in each category winning R40 000. Special prizes will also be awarded. ‘South Africa is blessed with a huge number of talented vocalists. We hope to provide these promising young musicians with a platform to improve and hone their skills as performers.

The prize money will also enable the winners to further their studies,’ says Prof. Karendra Devroop, Artistic Director of the Unisa National and International Music Competitions.

The previous Unisa National Voice Competition was presented in 2005 and Erica Eloff was the winner. She currently enjoys a prestigious international vocal career. The competition is made possible by a grant from the National Lotteries Commission (NLC) and additional support from Unisa.

The age limit is 30 years. Further rules, regulations and entry form are available from the Unisa Music Foundation. Contact Alet Venter (joubeae@unisa.ac.za or 012 429 3336) for more information.

Creative Feel / December 2016 / January 2017 / 15

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Creative Feel / December 2016 / January 2017 / 17

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18 / Creative Feel / December 2016 / January 2017

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Creative Feel / December 2016 / January 2017 / 19

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

The following is an extract from Ismail Mahomed’s address to audience members at the launch of The Market Theatre: Forty Years of Storytelling coffee table book. The evening included a panel discussion with some of those who have been involved with the theatre over the last 40 years, including Mannie Manim, John Kani and Malcolm Purkey.

T

he publication The Market Theatre: Forty Years of

Theatre Foundation and present council members. Most

Storytelling is a celebratory partnership between

importantly, this publication is testimony to the visionaries

the Market Theatre Foundation and Creative Feel

who founded the Market Theatre Foundation and those who

Magazine and DeskLink Publishers.

continue to trail-blaze new pathways through which we can

For four decades the Market Theatre has been the

architecture of our social consciousness. Since its founding it has never lost sight of being at the centre of telling stories

continue to endow generations of South Africans with a rich cultural legacy.

Nationally and internationally celebrated for its bravery

that can transform us into a society that is more humane

by staging theatrical works that spoke against social

and compassionate.

injustice, the Market Theatre spearheaded a movement

I am honoured to be the CEO of the Market Theatre

of artists that dared to voice their opinions and to create

Foundation at a time when through this publication we can

a brand of South African theatre that continues to be

honour the artists, audiences, sponsors and the past and

celebrated for its authenticity, passion and excellence.

present staff – from the humble cleaner to the executive members of office – the past board members of the Market

22 / Creative Feel / December 2016 / January 2017

During the international cultural boycott against South Africa, theatre makers drew on their own resources, and the

artists at the Market Theatre did so with huge creativity and singular success. The Market Theatre was and it continues to be a curator and a defender of artistic and creative freedoms!

During this anniversary year, the Market Theatre has curated its programme around the theme of ‘40 Years of Storytelling’, to celebrate the iconic legacy of this historic institution and to re-envision its role in a new and constantly changing South Africa. This publication offers inspiration about the power of theatre as a change agent and a nation-builder.

We are grateful to Creative Feel and DeskLink Publishers, and in particular to its Editor-in-Chief, Lore Watterson, for an invested passion in bringing this publication into existence.

The Market Theatre, founded by visionaries and anchored by champions over the past four decades, continues to trail-blaze with a management team that is bold in its courage, adventurous in its spirit and accountable to both the arts sector and our funders. CF

“Nationally and internationally celebrated for its bravery by staging theatrical works that spoke against social injustice, the Market Theatre spearheaded a movement of artists that dared to voice their opinions and to create a brand of South African theatre that continues to be celebrated for its authenticity, passion and excellence”

Creative Feel / December 2016 / January 2017 / 23

Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.

P

eru is a country of extreme contrasts. Seventy-

other indigenous languages. The Commission also made

seven per cent of its population live in its bigger

recommendations calling for reparations for victims, the

cities; a quarter of Peru’s population of 30 million

strengthening of the rule of law, and for foundations to be

live in Lima alone. In this capital city, the contrasts

put in place for true reconciliation based on justice.

are most obvious. Affluent neighbourhoods with fancy shops

In the broader field of transitional justice, Peru’s TRC

and restaurants and a rather European lifestyle define the

is recognised for its successful execution of a daunting

lives of the rich and the upper middle class. The majority

and complex mandate: to analyse 20 years of violence and

of Peruvians cannot afford such a life and its poor people

authoritarianism.

live in the outskirts of the city in pueblos. The inhabitants

The experience of a long period of terror and

of the pueblos have not profited from modernism, globalism

displacement of its communities, of its subsequent silence

and economic development. Over the last few decades,

and the revisitation of past traumas in the TRC form

these quarters have become bigger as many people from

important topics for writers, poets and artists of Peru to

the countryside have flocked to the city of Lima in the hope

negotiate the social situation through their works. These

of a better future and to escape the terror of the Sendero

important voices attempt to recollect collective memories

Luminoso, the ‘Shining Path’, that held the country in its

and show how the individual pain is still a sad reality in

grip for decades. The consequences of this civil war, which

a country whose way into a civil society has been long

took place from 1980 until the 2000s, are still haunting

and winding. Their works also join the ongoing debates

Peruvian society today. The traumatised new citizens in their

in Latin America about identity recognition in the face of

makeshift pueblo homes still live without electricity and

globalisation, neoliberalism and post-modernity.

water, and have for almost 20 years.

Peru’s conflict began in the 1980s with violent

Among the most important books is definitely Mario Vargas Llosa’s novel Death in the Andes. It is a harsh and instructive

insurgencies led by the Maoist rebel group, Sendero Luminoso.

book and its writer’s way of storytelling is as direct, rigid and

The Peruvian state also unleashed systematic abuses during

enigmatic as the Andean landscape in which its story is set.

this armed conflict. Small, rural communities and native

In the isolated community of Naccos in the Peruvian

peoples of the Andes and Amazon bore the brunt of the

Andes, a series of mysterious disappearances has occurred.

violence and lived under a reign of terror and torture. In the

Army corporal Lituma and his deputy Tomás believe the

1990s, President Alberto Fujimori’s repressive rule further

Sendero Luminoso guerrillas are responsible, but the town’s

eroded the rule of law, enacting amnesty laws and granting

people have their own ideas about the forces that claimed

impunity for the members of government death squads.

the bodies of the missing men. This riveting novel is filled

The Truth and Reconciliation Commission, the TRC, set

with unforgettable characters, among them disenfranchised

up in 2001, provided the Peruvian judiciary with a wealth of

indians, eccentric local folk, and a couple performing strange

information, much of which would prove essential for the

cannibalistic sacrifices. As the investigation progresses,

prosecution and ultimate convictions of Fujimori and the

Tomás entertains Lituma with the surreal tale of a precarious

leader of Sendero Luminoso, Abimael Guzmán.

love affair. Death in the Andes is both a fascinating detective

The findings of the TRC also demonstrated how

novel and an insightful political allegory. Mario Vargas Llosa

racial and cultural discrimination of Andean and native

offers a panoramic view of Peruvian society, from the recent

populations played a fundamental role in the conflict:

social upheaval to the cultural influences in its past.

according to its estimates, of the more than 69 000 dead and disappeared, 75% were native Quechua speakers or

24 / Creative Feel / December 2016 / January 2017

Vargas Llosa won the Nobel Prize in Literature in 2010 and is Peru’s best known novelist. In the 1980s, the writer

Images of Peru courtesy of Indra Wussow was a presidential candidate and lost in 1990 to Alberto Fujimori. Vargas Llosa became a fierce defender of the TRC, in opposition to many of his colleagues who regarded him as politically suspect. Because his novel was published shortly after his failed presidential campaign, many of his critics felt that his book was too one-sided and drew too dark a picture of the Peruvian reality.

Many consider him conservative, but maybe he is just a realist who understood that a revolutionary utopia will not lead Latin America into paradise but into devastation.

The troubled land has staggered from bad to worse, from one dictatorship to the next, and is still recovering from its wounds today.

Death in the Andes is not a realistic account of events, brought by a colporleur from the Peruvian highlands – Vargas Llosa masterly combines magic realism and postmodern ideas to link the power of the Sendero Luminoso’s terror of virtues with its appropriation of the ancient indian myths and rites to something universal.

Something universal that does not only belong to the history of Peru but to the history of mankind: the belief in the necessity of the human sacrifice.

This intense story of disappearance and death, the wall of silence that surrounds the investigation, the juxtaposition of the violence of the Sendero with that of the state and the apathy of the defenseless victims, introduces us profoundly into death’s melody and uncovers the streams of blood that seeped into the Peruvian soil.

The happy ending to this book’s love story is thwarted by the ancient ecstasy of dissolving boundaries. Guilt and redemption are forced on everyone. Seduction and power take possession. Something has happened that cannot be compensated anymore: the destruction of souls through guilt and the utmost breech of taboo.

It helps us see that deeper truth that is often subscribed to literature.

Two other important novels from Peruvian writers are Alonso Cueto’s The Blue Hour (2007) and Red April (2008) by Santiago Roncagliolo. CF

Creative Feel / December 2016 / January 2017 / 25

26 / Creative Feel / December 2016 / January 2017

Love, tragedy, racism, immigration and gang rivalry The Fugard Theatre production of West Side Story, which enjoyed a staggeringly successful, sold-out run at the Artscape Opera House, Cape Town in 2015, is coming to the Joburg Theatre, Johannesburg in January 2017.

W

ith this production of West Side Story, Eric Abraham and the Fugard Theatre, have created a phenomenal 100% South African production on an unprecedented grand-

scale that has left audiences mesmerised night after night during the debut run. Abraham and the Fugard Theatre have become renowned as the creators and producers of other outstanding runaway hits like The Rocky Horror Show, Kat & the Kings, Orpheus in Africa and Cabaret. West Side Story is the

Creative Feel / December 2016 / January 2017 / 27

Fugard Theatre’s first out of house production, five years on

songs ‘Something’s Coming’, ‘Maria’, ‘I Feel Pretty

from the iconic theatre’s official opening in 2010.

and ‘Tonight’.

This grand-scale, multimillion-rand production

Inspired by the timeless story of Romeo and Juliet, West

showcases extraordinary South African talent from set,

Side Story takes Shakespeare’s star-crossed lovers, and places

lighting, sound and costume design to choreography and

them in the vibrant battleground of New York City’s West

musical and stage performance. Everything about this

Side in the 1950s, an ethnic, blue-collar neighborhood. In the

show has been done locally and took two years to plan.

early 1960s, much of the neighborhood would be cleared in

The Artscape programme notes explain that creating the

an urban renewal project for the Lincoln Center, changing the

stage for this production, which was done partly by the

neighborhood’s character. The musical explores the rivalry

internationally lauded designer Johan Engels, who died in

between the Jets and the Sharks, two teenage street gangs of

November 2014 before being able to complete his vision,

different ethnic backgrounds. The members of the Sharks, from

required 10 784 kilograms of steel, 4 500 bolts, 5 800

Puerto Rico, are taunted by the Jets, a white gang.

kilograms of aluminium and 4 900 ‘man hours’.

West Side Story, Leonard Bernstein, Arthur Laurents

In the midst of this deep-seated rivalry, Maria, the sister of Bernardo, the leader of the Sharks, and Tony, a former

and Stephen Sondheim’s musical theatre masterpiece,

member of the Jets and best friend of the gang leader Riff,

premiered on Broadway in New York in 1957 and is based

discover that ancient grudges are no match for true love.

on Jerome Robbins’ original conception. It is arguably

Their warring factions, however, refuse to back down, and

one of the world’s greatest musicals with Bernstein’s

the ‘rumbles’, romance, and resentment lead the bloody path

magnificent score which includes the world famous

to the lovers’ ultimate, tragic conclusion. The dark theme,

28 / Creative Feel / December 2016 / January 2017

“West Side Story, Leonard Bernstein, Arthur Laurents and Stephen Sondheim’s musical theatre masterpiece, premiered on Broadway in New York in 1957”

Creative Feel / December 2016 / January 2017 / 29

“Inspired by the timeless story of Romeo and Juliet, West Side Story takes Shakespeare’s starcrossed lovers and places them in the vibrant battleground of New York City’s West Side in the 1950s”

30 / Creative Feel / December 2016 / January 2017

sophisticated music, extended dance scenes and focus on social problems marked a turning point in American musical theatre and remains one of American musical theatre’s most revolutionary and much loved treasures.

West Side Story, with its remarkably salient social message seems to be so very relevant to the present problems of South Africa: racism, immigration, gang rivalry and clashes of different ethnic backgrounds. While still set in the 1950s in New York, Eric Abraham and the Fugard Theatre have created a phenomenal, 100% South African production with the stellar creative team of Matthew Wild as director, CharlJohan Lingenfelder as musical director and conductor, and choreographer Louisa Talbot.

Reprising their roles as Tony, Maria and Bernardo respectively, will be Fleur du Cap Theatre Award winners Jonathan Roxmouth, Lynelle Kenned and Christopher Jaftha. Sharing the title role once more with Lynelle Kenned will be the London-based actress and opera singer, Filipa van Eck, who will perform the role of Maria once a week. Bianca le Grange returns to reprise her role of Anita.

The Jets gang is led once again by Stephen Jubber as Riff, backed by a superb cast that includes Daniel Buys (24 January to 18 February 2017) and Grant Almirall (19 February to 5 March 2017) as Action.

Reviews of the 2015 Cape Town production stated that ‘the musical is buoyed by a youthful energy with its simmering underlying tensions and hostilities and the superb all-round ensemble cast bring it magically to life. There is not a wasted moment on the stage, not a single superfluous action, motion, lighting or scene change as each flows magically and seamlessly into the next.’

‘University of Cape Town Opera School graduate Lynelle Kenned is superb as Maria, who Tony spots at a local dance. The two instantly fall in love but it is a youthful passion that we know is doomed. Roxmouth and Kenned capture the vulnerability of these two young people caught up in currents beyond their control. Roxmouth makes for an angelic, clean-cut Tony, unlike the rest of the tattooed, rough Jets, while Kenned beautifully captures Maria’s subtle determination to follow her heart.’ ‘…This is clearly a creative team effort. Some musicals you go and see for the music. Others, you see for its clever lines. While with some, you go and see for the one or two songs or characters that typify the musical or perhaps for the costumes and set design. This production has it all.’ ‘…Do yourself a favour and go and see this showcase of local talent at its best. It’s cheaper than buying a ticket to see it on Broadway or in the West End and it is every bit as brilliant as any international production, if not better.’

The season will run from 24 January to 5 March 2017 and tickets are now on sale through 021 461 4554, Computicket, 0861 915 8000 or from the Joburg Theatre directly. CF

Creative Feel / December 2016 / January 2017 / 31

The art of directing musicals Matthew Wild is one of the most versatile

Creative Feel: You have been very successful with your recent

and prolific South African theatre directors

productions of musicals for the Fugard Theatre. What attracts

of his generation, equally at home staging operas, musicals, new plays and classic

you to directing musicals?

Matthew Wild: Most of my time is spent working on opera, which will always be my first love, but directing musicals

texts. His productions have been seen on

provides a change of pace and focus that I really enjoy.

stages throughout South Africa, as well as

performers, who can merrily surmount any acting, singing

I love working with brilliant triple-threat musical theatre

in Germany, Sweden, Ireland and Australia.

and dancing challenges I throw at them – simultaneously!

In early 2015, he was appointed as the

labour-intensive to stage , with location and costume

Artistic Director of Cape Town Opera.

Most recently, he has won widespread acclaim for a series of musicals for the Fugard Theatre. His multi-award winning production of The Rocky Horror Show opened in 2013, and closed 19 months later after 444 performances. His staging of Kander and Ebb’s Cabaret opened at the same theatre in early 2015, followed by a major new revival of West Side Story

This is more difficult in opera. Musicals are typically very changes, lots of choreography (which takes a while to create), lots of technical hurdles to solve – so you have to do lots of planning and spreadsheets and careful scheduling, which I enjoy. It’s also good fun to let your hair down in a piece which will have wide audience appeal (such as The Rocky Horror Show), when you’re used to short opera runs and a slightly more staid audience.

CF: Do you find that you have a very different approach when directing musicals as opposed to directing opera or classical theatre?

MW: Contemporary opera direction has developed because a handful of established works are repeated frequently around the globe – directors are continually looking for novel ways

at the Artscape Opera House, which now

to present classics like La Bohème, La traviata and The Ring.

transfers to Johannesburg in January 2017.

the work or provoke the audience; less extreme ones like me

32 / Creative Feel / December 2016 / January 2017

Some directors are very brazen in their efforts to deconstruct

seek out a new conceptual or narrative focus to illuminate

constructed pieces are also very high and very heavy. Johan’s

a certain aspect of the piece. It’s much the same with

untimely death left his concept drawings to be realised into

productions of frequently produced classic plays, for instance

finished designs by Conor Murphy, and it was a great honour

those of Shakespeare or Chekhov. I’ve made a habit of picking

to give life and movement to the concepts of this great South

concepts for operas and plays which sound unlikely – Rossini

African designer.

set in an airport, or Shakespeare staged as a kung fu movie – but which (I hope) illuminated the texts in a surprising and

CF: How did you manage to create a phenomenal 100%

intelligent way.

South African production of West Side Story and still keep the

It’s a bit different with big musicals – by their very nature,

‘American’ vibe of this classic musical?

they are commercial products which need to attract a wide

MW: When I got the gig, people asked me if I would set the

audience, who often arrive with quite set expectations.

production locally – in the Cape Flats or a gang-ridden

Something like Rocky Horror doesn’t need a heavily

township. It’s hard to imagine a literal location shift for

conceptual staging; for a work like that, I try to find a fresh

West Side without rewriting the book and lyrics – it’s

focus in subtler ways, playing with audience expectations

all written in dialect, and every second page references

along the way.

America and Puerto Rico – but I wanted to put New York in the background and bring out the universal aspects of the

CF: West Side Story in Cape Town earned you rave

story. So we eliminated all local colour from the settings,

reviews and it is eagerly awaited in Joburg. It was on an

creating an abstract concrete jungle in an indeterminate

unprecedented grand scale? Is this the first time you directed

late 20th century time period. Birrie le Roux looked at gang

on this scale?

outfits from different countries and eras to create tough

MW: West Side Story was the first production I created for

but timeless uniforms for the Jets and Sharks, which made

an opera house stage – and I was stunned and slightly

a clear but unobtrusive visual links with gang warfare

overwhelmed by the proscenium-filling design concept which

closer to home.

Johan Engels first presented to me. Johan loved working on an epic scale, and was determined to make a towering

CF: After directing West Side Story in Joburg, what are your

concrete box to symbolise the tough streets of New York,

plans for 2017?

using every possible inch of on – and off – stage space

MW: I will direct Funny Girl for the Fugard, followed by new

and every piece of available stage machinery to produce

productions of Der fliegende Holländer and The Magic Flute

spectacular effects .There is a lot of empty space in the

for Cape Town Opera, and make my debut in Switzerland in

design concept (great for the high energy dancing), but the

the spring with a new production of Don Giovanni.

Creative Feel / December 2016 / January 2017 / 33

Lynelle Kenned who plays Maria and Craig Urbani who plays Captain Von Trapp with the cast of the Von Trapp children

THE HILLS ARE ALIVE! This festive season, The Playhouse Company is staging a fresh, new production of The Sound of Music from 26 November to 30 December.

34 / Creative Feel / December 2016 / January 2017

The Sound of Music Creative Team: Ralph Lawson, Mark Malherbe, Sean Bovim, Linda Bukhosini, Denis Hutchinson

D

irected by award-winning director and actor,

Von Trapp. When Von Trapp, who is strongly opposed to

Ralph Lawson, with a leading creative team

the ruling Nazis, is ordered to accept a commission in the

of Sarah Roberts (costume designer), Denis

German navy, he and Maria hatch a plan to flee the country

Hutchinson (set and lighting designer), Sean

with the children.

Bovim (choreographer), Mark Malherbe (sound designer),

Many of the songs from the musical have become family

and featuring a star-studded cast and the always excellent

favourites, such as ‘Eidelweiss’, ‘My Favourite Things’, ‘Climb

KZN Philharmonic Orchestra, The Sound of Music promises

Ev’ry Mountain’, ‘Do-Re-Me’, and the title song, ‘The Sound

to delight the whole family, from 4 to 104!

of Music’.

Being staged in Playhouse’s magnificent Opera

Popular stage and TV actor Craig Urbani, who is

Theatre from 26 November to 30 December, this heart-

well known for his roles in the TV programmes Isidingo

warming story of Maria and the Von Trapp family

and Ashes to Ashes, plays Captain Von Trapp. He is

features the original music and lyrics of the legendary

joined on stage by multi-talented entertainer, Lynelle

musical theatre writing team, Richard Rodgers and Oscar

Kenned as Maria. Currently the presenter of the TV

Hammerstein II, with the book written by Howard Lindsay

show Pasella, Kenned is also a member of The South

and Russel Crouse.

African Sopranos.

The production saw its debut on Broadway in 1959,

The kindly Mother Abbess is played by opera-trained

when it won five Tony Awards, but remains just as fresh,

singer, Arline Jaftha, who has performed for Her Majesty

fun and relevant for today’s audiences as it was all that

Queen Elizabeth II, while Sister Margaretta is played by

time ago.

soprano Thandulwazi Ncube, who has featured in many

Set in Austria on the eve of World War II, the musical tells the story of Maria Rainer, who takes a job as governess

productions both locally and abroad.

KZN favourites Liesl Coppin, Frank Graham, Shelley

to the large Von Trapp family while she decides whether

McLean, Erin Fourie, Alison Cassels and Adam Doré also

or not to become a nun. She falls in love with the seven

feature in this production, which promises to enchant

children, and eventually with their widowed father, Captain

families of all ages.

The Sound of Music rehearsal: Frank Graham who plays Max Detweiler, Liesl Coppin who plays Elsa Schreider and Craig Urbani who plays Captain Von Trapp

Tickets: R150, R180, R200 and R225 if pre-booked, and

themselves who is to be released. This sets the cat among

R170, R200, R220 and R245 at the door one hour before the

the pigeons and what follows is a gritty telling of each

show, space permitting. Substantial block booking discounts

prisoner’s fascinating personal story. Tickets are R80 for the

are available on ten or more tickets by calling Dawn on

preview on 15 December, and R100 throughout thereafter.

(031) 369 9407.

Please note that no under 16s are allowed.

The Durban Hilton Hotel is offering all ticket-holders a

Also showing this December at The Playhouse is Glued, a

special rate on dinner, bed and breakfast, as well as transport

hilariously irreverent comedy starring three of South Africa’s

to and from the Playhouse. For further information, please

best comedy talents: Krijay Govender, Leeanda Reddy and

call (031) 369 9596/9540.

Kasaren Pillay.

It does not only end with The Sound of Music at The

With just two performances only (22 & 23 December),

Playhouse this festive season. The Playhouse also brings you

Glued is sure to keep audiences glued to every word these

the celebrated play, The Game, by highly-acclaimed director

mirthful performers utter, and have you rolling in the aisles.

and playwright, Duma Ndlovu. It runs in The Playhouse

Sending up the screen-addicted generation with the team’s

Loft theatre from 15 to 24 December. Some of South

own style of skit comedy, Glued covers everything from

Africa’s top names in the entertainment world will star in

soapies to news to reality shows, and even wildlife TV! With

the production: Sindi Dlathu; Dawn King; Nqobile Ndlovu;

previous hits like Buckled and Queens of Comedy, it is clear

Nomasonto Dlamini; Sheila Khumalo; Buhle Samuels;

that this team with their new production Glued will provide

Lungile Mkhize; and Vuyiseka Cawe. The Game is set in a

audiences with the perfect comedy treat for the festive season.

fictitious women’s prison in Middelburg just a few months

Tickets for this limited season are selling at R150. CF

before South Africa’s first democratic elections, and amid the crumbling embers of the apartheid state. The prisoners

Tickets for all three productions are available for purchase

are told that one of them will be released to mark the

at Computicket nationwide, or by dialing The Playhouse box

occasion. The catch is that the prisoners must decide among

office on 031 369 9540/9596.

36 / Creative Feel / December 2016 / January 2017

Lynelle Kenned who plays Maria with the cast of the Von Trapp children Creative Feel / December 2016 / January 2017 / 37

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

Abel Selaocoe, Thandazile Radebe, Beth Diane Armstrong, Monageng ‘Vice’ Motshabi, Dineo Seshee Bopape and Benjamin Jephta join a pantheon of South Africa’s creative luminaries.

38 / Creative Feel / December 2016 / January 2017

O

ver a period of 36 years, 150 exceptionally

works for the Main Programme at the National Arts Festival

talented, young South Africans have received

in Grahamstown in 2017.

Young Artist Awards, one of the country’s leading arts awards. The list of past recipients includes

‘Over the years, the Standard Bank Young Artist Awards have grown in stature,’ says Hazel Chimhandamba, Head

some of the country’s most accomplished art luminaries,

of Group Sponsorships at Standard Bank. ‘The Awards

including Sibongile Khumalo, William Kentridge, Pieter-

continue to provide a wonderful platform and opportunity

Dirk Uys, Gregory Maqoma, Janice Honeyman, Mbongeni

for the winning artists to bring their work to a national and

Ngema, Helen Sibidi, Robyn Orlin, Andrew Buckland, Concord

international arena. It has created a rich legacy, providing

Nkabinde and Johnny Clegg.

role models for future generations to value, respect and

Abel Selaocoe (music), Benjamin Jephta (jazz), Beth Diane Armstrong (visual art), Dineo Seshee Bopape (performance art), Mongane ‘Vice’ Motshabi (theatre) and

aspire to whilst enriching and expanding the country’s cultural landscape.’

‘These awards are more than just an annual platform

Thandazile Radebe (dance) all now stand as examples of the

which culminates in the presentation of new work,’

current strength of the South African creative sector and its

says National Arts Festival Executive Producer, Ashraf

enormous future potential for greatness.

Johaardien. ‘It is a yearlong process during which key

The awards are a partnership between the National Arts

industry players come together specifically to identify and

Festival and Standard Bank, which has sponsored the award

assess the creative output of emerging artists who show

since 1984. Together, they have created a reference of South

potential to make a meaningful contribution to arts and

Africa’s artistic talent, and have set a benchmark for future

culture throughout their careers. The awards programme

young artists, performers and musicians to strive to surpass.

then significantly enhances their professional development

Standard Bank Young Artist Award winners are selected

by providing the necessary resources and space for them

from a variety of categories by the National Arts Festival

to showcase themselves and their work at South Africa’s

Committee, chaired by Brett Bailey. The award includes a

foremost arts festival. For me, it’s really about the important

cash prize, as well as support to develop and premiere new

work of identifying and cultivating exceptional talent.’

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

Beth Diane Armstrong, the 2017 Standard Bank Young Artist for Visual Art is regarded as one of the leading sculptors of her generation.

Beth Diane Armstrong

BETH DIANE ARMSTRONG

S

ince completing her Master of Fine Art with

globally acknowledged platform. Now with this award and

distinction at Rhodes University in 2010, Beth Diane

its reach, I can do this.’

Armstrong has consistently created ambitious and fascinating structures out of mild and stainless steel.

Armstrong’s works appear in a variety of corporate, public and private spaces, including the new Standard Bank building

Her works display skill, craftsmanship and an expression

in Rosebank, Rhodes University’s permanent collection,

of her fascination with structure: organic, architectural,

Grahamstown’s NELM (National English Literary Museum),

mathematical, psychological and conceptual. Although

and she was commissioned by the Kern Kunst Westvoorne

celebrated for her monumental sculptures, Armstrong

Foundation to create a large permanent public artwork in

works in a variety of media, including printmaking, video,

Oostvoorne in the Netherlands. She has exhibited her work in

photography, drawing and installations.

solo and group shows both locally and abroad, notably at the

‘The Standard Bank Young Artist Award for Visual

Design Miami/Basel design fair in Basel, Switzerland, and at

Art 2017 will have a huge and, I’m sure positive, impact

Design Miami, Florida, and her eagerly anticipated next solo

on my career, obviously,’ says Armstrong. ‘As an arts

exhibition will open at Everard Read in mid-2017.

practitioner, one hopes that our ideas reach as broad an

‘Standard Bank and the National Arts Festival’s desire

audience as possible, and this award affords and allows

to invest and cultivate the arts so readily in South Africa is

me the unlimited and unprecedented chance to do this.

inspiring. Winning this award is a huge and exceptional privilege.

I’d like to remind the rest of the world what we are doing

The fact that I have been chosen for 2017 and thus afforded this

on the African continent – and give my agenda to create

opportunity to showcase my work on such a prestigious and

larger, more challenging and more demanding structures a

challenging platform is humbling and a huge honour.’

40 / Creative Feel / December 2016 / January 2017

Creative Feel / December 2016 / January 2017 / 41

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

Multimedia artist Dineo Seshee Bopape has been awarded the 2017 Standard Bank Young Artist Award for Performance Art. Her experimental video montages, sound, found objects, photographs and sculptural installations have been shown across the US and Europe.

DINEO SESHEE BOPAPE

T

hrough creating work that engages with powerful

Her work featured at the 12th Biennale de Lyon; this year’s

socio-political notions of memory, notion

Marrakech 6: Not New Now, in Morocco; and the 32nd São

and representation, Dineo Seshee Bopape has

Paulo Art Biennial: Live Uncertainty.

received recognition and awards across the globe,

Her critically acclaimed solo shows have included

including the 2015 SmarArt Award, the 2008 MTN New

the 2015 slow-co-ruption at the Hayward Gallery Project

Contemporaries Award, and the recipient of a 2010 Columbia

space in London, and Untitled [of occult instability]

University Toby Fund Award. She was also a finalist in the

(feelings) at Palais de Tokyo in 2016. ‘What inspires me

prestigious 2014-2015 Rolex Mentor and Protégé Arts

in my work, is a need to try understand the world, to

Initiative in the Visual Arts category.

try understand myself, to try understand the time that

Bopape was born in Polokwane, Limpopo in 1981 and

we live in,’ she says. ‘Thinking about problems, other

studied painting and sculpture at the Durban Institute of

people’s problems, my own problems, history, memory,

Technology. She then furthered her studies and graduated

almost anything or everything.’

from De Ateliers in Amsterdam in 2007, before completing

And her advice for young artists in South Africa?

her Master’s in Fine Arts at Columbia University in New York

‘Demand an artists’s fee when you’re invited for a show

in 2010.

because that way you keep on surviving. The other

Bopape’s work has been shown at prestigious galleries

advice is to keep playing in one’s work, to learn to

and top art fairs across the globe. These include, the New

listen to your own voice, find a community of artists or

Museum in New York; the Institute of Contemporary Art,

people who share your voice or who can nurture your

Philadelphia; and the Mart House Gallery in Amsterdam.

voice as well.’

42 / Creative Feel / December 2016 / January 2017

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

The 2017 Standard Bank Young Artist for Music, Abel Selaocoe, has been recognised for exceptional ability as a cellist. Throughout his young career, Selaocoe has explored the capacity of the cello across a wealth of genres, from giving concerto performances and solo classical recitals to collaborating with beatboxers.

ABEL SELAOCOE

A

t 24, Abel Selaocoe has already amassed an

Selaocoe has received numerous awards and scholarships,

impressive CV that speaks to his talent, passion

all of which have aided in the growth of his career. He was

and determination. As an artist, Selaocoe strives

the recipient of first prize at the Phillip H Moor Competition

to reinvigorate the role of the cello, and regularly

(South Africa), second prize in the Yamaha National

collaborates with jazz and African musicians.

As a concert soloist, Selaocoe has worked with many of

Competition (South Africa) and is the winner of the 2012 Sir John Barbirolli (UK) and RNCM Prizes, performing with

South Africa’s top orchestra’s, including the KwaZulu-Natal

the RNCM (Royal Northern College of Music) Symphony

Philharmonic, Cape Town Philharmonic and Johannesburg

Orchestra at Bridgewater Hall. He received scholarships to

Philharmonic Orchestras, and the Gauteng Camerata.

study a First Class Post-Graduate Diploma and a Bachelor of

He has also performed throughout the UK, showcasing

Music, both under renowned cellist Hannah Roberts.

Tim Garland’s Cello and Saxophone Double Concerto at

Of Selaocoe, Roberts says, ‘Abel’s performances are

Bridgewater Hall and playing with the Torre String Quartet

characterized by enormous flair, energy and imagination and

at Wigmore Hall. Selaocoe has also toured with the Zelkova

his love of music and generosity of spirit shine through to

String Quartet and the Quartet of Peace.

his audiences. He is a very natural communicator and brings

His love of world music and improvisation led to his cofounding Project Jam Sandwich (now called Kabantu – ‘about the people’), which is a global folk fusion quintet whose

great personal charm to his interactions with his fellow musicians as well as the listener.’

Earlier in the year, Selaocoe was awarded the third Karl

successes have brought them invitations to perform in festivals

Motesiczky Cello Scholarship, which he is currently using

all over the UK, from the BBC Proms to Ulverston International

to study a two-year Master’s degree at the Royal Northern

Festival, as well as several broadcasts on BBC Radio 3.

College of Music in Manchester.

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

Thandazile Radebe’s ability to perform and choreograph witty, yet emotionally charged dance works dealing with universal socio-economic issues has earned her the 2017 Standard Bank Young Artist Award for Dance.

THANDAZILE RADEBE

T

handazile Sonia Radebe is considered one of the

(2011) and Ngizwise (2014/2015), and her site-specific In &

country’s leading contemporary choreographers

Out installation performances in the streets of Diepsloot in

and dancers and has toured Africa, the UK and

2011 have been lauded by local and international critics.

Europe. Through her exceptional choreography and

Radebe’s acclaimed collaborations with American arts

dancing, Radebe has taken her work to some of South Africa’s

activist Rhodessa Jones and Canadian dance maker Jennifer

top stages and festivals, exploring conventional theatre as

Dallas and her 2010 performance in the corps de ballet in

well as alternative spaces, such as outdoor venues.

Dada Masilo’s neo-African Swan Lake have added to an

Radebe began dancing when she was eight years old in Soweto, joining Griffiths Arco Matlala’s Arco Dance Theatre.

With Arco Dance Theatre, ten-year-old Radebe showed

incredible professional persona that seems to strengthen each year.

Currently, Radebe serves as managing director of

off her already blossoming potential at Dance Umbrella’s

Song and Dance Works and has amassed a slew of awards,

community dance showcase. Her love of theatre, dance and

including being counted as one of the 200 Young South

audiences led her to Jacob ‘Jackie’ Mbuyiselwa Semela’s

Africans by the Mail & Guardian in 2013; Best Female

children’s classes at the DOCC/YMCA in Orlando, which led

Dancer at Gauteng Dance Manyano in 2011; the Gauteng

her to working with Soweto Dance Theatre and beginning

MEC Award for Best Female Dancer in Contemporary Style in

her professional career in 1997.

2003 and earlier in 2016, was awarded the Market Theatre’s

In 2003, Radebe graduated from Moving into Dance

Sophie Mgcina Emerging Voice Award for Choreography.

Mophatong’s (MIDM) teacher’s training course and stayed

Radebe is passionate about creating positive and visible

with the company as a principal dancer, teacher and

role models for the youth, as well as the development and

choreographer until 2013. Her solo works, such as Inception

empowerment of women and the passing on of oral history.

46 / Creative Feel / December 2016 / January 2017

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

Storyteller, writer, director, mentor and educator, Monageng ‘Vice’ Motshabi has made a decided impact on South African theatre through his unique approach to past, present and future. He is the 2017 Standard Bank Young Artist for Theatre.

MONAGENG ‘VICE’ MOTSHABI

M

onageng ‘Vice’ Motshabi has directed and

what might have happened if the 1913 Land Act had

written celebrated plays that both confront

been rebelled against. Fittingly, the play was produced

South African history and aim to help

a century after Sol Plaatje’s Native Life in South Africa

audiences reclaim and affirm a sense of self.

was published.

In 2011, Motshabi directed a fresh interpretation of the

As an educator and mentor, Motshabi has had a

iconic play, Sizwe Bansi is Dead. The production, which played at

longstanding relationship with the Market Theatre

PACOFS (Performing Arts Centre of Free State), the Windybrow

Laboratory and served as dramaturge for their Zwakala

and had two seasons at the Market Theatre, provided a way for

Festival, he has also worked with the Gauteng Theatre

young and new audiences to connect with the local classic.

Practitioners’ Ishashalazi, the Savannah Trust in Harare

Book of Rebellations, co-written by Motshabi and Kgafela

and many others. Notably, he has worked with Twist

oa Magogodi, is part satire, part comedy, part farce that

Theatre in Durban and led processes of group collaboration

envisions a post-apocalyptic future filled with greed and

with younger emerging artists, resulting in the

corruption. As director, Motshabi fused music and drama to

development of at least five new South African plays.

create what has been called ‘a disturbing theatrical piece’.

In 2015, with Bobby Rodwell’s 1997 workshopped piece, The Story I Am About to Tell, Motshabi revisted, reimagined and

Motshabi is currently working on publishing a collection of South African plays.

‘I live by the words of Ben Okri who says that writers

rethought the South African Truth and Reconciliation (TRC)

are dangerous when they tell the truth, writers are also

period and the way we understand it today.

dangerous when they tell lies,’ says Motshabi. ‘I try to be

Earlier this year, Motshabi directed Ompile Molusi’s Setswana play, Mogatapele, an imagination of

48 / Creative Feel / December 2016 / January 2017

responsible with the work I create. Everything I do has an impact to shift things.’

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

At 23, bassist and composer, Benjamin Jephta has already made a name for himself as one of South Africa’s premier jazz double bass and electric bass players. As the 2017 Standard Bank Young Artist for Jazz, he joins the long list of previous winners who have served as role models, mentors and collaborators throughout his career.

BENJAMIN JEPHTA

B

enjamin Jephta is a graduate of the jazz

Mrubata, Sibongile Khumalo, Paul Hanmer, Feya Faku,

programme at the prestigious South African

Jimmy Dludlu, Simphiwe Dana, Mark Fransman, Hugh

College of Music at the University of Cape Town.

Masekela, Melanie Scholtz, Marcus Wyatt, Bokani Dyer

He has been performing in venues and festivals

and many others.

locally since the age of 15, having been mentored by 2012

He is involved in various original projects, ranging

SAJE Lifetime Achievement Award in Jazz Education

from playing double bass in a free jazz orchestra to

winner, Fred Kuit. In addition, he has performed with

synth-bass in a pop band. He also spearheads two

various orchestras and small ensembles in Africa, Europe

projects that play his original material: a six-piece

and Asia.

African/fusion/funk project called the Tribe of Benjamin,

Jephta has achieved a great deal in his relatively

and his acoustic quintet, with which he released

short career. He was recently a runner up in the

Homecoming, plays music that draws on gospel and South

respected 2016 SAMRO Overseas Scholarships for

African roots.

instrumentalists and his debut album, Homecoming

Currently, Jeptha is in the process of recording new

(2015) was nominated for Best Jazz Album for the South

material for his next album and plans on releasing a

African Music Awards and Metro FM Music Awards.

single soon. ‘I will be collaborating with other artists on

Jephta has performed with a wide range of celebrated

new projects,’ he says. ‘And I would like to tour, not only

local and international musicians, including McCoy

in South Africa and Africa, but also internationally.’

Creative Feel / December 2016 / January 2017 / 51

2 0 1 7 | S TA N DA R D B A N K Y O U N G A RT I S T S

A balancing act into the future The recently appointed executive producer of the National Arts Festival in Grahamstown, Ashraf Johaardien, playwright and arts administrator, is excited by the challenges this newly created role will bring to his artistic and administrative life. Talking to Creative Feel, he outlines his ‘Balancing Act’ and what it will mean to the performers and the changing audience of the future.

J

ohaardien is full of praise for the previous artistic

could have a programme compiled by diverse minds. We

director of the National Arts Festival, Ismail Mahomed,

have a new artistic committee of deeply engaged artists and

who left after eight successful years to take on the role

cultural workers who are bent on rejuvenating the Festival

of CEO at the iconic Market Theatre in Johannesburg.

and orienting it to meet the challenges and demands of our

He gives him all the credit for the successful growth of the

times. The committee is divided into four genres – theatre,

National Arts Festival. It is that growth and success that

dance, music and visual arts – and we have appointed a

prompted the board of directors, under chairman Ayanda

member representing each of these genres to curate the

Mjekulaand, and National Arts Festival CEO Tony Lankester to

2017 programme around the theme “The Art of Disruption”:

create the position of executive producer and to have re-shaped

Samson Diamond on the music programme, Warona Seane

the role of the artistic committee, giving it a greater curatorial

on the theatre programme, and Ernestine White and

role – in line with many arts festivals around the world.

Gregory Maqoma on the visual arts and dance programmes

This new role at the National Arts Festival, which is seen

respectively. The curators will change every year, with

as a balancing act into the future by Johaardien, is meant to

different constellations of committee members responding

give life to the artistic committee’s curatorial vision while

to the submissions that we receive, and to the themes that

also building aspects of the programme that fall outside

emerge. I believe it will make for a stimulating space in

of the curation process. A challenge of aligning artistic

which audiences can engage both with the minds of these

and curatorial freedom with the strategic needs of donors,

curators and the works that they select.

sponsors and partners. ‘I have always been somebody who

‘Rather than an artistic director, the CEO of the Festival

likes to work within a team and brokering partnerships that

has appointed an executive producer – Ashraf Johaardien –

create deliberate value is a lot like interpretative dance: it

who will tie the programme together, find partners to co-fund

requires equal parts art, aptitude and heart.

the productions, and programme productions that do not fall

‘We have a core of well established festival visitors and we

within the parenthesis of the theme that we are exploring.

must make sure that we keep looking after them while at the

So apart from the works that open up and explore the “Art

same time making sure that the future audience is embraced,

of Disruption” theme, there will continue to be a selection

nurtured and guided. We need to help the young inexperienced

of choice pieces on the Main Programme that will satisfy a

performers who have worked so hard to bring their production

broad range of tastes, and of course the new works by our six

to the Fringe getting all the possible help. To have your work

outstanding Standard Bank Young Artist Award winners.’

performed or performing at the National Arts Festival is still a real honour and privilege for an artist and always should be.’

Current Chairperson of the Artistic Committee, Brett

The theme for the 2017 National Arts Festival (29 June to 9 July 2017) is ‘The Art of Disruption, which ‘looks at how the arts respond to social movement and upheaval, how art

Bailey, further elaborated on the changes that have taken

itself disrupts the social fabric, and also at disruptions of

place behind the scenes for the National Arts Festival. The

genres, with an emphasis on cross-cultural and inter-genre

artistic committee was previously called the artistic advisory

collaborations,’ says Bailey. ‘Disruption can be both distractive

committee, with the artistic director making programming

and a catalyst for change and growth. Apart from the various

decisions for the main festival programme. A decision was

productions on the Main Festival Programme that resonate

made ‘to create a space in which committee members could

with this theme, we will spotlight works on the Arena and

stretch their curatorial wings, and the National Arts Festival

Fringe programmes that also resonate with this theme, giving

52 / Creative Feel / December 2016 / January 2017

Ashraf Johaardien. PHOTO Jan Potgieter signposts to audiences that are intrigued with exploring how a

Ecce Homo!, adapted from Tim Miller’s Body Blows and The

broad range of artists are responding to our era of disruption.’

Quiet Violence of Dreams, based on the novel by K. Sello

Johaardien’s previous experiences as the head of Arts and

Duiker. His work has been performed and produced at

Culture at the University of Johannesburg, as well as Wits

mainstream theatres and festivals in South Africa, Ireland,

University, have equipped him well for this new position as

the UK, the Netherlands and the USA.

executive producer. He also headed the Arts & Culture Trust

Talking to him about balancing the future, seeing his

and during all these years he wrote, produced and performed

enormous enthusiasm for the arts and the unique arts festival in

work that has been staged at the National Arts Festival across

Grahamstown, the endless possibilities his new position brings

the event’s Main, Fringe and Arena stages. His first appearance

with it, one can only agree with Johaardien’s initial statement

at the Festival was in the 1993 Fringe production Suip!. He has

after the confirmation of his appointment: ‘The National Arts

worked in theatres in both Johannesburg and Cape Town.

Festival has an unrivalled reputation as the leading continental

His plays include Coloured Son X (debut), Salaam Stories/ SALAAM, Happy Endings Are Extra, STRIPPED, Miracle and

showcase of local and international creativity. To be able play a meaningful part in that is truly amazing.’ CF

Creative Feel / December 2016 / January 2017 / 53

SOUTH AFRICA: THE ART OF A NATION The British Museum is currently hosting the first major UK exhibition on South African art that explores a 100 000-year history through archaeological, historic and contemporary artworks, which look at the long and rich artistic heritage of the country. South Africa: the art of a nation uses art to tell the story of the region’s deep history, the colonial period, apartheid, the birth of the ‘rainbow nation’ and South Africa today. Objects from the British Museum’s own South African collections are displayed alongside contemporary acquisitions. There are also significant loans in the exhibition, including objects that have come to the UK for the very first time.

54 / Creative Feel / December 2016 / January 2017

S

outh Africa: the art of a nation sheds light on the varied artistic achievements of South Africa with around 200 objects arranged chronologically across seven key episodes from the country’s history, from

ancient history to the present day. Each section is illustrated with artworks by contemporary artists that provide new perspectives regarding South Africa’s past. One example of this approach is a new acquisition that the British Museum has made to its permanent collection for this exhibition, Karel Nel’s Potent Fields (2002). Nel created Potent Fields, with its two planes of red and white ochre, in the same year as the discovery of the approximately 75 000-year-old cross-hatched ochre at Blombos Cave in the Western Cape.

This discovery repositioned southern Africa, not Europe, as one of the earliest sites of artistic thought and creation.

The tension in the piece between white and coloured planes echoes the colour divide of apartheid. Nel collected the ochre in Nelson Mandela’s ancestral lands in the Eastern Cape, and so the artwork also acknowledges the balance that Mandela dedicated his life trying to create among all people in post-apartheid South Africa.

One of the most significant loans is the gold treasures of Mapungubwe, four of which have left South Africa for the very first time. From AD 1220 to 1290, Mapungubwe was the capital of the first kingdom in southern Africa.

These gold figures, discovered in three royal graves there, are among the most significant sculptures in Africa today.

They depict animals of high status – a cow, a wild cat and a rhinoceros, and objects associated with power – a sceptre and a bowl or crown. The only one of the Mapungubwe treasures to have travelled to the UK before is a gold bowl which underwent conservation work at the British Museum. The golden rhino is now the symbol of the Order of Mapungubwe, South Africa’s highest honour, first presented in 2002 to Nelson Mandela.

The gold treasures of Mapungubwe are evidence of new developments in artistic production at the start of

Esther Mahlangu’s collaboration with BMW

the second millennium around the time of the creation

Creative Feel / December 2016 / January 2017 / 55

Ox horns

of the first southern African kingdoms, as society

two-metre-wide textile The Creation of the Sun (2015), a

shifted towards more hierarchical styles of rule. These

collaborative piece from Bethesda Arts Centre in South

archaeological artworks are important in contemporary

Africa. The artists at the centre are descendants of South

South Africa for many reasons, not least because they

Africa’s first peoples, the San and Khoikhoi who have been

are evidence that complex societies existed in the region

inspired by archival recordings of their ancestors’ beliefs

immediately prior to the arrival of European settlers.

to produce contemporary representations of their founding

This history was hidden during the apartheid era when

stories, such as the creation of the sun.

the colonial concept of terra nullius, the myth of an

South Africa has a dynamic contemporary art scene

empty land, was used to legitimise white rule. In the

with a rapidly growing global reputation. A variety of

exhibition, gold treasures of Mapungubwe are displayed

contemporary works are on loan to the British Museum, from

alongside a modern artwork by Penny Siopis and a

a self-portrait by Lionel Davis to video featuring Candice

sculpture by Owen Ndou that encourage the viewer to

Breitz, and a 3D installation by Mary Sibande. These pieces

challenge the historic assumptions of the colonial and

conclude a show punctuated throughout with pieces by

apartheid eras.

artists including Willie Bester, William Kentridge and Santu

The British Museum has been collecting contemporary

Mofokeng. This exhibition will open the eyes of visitors to

African art for over 20 years, and this exhibition presents

the long and diverse history of South African art. Through

an opportunity to showcase some of the pieces acquired

the exploration of key episodes and objects from throughout

from South African artists. A recent acquisition to the

the country’s history, it will reveal unique insights into

British Museum’s permanent collection is a stunning

South Africa today.

56 / Creative Feel / December 2016 / January 2017

Transitions Willie Bester

Hartwig Fischer, Director of the British Museum says, ‘South Africa: the art of a nation is a chance to explore the long and diverse history of South African art and challenge audience preconceptions in the way our visitors have come to expect from a British Museum exhibition. Temporary exhibitions of this nature are only possible thanks to external support so I am hugely thankful to Betsy and Jack Ryan’s continuing commitment to sponsoring projects at the British Museum. I would also like to express my gratitude to our Logistics partner IAG Cargo who are safely transporting incredible loans that will allow audiences in London to see the unique and powerful stories these objects can tell.’ CF

South Africa: the art of a nation 27 October 2016 - 26 February 2017 Room 35, British Museum

Xhosa snuffbox

Great Russell Street, London WC1B 3DG

Creative Feel / December 2016 / January 2017 / 57

MANCHESTER BY THE SEA DIRECTOR: Kenneth Lonergan STARRING: Casey Affleck, Michelle Williams, Kyle Chandler, Lucas Hedges Manchester by the Sea tells the story of the Chandler family, a working class family from Massachusetts. After Lee’s (Casey Affleck) older brother Joe (Kyle Chandler) suddenly passes away, he is made the legal guardian of his nephew (Lucas Hedges). Lee is forced to deal with a tragic past that separated him from his wife Randi (Michelle Williams) and the community where he was born and raised. Set in the North Shore of Massachusetts, Manchester by the Sea is the new film written and directed by Kenneth Lonergan (You Can Count on Me and Margaret).

58 / Creative Feel / December 2016 / January 2017

AT CINEMAS 6 JANUARY 2017 Creative Feel / December 2016 / January 2017 / 59

And where were you?

Talking to Marianne Thamm about her latest book Hitler, Verwoerd, Mandela and me: A memoir of sorts turned out to be a very frank and open interview with Lore Watterson for Creative Feel – after an initial clash on what it means to be German from two different view points.

H

aving always been a great fan of Marianne Thamm’s writing, both as commentator-at-large and as bestselling author of great non-fiction books, which include I Have Life: Alison’s Journey,

and particularly her two most recent publications, To Catch A

Cop: The Paul O’Sullivan Story and PJ Powers’ memoir Here I Am, her first openly personal book Hitler, Verwoerd, Mandela and me: A memoir of sorts was eagerly awaited.

The official blurb by her publishers, Tafelberg, is short and to the point: ‘Marianne Thamm delves into her own unconventional life story. Her German father fought for

‘I was extremely hard on my father and as a child when I

Hitler and made munitions for Verwoerd. He married her

learned about the holocaust... I was horrified that I come

largely illiterate Portuguese mother who worked as a cleaner

from him. He was the perpetrator of what is regarded as one

in England. Today Marianne is the proud mother of two

of the most appalling acts of the 20th century.’

(black) teenagers... Hers is the story of the last century, of

Thamm starts the book by first burying her mother and

the defeat of bigotry and a new era ushered in by Mandela.

then her father – out of the way, as she explains. These dark

Sad at times, deeply moving and, like Marianne, hugely

surrealistic chapters, like ‘no she did not weigh her father’s

entertaining.’

ashes’, set the tone for her ‘personal memoir’. Thamm

It is a complex, intriguing book in which Thamm, an

describes herself as half-Portuguese, half-German, and

outspoken, gay feminist and political activist, is trying

was born in the United Kingdom, where her parents met

to understand her upbringing, her parents and brother,

after her father’s release as a prisoner of war. Her mother,

while mostly focusing on her father. She is at times really

a Portuguese immigrant, does not feature strongly in

unforgiving and harsh in her judgement of her father. It is in

Thamm’s book. It is her father, who joined the Hitler Youth

essence the story of a father and a daughter, and the initial

and fought in Hitler’s Wehrmacht, with whom Thamm has

anger with her father is still tangible during the interview.

a very complex relationship. At times it feels insulting how

60 / Creative Feel / December 2016 / January 2017

“He needed a lesbian daughter and two black grandchildren to fall in love with – without ever fully giving up his endless racial prejudice” for her father. It is a bit too stereotyped and also too easy

Good Vibrations: My Life as a Beach Boy

to reject her father so strongly while she herself grew up in

By Mike Love | Publisher: Faber & Faber | ISBN: 9780571324682

she condemns and ridicules Germans based on her feelings

and was a young adult during the apartheid era of her own country. ‘I was just a boy on a bicycle when the Kristallnacht, “the Night of Broken Glass”, happened’ her father told her when she confronted him about the horror in Berlin. That of course led Creative Feel to ask her where she was when the Soweto unrest happened, when she was just the same age as her father was. Somehow this really got her talking, there is

M

ike Love tells the story of his legendary, raucous, and ultimately triumphant five-decade career as the front man of The Beach Boys, the most popular American band in history – timed to

coincide with the 50th anniversary of ‘Good Vibrations’.

As a founding member of The Beach Boys, Mike Love has

nothing more than a good argument to get Thamm going.

spent an extraordinary 55 years, and counting, as the group’s

The book shows the changes in the father-daughter

lead singer and one of its principal lyricists. The Beach Boys,

relationship as it develops from her childhood, growing

from their California roots to their international fame, are

up in a tough Afrikaans neighbourhood in Pretoria’s less

a unique American story. Love’s own story has never been

salubrious suburbs, to her present family, her partner and

fully told, of how a sheet-metal apprentice became the

their two teenage daughters. Thamm explains how the

quintessential front man for America’s most successful rock

adoption of two black girls with her partner changed her

band, singing in more than 5 600 concerts in 26 countries.

relationship with her own father. These children loved their

Love describes the stories behind his lyrics for pop classics

grandfather, he responded with love and how that love

such as ‘Good Vibrations’, ‘California Girls’, ‘Surfin’ USA’, and

softened (to some extent) her own feelings for her father.

‘Kokomo’, while providing vivid portraits of the turbulent lives

‘He needed a lesbian daughter and two black grandchildren

of his three gifted cousins, Brian, Dennis, and Carl Wilson.

to fall in love with – without ever fully giving up his endless

His partnership with Brian has few equals in American pop

racial prejudice.’

music, though Mike has carved out a legacy of his own – he

She explains how the generous help of her close friend,

co-wrote the lyrics to eleven of the twelve original Beach Boy

the Belgian author Tom Lanoye, created the opportunity for

songs that were top 10 hits while providing the lead vocals

her to write about ‘herself and her strange family’. She looks

on ten of them. The band’s unprecedented durability also

at her present life with her partner of 21 years and the two

provides a glimpse into America’s changing cultural mores

teenage children they have raised together. She looks at the

over the past half century, while Love himself has experienced

political changes this country has seen over the last 20 years

both the diabolical and the divine – from Charles Manson’s

and shares how she sees the book, Hitler, Verwoerd, Mandela

‘family’ threatening his life, to Maharishi instilling it with

and me: A memoir of sorts, as an important account to give to

peace. A husband, a father and an avid environmentalist, Love

her own children one day – when they are old enough to ask

has written a book that is as rich and layered as the Beach Boy

her ‘and where were you when Soweto disrupted?’ CF

harmonies themselves. CF

Creative Feel / December 2016 / January 2017 / 61

The Yoga Kitchen Publisher: Jacana Media | ISBN: 9781431424047

highly stressful environment where she found herself ‘eating on the run and not having time to think about my health.’ Along with the ‘wonderful weird foods that are out there in the world’, in the UK Wright fell in love with Pilates and subsequently, yoga.

The Yoga Kitchen: 100 Easy Superfood Recipes by Marlien Wright is an appealing cookbook that delivers on its promise of delicious, simple, satisfying and nutritious meals.

M

Having qualified as a Pilates teacher in the UK, Wright opened a Pilates studio upon her return to SA, and then completed a yoga teacher’s training, soon discovering that yoga was her ‘first love’. ‘Once I got really into the yoga, I started eating a more plant based diet and that really worked for me and then I just kept on exploring food and nutrition…

I did a nutritional therapy course, which I also love.’

Wright’s love for yoga and nutrition led her to start

arlien Wright is a yoga and Pilates teacher who

offering yoga retreats on the farm in Swellendam where

facilitates yoga and wellness retreats at her farm in

she currently lives. In order to cater for her visitors, Wright

Swellendam, Western Cape. She is also a certified

started creating recipes for healthy, simple meals inspired

nutritional therapy coach, a mom, and a ‘part-time

by the flavours she had found overseas. With the positive

hippy’. Wright’s delightful cookbook, The Yoga Kitchen, includes

responses she had been receiving from guests (and her own

100 superfood recipes, a general 21-day reboot plan, the A to Z of

children), Wright started a blog called The Yoga Kitchen and

vitamins and minerals and how you can get these from your food,

began sharing her recipes. A friend suggested she write a

and some traditional preserving and healthful cooking methods.

cookbook and it all grew organically from there.

In addition to creating the recipes, Wright is also the photographer behind the exquisite food images throughout the book.

Marlien Wright’s food journey started in essence when she was living in the UK and working in the fashion industry; a

62 / Creative Feel / December 2016 / January 2017

The Yoga Kitchen: 100 Easy Superfood Recipes provides a truly easy and quick way to eat healthy meals that can be prepared in advance if needed, with ingredients that are readily available in South Africa.

Aubergine ‘Pizza’ Serves 4–6 n

2 medium-to-large aubergines

n

2 tbsp coconut oil

n

½ tsp pink salt

n

1 400 g jar of good pasta sauce (basil infused is a good choice)

n

½ cup of coriander or basil pesto

Wash, remove the stem, and slice the aubergines lengthways into 1cm-thick pieces, sprinkle them with salt and then place them on a baking tray greased with coconut oil in a 180°C preheated oven for 25–30 minutes. Spread a generous helping of pasta sauce and return them to the oven for a further 10–15 minutes. Serve with a drizzle of pesto.

Coriander Vegan Pesto Yields 150 ml or ²/³ cup n

2 cups of loosely packed, fresh, washed and

Health benefits Aubergines, also known as eggplant or brinjal, have an impressive spectrum of nutrients in them, fibre, folic acid, potassium, manganese, as well as vitamins C, K and B6, phosphorous, copper, thiamine, niacin, magnesium and pantothenic acid. The phytonutrient nasunin, found in its skin, is a powerful antioxidant that protects brain cells against free radical damage.

Tomatoes also have wide variety of healthy nutrients like vitamins A, C (to fight infections) and K, potassium (to control heart rate and blood pressure), manganese and vitamin E, thiamine, niacin, vitamin B6 and folic acid, magnesium and phosphorus.

spin-dried coriander leaves n

125 ml olive oil

n

Juice of ½ a lemon

n

½ cup of cashew nuts

Three lucky Creative Feel readers stand the chance to win a

n

1 clove of garlic, crushed

copy of The Yoga Kitchen: 100 Easy Superfood Recipes.

n

Pink salt to taste To enter, send an email to competitions@creativefeel.co.za

Add all the ingredients to your food

and let us know why you should win a copy.

processor, and pulse until you have a course pesto consistency.

Competition closes on 31 January 2017.

Creative Feel / December 2016 / January 2017 / 63

A G I F T TO LA S T T H E W H O L E Y E A R

Creative Feel

Creative Feel

- PRESENTS THE -

- PRESENTS THE -

T U R B I N E A R T FA I R

T U R B I N E A R T FA I R

I S T H E P L AT F O R M F O R G A L L E R I E S ,

I S T H E P L AT F O R M F O R G A L L E R I E S ,

C U R ATO R S A N D OT H E R A R T

C U R ATO R S A N D OT H E R A R T

O R G A N I S AT I O N S TO P R O M OT E E M E R G I N G

O R G A N I S AT I O N S TO P R O M OT E E M E R G I N G

A N D E STA B L I S H E D TA L E N T S I N A N

A N D E STA B L I S H E D TA L E N T S I N A N

A C C E S S I B L E A N D E N J O YA B L E W AY.

A C C E S S I B L E A N D E N J O YA B L E W AY.

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STANDARD BANK GALLERY JOBURG 13 JULY - 17 SEP 2016

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Henri Matisse

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DECEMBER 2016 / JANUARY 2017

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The Sound of Music in Durban

CDs & DVDs The latest releases to suit all tastes

Faces to the Sun | Mango Groove | Warner Music South Africa | 589216 Faces To The Sun is a double disc album comprising 24 songs and includes nine all-new, original Mango Groove tracks. The album also features 15 powerful and touching renditions of classic South African songs, with collaborations with some of SA’s finest artists.

The new material, on the disc ‘Faces to the Sun: Here, Now and Forever’, celebrates Mango Groove’s skilful penmanship, with the lead single entitled ‘From The Get Go’. Other stand out tracks include the beautiful ‘Kind’ and the title track, ‘Faces To The Sun’.

The collaborations on the disc ‘Memories & Moments’ are truly special with legendary and new artists alike, adding their voices to unforgettable songs like ’Mmalo We’, ‘Malaika’, ‘The Lion Sleeps Tonight’, ‘Kinders Van Die Wind’ and ‘Another Country’, to mention but a few. Featured artists include Rebecca Malope, Vusi Mahlasela, Juanita du Plessis, Zolani Mahola from Freshly Ground, Kurt Darren, Romanz, Mo T from Mi Casa, and ‘Big Voice Jack’ Lerole (his last ever recordings), among others.

WIN

Creative Feel readers stand the chance to win a copy of this incredible double album. To enter, email competitions@creativefeel.co.za and let us know your favourite Mango Groove memory or moment. Closing date 31 January 2017.

You Want It Darker | Leonard Cohen | Sony Music | 536507 Shortly before his death at 82, acclaimed composer, singer and poet, Leonard Cohen, released his final album, You Want It Darker. The album, which was released in mid-October, has been described by early listeners as a ‘masterpiece’ and ‘classic Cohen’ and continues his significant contribution to contemporary music and thought. The album’s mortality-themed title track features appearances by Montreal cantor Gideon Zellermyer and the choir from Shaar Hashomayim Synagogue. The full-length album, produced by his son Adam, contains nine new original songs authored, for the first time in more than two decades, solely by Cohen. Rolling Stone gave the album 4 stars out of 5, saying that ‘This is Cohen’s gift to music lovers: a realistically grim, spiritually radiant and deeply poetic worldview, generally spiked with a romantic thrum and an existential wink.’ With Uncut magazine commenting, ‘[I]t’s hard to imagine a richer, finer or more satisfying finale than this. There’s no question the man’s earned his smoke break.’

Creative Feel / December 2016 / January 2017 / 65

encore Linda Bukhosini is the Chief Executive and Artistic Director of The

Playhouse Company in KwaZulu-Natal, where she provides both strategic

and artistic leadership. As CEO, a position she has held since 2005, she also overseas good governance practices and has seen The Playhouse receive three unqualified and six clean audit reports consecutively over the last nine years. Bukhosini is a highly regarded arts administrator as well as an excellent performer who holds Bachelor and Master of Music degrees from the prestigious Juilliard School in New York.

Name three artworks that you love and why.

Name one thing you think would improve the arts and

I have a ‘thing’ for classical work from various cultures. The

culture industry in South Africa.

top three, in order of appreciation, are:

I’d like to make an appeal to the private sector and wealthy

ORATORIO (I grew up with choral traditions of KwaZulu-

South Africans to make a meaningful and equitable

Natal and found at an early age that understanding the

contribution to funding arts, culture and heritage (ACH)

melodic, harmonic and rhythmic structures and notations

of our beloved country. The intrinsic values of ACH have

came very easy to me. I have been blessed to sing this on

a direct spin-off for public good and creating a healthy

local and various prestigious world stages.)

mindset, soulful appreciation of various cultures and civic

SCATHAMIYA (I grew up listening to Ukhozifm – the then

pride. Investing in ACH is a more noble human activity than

Radio Zulu, and I was fascinated by the music structures

making investments primarily for personal gain.

and varied group styles. With assistance from Prof. Joseph Shabalala of Ladysmith Black Mambazo, we started

What is your most treasured possession?

presenting the national Scathamiya Festival, which will

My family.

celebrate 20 years in 2017.)

BALLET (It is a great pleasure to watch the graceful, intricate

What do you regard as the lowest depth of misery?

movements and mastery involved.)

Not sure yet...

Name one artist you would love to meet.

What is it that makes you happy?

Maria Callas – not the prettiest of voices – but WOW, what

Hmmmm... Simple things in life give me a sense of joy

this lady could do with her instrument is simply AWESOME.

e.g. taking time to smell roses in my garden, cooking a wholesome meal for my family and, oh, being ‘in the

What are you reading at the moment?

zone’ when delivering that melodious lyrical phrase when

My bible – just bought the NIV with Chronological Order.

singing... Wow – how cathartic as well.

What is in your car’s CD player?

Describe a defining moment in your life.

The dramatic version of the King James Bible.

I learned so much from being a mom... not a particular moment, but a joyful experience filled with Godly wisdom.

If you could change one thing about yourself, what would it be?

What projects will you be busy with during 2016 and

To cultivate a more loving approach to life.

into 2017?

The hills (of KZN) are alive with The Sound of Music for the

How have the arts industries in South Africa changed

entire month of December.

over the last ten years?

It’s so wonderful to observe the growing number of black

Name one goal you would like to achieve in the next

artists excelling in art forms that we were previously

twelve months.

systematically excluded from.

Learning to live well each day. CF

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