Creative Feel April 2015 by Creative Feel

Creative Feel / April 2015 / 1

SPA TREATMENTS AND PRODUCTS W ITH A HOLISTIC APPROACH.

Rosebank : 011 447 5877 2 / Creative Feel / April 2015

Sandton : 010 226 4688

Parkhurst : 011 880 0233

www.africologyspa.com

Port Elizabeth : 041 507 9419

Creative Feel / April 2015 / 3

EDITOR’S NOTE “It may be hard for an egg to turn into a bird: it would be a jolly sight harder for it to learn to fly while remaining an egg...” C.S. Lewis

Welcome to Creative Feel, where the bird learned to fly

ur name change from Classicfeel to Creative Feel

course, a digital version of your publication, to reach beyond

is so much more than a new masthead; it is the

the local postal service.

result of an amazing journey. When we started out in 2001, the magazine

All this we implemented over the last couple of years and we have come to realise that the name Classicfeel simply

was very much directed towards the captive audience

does not represent what we stand for anymore, while at the

of the, then, newly launched classical music station. We

same time acknowledging that we have built a brand and

started to grow and grow while making use of the wonderful

need to keep the positive Feel of our publication. After many

creative medium of print. The magazine became a much-

workshops, discussions, with help from marketers, brand

respected showcase for all forms of the arts, from music, the visual arts and design, to dance, theatre and literature. We published nationally, covering all provinces, and partnered with festivals like the National Arts Festival in Grahamstown, the various jazz festivals, design exhibitions and great productions like William Kentridge’s Magic Flute and recently, when Joey was brought home, War Horse. We showed images of wonderful international visual art exhibitions like the Picasso and Marlene Dumas exhibitions and the work of contemporary art fairs around the country –

“To celebrate the launch of Creative Feel, we decided to make the digital version of the launch issue free to download on the Apple App Store and the Google Play Store this month, just search for ‘creative feel’.”

while always keeping our original captive audience in mind. They have stayed loyal and we grew our demographics,

managers and loyal partners we decided on Creative Feel –

got younger readers interested and a more representative

the egg changed into a bird and got its wings.

readership – essentially because people look for aspirational

Stay with us along this exciting journey, we are soaring

endeavours. Our dedication to excellence garnered us a

and discussing even more directions, such as a weekly arts and

number of prestigious awards along the way, including

culture TV slot, beaming creative feelings throughout Africa.

the Arts and Culture Trust (ACT) and Business Arts South

To celebrate the launch of Creative Feel, we decided to

Africa (BASA) Awards, multiple Pica awards for excellence in

make the digital version of the launch issue free to download

publishing and an Mbokodo award for Women in the Arts.

on the Apple App Store and Google Play Store this month,

As much as the arts scene in South Africa has changed in the last few years, the communications scene has changed

just search for ‘creative feel’. Enjoy the familiar, superbly produced, ‘coffee-table

even more. It is not enough to just have a beautifully

quality’ magazine with a new name, Creative Feel and have a

presented print publication to keep your audience involved,

look at our digital issue, wherever you are.

technology needs to back print with an online presence like an active website, a Facebook page, Twitter account and, of

Lore

UNREST

Hasan and Husain Essop, Athlone Superette, Lightjet C-print on archival paper, 115 x 193 cm.

HASAN AND HUSAIN ESSOP STANDARD BANK YOUNG ARTIST 2014 Standard Bank Gallery Cnr Frederick and Harrison Streets, Johannesburg

22 April to 20 June 2015 Monday to Friday 8am – 4.30pm and Saturdays 9am – 1pm Tel: 011 631 4467 www.standardbankarts.co.za 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 201406-3/15

Moving Forward

We love this creation:

PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za VISUAL ARTS AND HERITAGE EDITOR Natalie Watermeyer; natalie@desklink.co.za COPYWRITER AND ASSISTANT EDITOR Tamaryn Greer; tammy@desklink.co.za SALES AND MARKETING EXECUTIVES sales@desklink.co.za sales@creativefeel.co.za BUSINESS DEVELOPMENT MANAGERS Nthabiseng Jonas; nthabiseng@desklink.co.za Mariapaola McGurk; mariapaola@desklink.co.za DESIGN Mxolisi Gumbi; mxolisi@desklink.co.za FINANCIAL DIRECTOR Debbi Gregory; debbi@desklink.co.za RECEPTION Angelina Ramano DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION Debbi Gregory; debbi@desklink.co.za

mongst some of the South African and international art that

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

were on offer at Strauss & Co’s auction during March were key contemporary works by globally recognised artists such as Berlinde

De Bruyckere, Nam June Paik, Huang Gang, Yayoi Kusama, William Kentridge and Penny Siopis. We particularly liked Nam June Paik’s Internet Dweller: mpbdcg.ten.sspv, which was estimated to auction for between R800 000 and R1 200 000. Produced in 1994, the piece was conceived as an imaginary being that lives on the Internet and displays both the artist’s visionary foresight in fusing art and technology and his unique sense of humour. Visit www.creativefeel.co.za to see the result of the auction. Nam June Paik, who associated with Joseph Beuys and John Cage and participated in the Neo-Dada movement, Fluxus, of which Yoko Ono was also a member, is widely considered to be the founder of video art. Paik envisioned his explorations of technology as part of an ‘electronic superhighway’ – a term he coined – that would liberate artists to explore new media. CF

PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions in this publication do not necessarily represent the views of the publisher. CONTRIBUTORS: Nondumiso Msimanga; nondumiso.msimanga@yahoo.com Ismail Mahomed; ismail@nationalartsfestival.co.za Michelle Constant; michelle@basa.co.za Mark Strathmore; mstrathmore@outlook.com

Creative Feel / April 2015 / 9

Cover image: Cogitator by Norman Catherine. This work forms part of a selection

42 UNREST

of Norman Catherine sculptures and artworks currently in the

Hasan and Husain Essop’s Unrest is coming to

possession of CIRCA on Jellicoe. Photograph courtesy of CIRCA.

Johannesburg this April.

GHOSTS OF THE PAST

Kemang Wa Lehulere speaks to Creative Feel’s

Nondumiso Msimanga about the ghosts that

haunt his work and the importance of artistry.

cover story 24

NORMAN CATHERINE

Sometimes dark, always distinctive, the work of

Norman Calvin Catherine has long established

him as one of the country’s leading artists.

arts and culture

SA-UK SEASONS’ PROJECTS ANNOUNCEMENT 52

During a media event on 6 March 2015, the SA-UK

CIRCA

Seasons announced the projects that will be taken

'I have always been of the opinion that

forward as part of the SA-UK Seasons 2014 &

Johannesburg is an underrated and wonderful

2015 programme.

place for people to live,’ says Mark Read, the

driving force behind the creation of CIRCA on

56 NALEDI THEATRE AWARDS NOMINATIONS

Jellicoe. ‘So I wanted to make a difference.’ The

The annual Naledi Theatre Awards will

result: a landmark altering the space it inhabits.

take place at the Lyric Theatre, at Gold Reef City,

on Tuesday, April 14.

SIMPLY MORE THAN AN ART FAIR

The Cape Town Art Fair 2015 brought the best

contemporary art truly alive at the V&A

A TRIPLE CELEBRATION FOR DES AND DAWN LINDBERG

Waterfront’s latest venue, the Avenue.

Des and Dawn Lindberg are two of South Africa’s

most prominent theatrical personalities. They have

contents 40

REFUSE THE HOUR

reached a milestone in their lives; in 2015, they

William Kentridge’s multimedia performance Refuse

celebrate 50 years in show business, and 50 years of

The Hour recently premièred in Cape Town at the 2015

marriage. Peter Feldman looks back at their life in

Design Indaba.

showbusiness for Creative Feel.

10 / Creative Feel / April 2015

THE BALA BROTHERS

The Bala Brothers are entering a new, global

phase in their career with the CD and DVD Bala

Brothers, recorded live in Johannesburg and

due for broadcast on America’s PBS network in

March 2015.

A BRIGHT NEW YEAR FOR CAPE TOWN OPERA

Three new talented individuals have been

appointed in various positions to assist Cape Town

Opera as they strive ever upward.

lifestyle and entertainment 72

CINEMA NOUVEAU

BOOK REVIEWS

CD REVIEWS

contributors 14

ARTLOOKS & ARTLINES

Artlooks & Artlines is a monthly column

by Ismail Mahomed, Artistic Director of the

National Arts Festival.

BUSINESS & ARTS

Michelle Constant, CEO of BASA (Business and

Arts South Africa), writes an account of her trip to

Design Indaba 2015 for Creative Feel.

CREATIVE TECH

Creative Tech is a monthly column written by

Mark Strathmore to demystify technology for

Creative Feel readers.

LITERARY LANDSCAPES

Literary Landscapes is a monthly column written

by Indra Wussow, a writer, translator and director of

the Sylt Foundation.

contents 64

BUSKAID & MELVYN TAN

A full to overflowing hall set the scene for a highly

successful collaboration between internationally

renowned pianist Melvyn Tan and the Buskaid

Soweto String Ensemble on February 7th.

WALLFLOWER

‘Wallflower, wallflower, won't you dance with me?

/ I'm fallin' in love with you’ – ‘Wallflower’

by Bob Dylan.

MISCONDUCT

Award-winning performance artist, Anthea Moys,

is currently experimenting with the bounds of

classical performance, and the role that a conductor

could play in other sectors of the arts. Nondumiso

Msimanga spoke to Moys and her team for

Creative Feel.

Creative Feel / April 2015 / 11

CASTADIVA Boutique Hotel

Art, beauty and cuisine…

estled on the northern slopes of the Magaliesberg you will find not only a gem amongst guest houses in Gauteng, but also an avid admirer and supporter

of the arts. Casta Diva Boutique Hotel aims to accommodate guests in the lap of luxury with their elegantly decorated 22 guest rooms, whilst entertaining them with some local talent. Often hosting classical performances in the elegant and beautiful

A unique venue, nestled high on the Northern slopes of the Magaliesberg amidst peaceful and tranquil surroundings that offer stunning views and an unsurpassed setting of natural beauty and elegance in an oasis of peace and serenity in the city.

CHARISMA Restaurant

Guaranteed the true Decadent, Divine, Delightful fine dining experience, the perfect fusion between the magic of Casta Diva, fresh ingredients, a dedicated culinary team and the friendliest service of South Africa.

Charisma Restaurant, Casta Diva is a true supporter of the arts. During the month of March, they hosted auditions for the music students of the Afrikaanse Hoër Seunsskool situated in Lynnwood, Pretoria. These auditions were the run-up to a concert that Casta Diva will be hosting in April to expose the music students to audience performances, as well as to showcase the amazing talents that are being cultivated by their devoted music teacher, Miss Engeli le Roux. Miss le Roux is not only an exceptional teacher, but is herself one of South Africa’s most sought-after accompanists. Having accompanied classical performers such as Jo-Nette Le Kay and working with Opera South Africa, to mention but a few of her achievements. Casta Diva also boasts an intimate 70-seater theatre/ art gallery, Casta Diva’s Vissi d’Arte, where local talent is encouraged to perform at no charge. This space is often used by up-and-coming talent who is serious about developing their art as well as showcasing their talents. From time to time the intimate space even glitters with a burlesque performance. The venue is also equipped to host art exhibitions with mesh wiring on the walls where paintings and other artistic pieces can be hung. Guests at Casta Diva also have the opportunity to dine at Casta Diva’s Charisma Restaurant where every care is taken to serve beautifully delicious dishes. The vibrant culinary team always aims to outdo themselves with daily specials, ranging from a Beef Scaloppini to a Cuban Style Pangasius fillet.

Functions Conferences Concerts Restaurant Theatre Art Gallery

Reserve a table for a romantic dinner, or a Sunday lunch at 012 542 4449. Keep an eye on the Facebook pages, Casta Diva the Place to…; Casta Diva’s Charisma and Casta Diva’s Vissi d’Arte to stay updated on events and special occasions. For a sneak peek of what the property looks like, visit www.castadiva.co.za. Casta Diva Boutique Hotel where art, beauty and cuisine are perfectly combined in the elegant embrace of luxury. CF

67 Albatros Street, Ninapark, Pretoria Tel: 012 542 4449 | Fax: 012 542 3085 info@castadiva.co.za | www.castadiva.co.za 12 / Creative Feel / April 2015

A MAESTRO IN THE MAKING. Buskaid was founded in 1997 to provide all township children with the opportunity to channel their creative drive into learning and playing classical music to the highest international standards. The Buskaid Ensemble has an enviable reputation, having performed before two former South African presidents, Her Majesty, Queen Elizabeth II and senior members of the Royal Family, and the First Lady of the USA, Michelle Obama. Redefine Properties is a proud sponsor of Buskaid and shares its vision and objectives. We wish them many encores.

St Petersburg Ballet Theatre to perform three classical ballets next month

outh Africa’s favourite, global ballet company, the St

return of prima ballerina Irina Kolesnikova who will perform

Petersburg Ballet Theatre, with Prima Ballerina, Irina

at the Théâtre des Champs-Elysées in Paris after the birth

Kolesnikova, opens in South Africa next month (May).

of her daughter. The French tour ends on 2 April and the

The legendary Russian ballet company will present

a festival of three full-length classical ballets – Giselle,

company then heads to South Africa. After performing in both Johannesburg and Cape Town,

Don Quixote and Swan Lake – backed by a full orchestra in

the St Petersburg Ballet Theatre will head to Singapore

Johannesburg. They then return to Cape Town for the first

and then Australia, ending in August on London’s famous

time in eight years to perform Swan Lake.

Coliseum stage.

The company is set to thrill South African audiences,

The company has done much to reinvigorate ballet in

as they have done on three previous occasions when they

South Africa bringing a quality of ballet never seen before in

played to sold-out shows.

this country.

The South Africa visit is part of a global season which

Tickets for this year’s performances at Montecasino

will see the company touring from Finland to Australia. The

in Johannesburg and Artscape in Cape Town are selling

2015 season began in France on 1 February with the company

fast and those wanting seats are urged to book fast. Visit

performing Swan Lake and Giselle in 36 cities. March sees the

Computicket for more information. CF

JOHANNESBURG

CAPE TOWN

/ Creative Feel FESTIVAL / April 2015 THE 14 JOHANNESBURG ORCHESTRA

THE CAPE TOWN PHILHARMONIC ORCHESTRA

ACCOMPANIED BY

GISELLE 6-8 MAY

9-10 MAY

SWAN LAKE 12-15 MAY

ACCOMPANIED BY

SWAN LAKE 19-24 MAY

AN EYE FOR POTENTIAL Call for entries 2015

Artists have the ability to perceive potential that is often invisible to the everyday eye. This, combined with their ability to bring an idea to reality, is what makes them so unique. Show off your artistic talents by entering your most captivating work into the Sasol New Signatures art competition and you could win R100 000 and a solo exhibition.

Presented by

Association of Arts Pretoria

sasolnewsignatures.co.za

#SasolNewSignatures

Artlooks & Artlines Artlooks & Artlines is a monthly column by Ismail Mahomed, Artistic Director of the National Arts Festival.

he arts sector in South Africa has changed

necessarily mean that arts organisations need to alter the

significantly over the last two decades. There

way they make art but it does require them to rebrand how

was a time when most arts organisations

they position their organisations to audiences, funders and

derived their funding by holding out

other stakeholders in the sector.

the ‘begging bowl’ to a broad range of

More arts organisations that are engaging in strategic

development agencies to support them. Nowadays, an

evaluations and critical planning are finding newer and

increasingly large number of arts organisations are forced

more exciting ways of sustaining the work that they set

to move away from the ‘begging bowl syndrome’. They are

out to do. Taglines that once over-emphasised the good

repositioning themselves with an image that portrays a

artworks produced by arts organisations are now being

sexy and sensitised approach to how they are managing

replaced by the qualitative values that those who invest

their organisations.

in the arts can reap. Simply put, organisations now realise

Successful arts organisations that are able to do so

that arts enthusiasts are looking for more than just a good

are increasingly finding that it is possible to bring about

seat in a theatre or an invitation to an opening night of an

the changes in their organisations without compromising

exhibition. Arts consumers are looking at ways in which

their core business, which is about making good art. A

an arts organisation profiles itself and whether these are

sensitised approach to managing an arts organisation

synonymous with the essential parts of their own personal

gives both the arts organisation and the artists they serve

lifestyle choices and their ideological beliefs.

a better edge to navigating through the complex terrain in which they work. It is not easy for arts organisations to shed some of the

Arts supporters are looking for arts organisations that have a progressive brand. Arts supporters want to be part of a tribe where artists and patrons can continue to engage

identity load that they have been carrying over many years

with each other and to be able to leverage each other. Arts

but change is a necessity for sustainability. Change does not

patrons are increasingly feeling the need to move away from

16 / Creative Feel / April 2015

constantly evolving so it is essential for organisations to

“The relaunch of this magazine with a new name is an exciting development. It demonstrates an editorial passion that values just how broad and intertwined the arts are with so many other sectors of creativity, imagination and problem-solving”

constantly interrogate whether their mission statements remain relevant and inspiring. An arts organisation’s mission statement also sets the framework for how an arts organisation will set its values for its operations and for how it will drive its management systems. These two factors are constantly challenged in an evolving society and particularly in one such as ours that is still incredibly politicised and burdened by our political history. If the values of an organisation are not interrogated by those who work in it, the chances are that the organisation is at greater risk of falling foul to political criticism. Ultimately, for most organisations this is the single most important factor that will make them lose all integrity despite all the good art that they produce. An organisation’s personality is determined by more than just the art it showcases. Its brand architecture is anchored often more

being ordinary supporters to becoming real stakeholders

strongly by its value systems and the ideological principles

in an organisation where the partnership can consciously

that it adopts rather than by its art.

contribute towards growing each other; and ultimately contribute to growing a better society for all.

The relaunch of this magazine with a new name is an exciting development. It demonstrates an editorial passion

Shared values are a clear selling point for growing

that values just how broad and intertwined the arts are

audience support. For arts organisations to do so successfully,

with so many other sectors of creativity, imagination and

it is up to them to have an on-going conversation with their

problem-solving. It is an opportunity to broaden the fold

many stakeholders to find out where the common ground

in which many more arts stakeholders will find themselves

lies. Too often, arts organisations are at risk of caring so much

being embraced. A unique aspect of this magazine is that

for what they do that they forget to engage with what their

it has been able to inspire creativity amongst artists who

funders and supporters want them to do.

wish to find themselves covered in its pages but it has

Arts organisations generally derive their mission

also ignited a passion for the arts amongst its readership

statements inspired by a particular needs or opportunities

that still believes that the arts can be sexy, sensitised,

that exist in their communities. Those communities are

progressive and ever-changing. CF

ARTS CULTURE LIFESTYLE Creative Feel

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ACT | UJ Arts & Culture Conference 2015

BREAKING NEWGROUND BY SHIFTING PERCEPTIONS

Creative Feel / April 2015 / 17

Business & Arts Michelle Constant, CEO of BASA (Business and Arts South Africa), writes an account of her trip to Design Indaba 2015 for Creative Feel.

very year I am given the gift of attending the

other ways, is an invigorating one. Perhaps more important

Design Indaba in Cape Town. I believe it is a

than perfection, is the imperative that one actually makes

gift because the opportunity to recalibrate

something. After all an idea remains a perfect idea, until one

one’s thinking, to hear of innovation being

has the courage to make it a reality – perfect or imperfect.

exercised on the African continent and in the

Amongst the speakers who sparked my imagination

rest of the world, is something we seldom get from the day

this year were Rosita Missoni, Omar Victor Diop, William

to day hum drum of making work ‘work’. Every year, there

Kentridge, Robbie Brozin and a young Israeli tech geek

appears to be a central ‘theme’, perhaps better described as

– Yoni Bloch. Rosita Missoni, the matriarch of the Italian

the cultural ‘zeitgeist’ of that year. This year what struck

Missoni fashion and homeware dynasty, spoke very little

me was the endless possibility, and even celebration of the

of the creation of colour and design, but rather of family,

imperfect. In starting to understand what this meant, I felt

the ‘hook that binds us’. It was an extraordinary moment,

a brief moment of true liberation. Given the pressure of

one that felt paused in time. Likewise, William Kentridge’s

achieving the perfect, a pressure, which is not only required

presentation, based on his work Refuse the Hour, was a

by those around us, but also most often required by our

wonderful insight into the mind of an artist, the journey and

‘Type A personality’ selves, the idea that we can succeed in

threads that tie ideas and countries and politics and histories

Pepe Marais

18 / Creative Feel / April 2015

The Workers: Ross Cairns and Tommaso Lanza

together – deftly and delicately bound together through music, performance and art. Then there was the photography of the Senegalese artist and photographer Omar Victor Diop – a lush conversation between past and present, the question of race and heritage ever present. Diop’s works are powerful and emotive, addressing the issue of colonisation in a thought-provoking manner. As one of the speakers suggested, ‘Why does a good

“Creativity is the ability to think, and to drive change”

piece of art never become boring? Because it opens the imagination and appeals to the vitality of the viewer.’ It is often the imperfection in the work that is most vital. There is excellent research that talks to the idea of travel

notably include the Design Indaba Expo and then later – the Southern Guild Design Fair and the Art Fair. ‘Creativity

as a means of growing cultural intelligence. It’s an expensive

is the ability to think, and to drive change,’ according to a

way to grow one’s mastery in the world, particularly with

speaker, but it also allows us to consider the variations we

the current rate of exchange. An event like the Indaba opens

have available other than normal, mainstream and even

up worlds of conversation and imagination, challenging

midstream. Each year the Indaba attendees include artists,

our perceptions and the way we think about our world.

creatives, agency folk and corporates. Positioning the event

The diverse storylines that come together over three days,

to shift and change the corporate conversation is a potent

provide a valuable key to getting off the path, to identify

and valuable one. It addresses a different conversation

roads not taken, if you know what I mean?

with the arts – one where the value is clear, where the

Furthermore the Indaba has over the last two decades

excitement of innovation becomes a potential return on

of its existence, acted as ballast on which other Capetonian

objective and investment, and where CQ and EQ become

cultural events have managed to hang their activities. These

valuable skills and tools in today’s society. CF

Robbie Brozin

Santiago Lirugeda

William Kentridge

Creative Feel / April 2015 / 19

Creative Tech Creative Tech is a monthly column written by Mark Strathmore to demystify technology for Creative Feel readers.

kay, I’m confused. I will shortly have to

Office (or its newer sibling, Office365). Unless you happen to

procure a new computing device. Dependant

be that aforementioned thirteen-year-old, stay away from all

on your age, this is a PC, laptop, notebook,

the freebie open source stuff. It’s not that it’s not good – in

subnotebook, tablet, hybrid or thingamajig.

the right hands it’s capable of being the equivalent. It’s just

I have to be honest. I’m not confused

that you are opening yourself up for a life of operating outside

about which particular device I want, since, naturally I want

of the norm, sending documents your colleagues or friends

all of them! A few of my friends recently asked me for advice

may not be able to open and risking that your documents may

on what device they should buy to replace their ageing

be unreadable in a few years. Other people may differ with me,

computers. I gave them that age old and ever frustrating

but this is hard won advice; yours free for today only!

answer: ‘It depends.’ Sadly, it’s true, though. It really does

The next step is to decide your ‘Degree of Portability™’ (I

depend on what you want to do, so hopefully I can scribe a

just came up with that). Most people no longer buy desktop

few lines that will make the choice a little easier.

PCs; they tend to be limited to gamers who require truly

The first thing to realise is that all manufacturers are

powerful hardware and serious cooling. This article is not

at war. This war is typically waged on specifications. For us

for gamers. Really the choice comes down to something that

consumers, the real technical specifications make very little

looks like a notebook, or something that looks like a tablet.

sense though, so manufacturers dream up catchy phrases

These days, notebooks can be large, small, heavy, or light.

and names for various incarnations of nearly identical pieces of technology. In fact, these pieces of technology are often literally identical. For example, there are relatively

This sentence gets its own line: definitely buy something with a touchscreen! Everything today is about touch; the operating systems

few manufacturers of LCD panels, so irrespective of

are all gravitating toward interfaces which are far more

manufacturer your panel may actually come from one of

similar to your phone or tablet than your ‘old’ PC. Speaking

two massive factories capable of supplying panels on a

of tablets, meeting the notebooks we spoke about above are

global scale. This is often true for memory, processors and

an incredible array of tablets that have detachable or ‘soft’

hard drives; the very things that hum away happily in your

keyboards that double as screen protectors.

computer. The point is this: there is less difference between

Finally, don’t allow beads of sweat to ruin your makeup

products than you would think. Price is not everything and

when it comes to processors and suchlike. You will typically

is often set more by brand perception than by any hard and

see: ‘Core’ followed by ‘i3, i5, i7’ or in certain instances, ‘Core

fast yardstick. Quality, for example is often not in relation to

M’. The 3, 5 and 7 work just like your BMW: small, medium,

price. My rule of thumb is that if it feels like a cheap plastic

large. All are more than fast enough, and all are really good!

toy that would be illegal in many European countries, inside

Core M is a newer processor aimed at mobile devices. You

it is probably built like a cheap plastic toy that would be

will not go wrong with a Core i5. In terms of memory, more

illegal in many European countries!

really is better: 4 GB is nice, 8 is better. More is more! Hard

Secondly, and this bit hurts, go legal. Resist the

drives come in two varieties: normal and solid state. Solid

temptation to retain the services of your cousin’s thirteen-

state is much faster, better in 99% of respects and definitely

year-old friend who has DVDs full of ‘stuff’ that he can install

what you should be going for (250 GB is a nice size). Buy the

on your shiny new device. Look for deals that include the

best screen clarity (inspect this visually in-store) that you

popular Microsoft software that you feel you will use. I know

can afford: your eyes will thank you.

this will draw ire from certain quarters, but just stick with

20 / Creative Feel / April 2015

Happy hunting! CF

My rule of thumb is that if it feels like a cheap plastic toy that would be illegal in many European countries, inside it is probably built like a cheap plastic toy that would be illegal in many European countries!

How far we have come! An original Mac still owned â&#x20AC;&#x201C; but not used â&#x20AC;&#x201C; by DeskLink Media

Creative Feel / April 2015 / 21

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

ometimes the word is there before anything

Memory is a treacherous thing, full of deceit and illusion.

else – a missing picture rather, formulating the

It was a fairy-tale rather than anything real. The former

perception of something ephemeral, something

home was kept as a paradisiacal and sacred space.

dreamlike, something difficult to grasp. These kinds of words open up spaces

Riga, for the young girl, bore the same promise as Timbuktu and Mandalay, places she found in the maps she

beyond reality and yet they are an integral part of one’s

frequently dug into while trying to escape the boredom of

very own reality.

the German province.

In my case, my grandparents built my love for the word

Literature opens up hidden spaces we tend to neglect,

and for literature. Refugees after the traumatic experiences

opens up exotic worlds that are sometimes faraway places

of World War II, they ended up far away from their home

and sometimes an integral part of our inner selves.

city of Riga in a devastatingly narrow-minded small

There is something deeply comforting in reading,

town in the middle of Germany. I still see my bohemian

writing, translating and communicating through the

grandmother entering the town store and everyone stared

means of literature. To understand that somehow there

at this unlikely apparition stranded at this unlikely place.

is a universal conditio humana and finding analogies in

But that was a memory of times much later and much

different texts and cultural references can open horizons,

happier. Her early days in Germany were bitter and poor

grow your perceptions about your own and the world

and full of depression.

around you and bring us closer to each other.

It was the stories that kept my grandmother alive. Those stories that she had been told when she was a child.

Even in the most exotic text is an essence that relates to all of us.

The stories that have been a part of our family’s history for

Since I have introduced a series of contemporary

so many generations and have lived on over time. The story

African fiction called AfrikAWunderhorn on the German

of Karo, the dog and Murikätzchen, the little kitten that

speaking market, I am confronted with the same questions

always outran the dog.

all the time – why Africa and what can African writers tell

Beyond these stories a new narrative arose in the boring

a German speaking audience? As if we did not inhabit the

reality of that unfamiliar town in Eastern Westfalia. Riga,

same world. Beyond cultural differences lies something

the former home became the place of longing, the place of

that we all share. Different approaches to this very essence

dreams and a constantly talked about subject during the

of humanity widens our imaginations, our experiences.

childhood years that I spent with my grandparents. Riga,

To offer readers new perspectives, to connect writers,

the city of Amber and Art Noveau became as real to me as to

translators, editors and book lovers is an important part

those of my family who once lived there.

of what we do and thus we learn so much from each other.

22 / Creative Feel / April 2015

Literary landscapes go beyond the obvious and make us aware of subtleties that otherwise would be kept a secret. It is the imagination and the experience we gain while reading that enriches our lives. No doubt you learn a lot about how it feels to be denied justice without being Michael Kohlhass himself; and through Phillida how difficult it is to bear enslavement and exploitation when not lacking the longing of freedom and the brains to reflect, but only the language to say so. Stories let us travel the world. This leads me to my next column, which will talk about a Cambodian-Botswana poetry

â&#x20AC;&#x153;Literature opens up hidden spaces we tend to neglect, opens up exotic worlds that are sometimes faraway places and sometimes an integral part of our inner selvesâ&#x20AC;?

collaboration in Phnom Penh and the literary scene of Hanoi. CF

Creative Feel / April 2015 / 23

CIRCA ‘I have always been of the opinion that Johannesburg is an underrated and wonderful place for people to live,’ says Mark Read, owner of Everard Read Gallery and the driving force behind the creation of CIRCA on Jellicoe. ‘So I wanted to make a difference.’ The result: a landmark gradually altering the space it inhabits.

this place was grassland. We would have had to burn it once every three years, in order to keep it fresh.’ Read eventually opted to create a building, an exercise in architectural freedom unconstrained by commercial intent: architecture for architecture’s sake. A long-time admirer of the work of Pierre Swanepoel, he approached the architect, giving him free reign. When Swanepoel presented Read with a model, ‘I thought “how gorgeous. Imagine having that,”’ recalls Read. CIRCA was born. Not without several challenges, however. Although striking, the building’s design wasn’t wildly practical. It presented a number of problems: how to display twodimensional works on curved walls, for example, or how to manage the lighting. Space was limited; as a result, the Cogitator by Norman Catherine on display inside CIRCA

building does not include a storeroom, meaning that CIRCA can’t function independently as an art dealing facility. ‘But then, I didn’t want to build an art dealing facility, I

he Everard Read Gallery, built up by Read’s

wanted a place where we could show exquisite exhibitions

father, is a long established Johannesburg

of a variety of things from conceptual, contemporary art to

institution, known and loved by generations

technological exhibitions, to lectures...’ says Read.

of local art fans. When Mark Read acquired a small property across the road from the gallery,

CIRCA’s strength has proven to be in showing monumental sculpture. ‘Its being oval, it concentrates the

he spent several years wondering what to do with it. ‘I very

energy on a central object inside, so anything that you put in

nearly made it into an exquisite botanical garden, which

it has this extraordinary feeling of place,’ says Read.

would have been just as nice, I think: a tiny park, a reminder

It serves as a museum space, where ‘bespoke and glorious

of what Johannesburg would have looked like naturally until

exhibitions... that most likely don’t have any commercial

we built all over it,’ he says, noting that ‘if I had been true

reason to exist’ can be shown, along with works too large or

to that, I would have had to put in just veld grass, because

monumental for the Everard Read Gallery.

24 / Creative Feel / April 2015

The basement area, named the ‘Speke Room’ after the famed explorer, is used largely for the exhibition of art from emerging talents, along with photography. A winding ramp leads up to the first floor, an exhibition space, and then on up to the private space of the ‘Darwin Room’. This is filled with fossils, paintings, ‘and lovely things that allude to the evolution of life,’ says Read, who has a profound interest in the subject. From the Darwin Room, a deck looks out over northern Johannesburg, ‘to the valley where only 200 years ago, elephants used to mill around,’ he says. ‘Now we look over this illogical forest, this great forest that people have

“I didn’t want to build an art dealing facility, I wanted a place where we could show exquisite exhibitions of a variety of things from conceptual, contemporary art, to technological exhibitions, to lectures”

planted, which has altered everything, altered the microclimate of Johannesburg.’ CIRCA was built in 2009. It is now an established

surrounding neighbourhood of Rosebank. According to Read,

and much admired landmark. ‘I think the citizens of

this has inspired ‘a few fine people to invest in this area, with

Johannesburg have really started to love it,’ says Read.

regard to developing a cultural precinct and a living space

‘They certainly use CIRCA a lot, and the two galleries form

for people who are interested.’ During Cape Town’s reign as

a precinct here of their own.’ Visitors move from the lofty,

‘World Design Capital’, CIRCA was celebrated as a design

‘somewhat rarefied exhibitions’ of CIRCA across to Everard

success story for encouraging ‘walkability’, an achievement

Read, where they can view the broad spectrum of art

that impending developments seem intent on furthering.

presented by the gallery – everything from Thomas Baines,

In the meantime, CIRCA keeps on working its particular

to Alexis Preller, to Deborah Bell and beyond. The contrast

magic. Artists set to exhibit this year include Tamlin

and variety make for a fascination that might not exist, were

Blake, Francki Burger, Reney Warrington, Lucy Read and

the two institutions more similar.

Bronwen Lace. A retrospective of renowned South African

However: ‘I think what lies ahead is the most exciting

constructivist sculptor, Neels Coetzee is set for the latter half

part of the story,’ says Read. CIRCA, now world renowned

of the year, followed by Bronze, Steel and Stone, an exhibition

as a work of architecture, has generated a particular kind of

of contemporary local sculpture.

energy and interest not only in its artistic activities, but in the

‘It’s going to be a fascinating year,’ says Read. CF

Creative Feel / April 2015 / 25

Norman Catherine

Dark, colourful, bright, funny, satirical, violent and always distinctive, the work of Norman Calvin Catherine has long established him as one of the country’s leading artists.

ack in the 1980s, Sue Williamson described

Battiss on the escapist Fook Island). This shaded to a ‘slightly

Norman Catherine as ‘one of the hardest

darker surrealism in the late 70s. In the 80s, it was much

working artists in the country,’ which comes

more political, much more aggressive at what was going on

across clearly in the massive body of work

here, but with a kind of cartoonish element... a little more

he has produced over the years. In media

exaggerated and animated than the 70s airbrush work.’

ranging from airbrushed works, to prints using a wide range

During the 1980s, Catherine arguably produced some

of techniques; paintings; sculptures in everything from

of his most viciously satirical works. Intensive Care, for

found media, painted wire and fibreglass to monumental

example, depicts a man bound to a bed with barbed wire,

bronzes; to a graphic novel and to tapestries with

facing down with a rattrap poised to spring at his throat,

Marguerite Stephens. There seems to have been very little

and a circular saw making its way up the bed – a nightmare

that Catherine hasn’t done. He is also currently working in

out of James Bond. The patient’s chart marks an unremitting

mosaics with Marina Ehlers of Mosaic Arts.

downward plunge. Even the artist’s mark-making becomes

‘I go from one thing to the other,’ he says. ‘I approach my

savage, dark slashes animating a chaotic, sharp-edged world,

work in a lot of different ways, from normal flat paintings to

and his usually saturated colours leech out to leave a dark,

three dimensional works or a combination of the two... from

grim scene. The work looks angry, but Catherine recalls, ‘a

the mid 90s I got into a lot more sculptural works, although I

sense of paranoia, rather than direct anger... I think I sensed

did do sculptural works during the 70s and 80s.’

the fear in South Africa more than being directly affected

Likewise, his style and subject matter evolves; he

myself. Obviously it was frustrating, it was like a sick comedy,

describes his output during the 1970s as ‘more fantasy

as far as I was concerned.’ His imagery is not, it seems, a

– surrealistic with a bit of a pop influence, and primitive

considered response to situations and events, but appears to

influences... a bit more whimsical,’ (amongst other things,

flow from within: ‘I think it’s the subconscious, the collective

it was at this time when Catherine collaborated with Walter

unconscious that I express,’ he says.

26 / Creative Feel / April 2015

“I think in the 70s there were a handful of artists that were getting known, getting recognised; whereas now there are so many people, and so many opportunities... We were isolated here until the 90s. Now it’s completely different – the exposure... with the Internet and everything, works being seen and exhibited all over the world” In Sheep's Clothing, 1999. Images provided by Norman Catherine

Creative Feel / April 2015 / 27

Intensive Care, 1986 In the 1990s, Catherine describes his work as ‘a bit more

unique to Catherine, be it the use of intense colours, the

symbolic but still political... but I started going back to

wild patterns, the hunched gorilla-shoulders of his bruisers,

using a lot more found objects... I think my ideas were more

the menacing men with teeth. His subject matter is almost

concerned with things internationally.’ Throughout, his work

always absurd, with a frequent undertone of violence in

maintains a distinctive character, despite the vast range of

the abundance of curling snakes and sharp points – knives,

media embraced by the artist – Hazel Friedman describes

teeth, barbed wire and cacti. It offers a darker version of

him as ‘simultaneously Velcro and Teflon. Influences attach

Alice’s Wonderland, in which the people themselves grow

themselves to his work like dust particles.’ Here there is a

necks like flamingos, all the better to contemplate their

hint of cubism, there a nod to Magritte, Francis Bacon, pop

navels, neatly hidden beneath a suit and tie.

culture, comics, graphic novels, you name it. His work is far

At one point he describes his work as ‘a kind of mixture

from static – Ashraf Jamal describes his experimentation

of early African art mixed with more contemporary

as ‘relentless’. And yet it retains some particular quality

themes,’ influenced by masks and fetishes, the ritualistic.

28 / Creative Feel / April 2015

Muti Man, 1996

‘I also enjoy Mexican folk art, especially the Day of the

policemen guarding an open coffin, as ‘an entrance to hell,

Dead, which I saw a lot of in the States,’ (Catherine spent

white man’s witchcraft.’

some time living in Los Angeles during the mid 1980s).

The weird and the wonderful forms a concrete part of

‘That links with the darker, black humour in my work.

Catherine’s everyday, as human figures mutate into dogs,

Even some of the curios that I see, I enjoy, just for the fun

snakes, crocodiles; divided selves with hands, or heads

element to them.’

apparently possessed by bestial influences. Catherine’s world

His interest in the Day of the Dead points to a recurring

is chaotic and fascinating, never dull and rarely serene.

tongue-in-cheek reference to the occult, evidenced by

Today, his work is less political. ‘It's more social

works with titles such as Muti Man (1996), Ju Ju Bazaar

commentary on all kinds of levels – from the corporate

(1996), and Abracadra (2004). In Sue Williams’ Resistance

world to the mafia world,’ he says. ‘I like poking fun at

Art of South Africa, Catherine describes The Last Remains of

things... it is more humorous than it was in the 80s. It’s...

Another Man (1988), a mixed media sculpture depicting two

more introspective, poking fun at myself, looking at

Creative Feel / April 2015 / 29

Shadow Boxer, 2013

30 / Creative Feel / April 2015

The Last Remains of Another Man, 1988

oneself. I think now the work is now a bit more reflective,

‘My limit for having exhibitions is about every three to four

and less exaggerated than it was.’ Personal Trainer (2005),

years… and sometimes even longer, and usually they’re quite

for example, depicts a man facing off with dog over a

big shows.’

cupcake, but in typical Catherine style, the man’s own

In Catherine’s view, the South African art scene has

body has turned against him – one hand has mutated into

blossomed over the last few decades. ‘I think in the 70s

a smaller dog. The subject matter has grown lighter, but

there were a handful of artists that were getting known,

violence still erupts – Fast Food (2005) has a man with the

getting recognised; whereas now there are so many

head of a shark biting off his own fingertips.

people, and so many opportunities... We were isolated here

Catherine’s dark humour and prodigious output has

until the 90s, really. Now it’s completely different – the

earned him one of the foremost places on the local art scene

exposure, I suppose, with the Internet and everything,

and abroad, where his work has been exhibited extensively,

works being seen and exhibited all over the world. The

both in group and solo exhibitions. His work is owned by every

number of collectors has grown. Art is seen as a form of

self-respecting collection of contemporary South African art,

investment... I think in the past people thought that art

a host of corporates, and numerous international collections.

was of little importance, but now that’s [changed]... There’s

Next year will bring an opportunity for locals to catch a retrospective of his work; otherwise, Catherine notes that,

just so much more work than before going on here. There’s a lot of good talent out there.’ CF

Creative Feel / April 2015 / 31

Fine and Decorative Art Online at Strauss & Co

Alexander Calder (American 1898-1976) Spiral signed and dated 73 gouache and ink 109 by 74cm R1,200,000 – 1,600,000

Kudzanai Chiurai (Zimbabwean 1981) Minister of Defence signed and dated 09 in ink in the margin colour photolithograph sheet size: 64 by 45cm R3,000 – 5,000

Kudzanai Chiurai (Zimbabwean 1981) Minister of Health signed and dated 09 in ink in the margin colour photolithograph sheet size: 64 by 45cm R3,000 – 5,000

Kudzanai Chiurai (Zimbabwean 1981) Minister of Education signed and dated 09 in ink in the margin colour photolithograph sheet size: 64 by 45cm R3,000 – 5,000

uying art online is becoming more and more

interrogates the aesthetics of propaganda, and explores

appealing to the younger generation of buyers as

the visual legacy of political representation. The works

it is a domain in which they are comfortable and

on offer unpack notions of masculinity and power and the

familiar. But the online platform is not only for

portfolio, The Ministers, is unashamed in its parodying of

the tech-savvy, it is so user-friendly that anyone of any age

Zimbabwean government ministers. At estimates of R3 000

can browse, bid and buy – the only requirement being an

– R5 000 each, buyers will have the opportunity to bid on

internet connection and device.

the six works individually.

Another attraction of Strauss Online auctions is the more

Collectors can also look forward to bidding on four abstract

affordable price level. Ruarc Peffers, Senior Art Specialist at

prints by the renowned modernist artist Alexander Calder

Strauss & Co explains: ‘This platform places us in a position

(America, 1898-1976). All have estimates of R12 000 – R16 000

to offer attractive, lower value works of art to a broader

and are likely to attract the attention of international buyers.

market and new generation of collectors. Ultimately, this is

For those interested in the decorative arts, there is

to the benefit of the seller and the buyer. For sellers, it will

some functional and decorative silver, as well as English,

not only attract greater numbers of prospective buyers, but

Continental and Oriental porcelain.

will also be exposed to a much further-reaching market and,

Online-only auctions should not be confused with online

for buyers, it offers affordable, quality art and collectibles

bidding, which simply refers to placing bids on lots during

that come with the guarantee of quality and authenticity

live, physical auctions via the Internet. Throughout the

that has become synonymous with Strauss & Co.’

two-week duration of the online-only sale, bidders will have

From 7 to 20 April, buyers from across the globe will have the opportunity to bid on Strauss Online’s online-only auction, which features a vast array of contemporary, South

time to browse and bid at their leisure, and at 20:00 on the evening of 20 April the auction will close. Strauss Online offers free shipping between the Cape

African, international, fine and decorative arts ranging in

Town and Johannesburg offices and will assist with local and

value from R300 to R30 000.

international shipping.

Contemporary African art includes six colour photolithographs by Kudzanai Chiurai. Chiurai’s work

32 / Creative Feel / April 2015

For further information please visit www.straussartonline.co.za. CF

Fine and Decorative Arts Online Only Auction 7-20 April 2015 +27 (0)11 728 8246 | +27 (0)21 683 6560

Norman Clive Catherine, Cactus Man, signed, dated 2008, offset lithograph in colours, 128 by 110cm Estimate R 8 000 â&#x20AC;&#x201C; 12 000

Browse > Bid > Buy www.straussartonline.co.za

“I ATTEndEd And wAs blown AwAY bY IT. I THInk IT’s A rEAllY sMArT, wEll-PuT-TogETHEr EvEnT.”

Turbine Hall I 65 ntemi Piliso street I newtown Johannesburg

AfricA’s most exciting contemporAry Art fAir

Special projects include: Fresh Produce Young Talented Artists Curated Exhibition and Programme Emerging Painters: The Graduate Show Curated by Hentie van der Merwe

www.turbineartfair.co.za #TAF15 www.facebook.com/turbineartfair www.twitter.com/turbineartfair

Walter Battiss Walking Feathers 2014 (1980/81) 2/3 1800X2400mm

The current exhibition at GALLERY AOP, 44 Stanley Avenue, Textured Translations: the Stephens Tapestry Studio celebrates years of creative collaboration between master weaver, Marguerite Stephens and many of South Africa’s foremost artists such as Walter Battiss, Norman Catherine, Robert Hodgins, William Kentridge, Judith Mason, Karel Nel, Sam Nhlengethwa and Penny Siopis.

She tells the story of how Robert Hodgins once came into the studio with a piece of polystyrene, rummaged through the needlework baskets, cut up bits of fabric and ribbon, pinned it all up, and asked her to weave the design. The result was the phenomenal King and Queen tapestry

Textile weaving was introduced to South Africa by Anglican missionaries in 1904. The following year Emily Hobhouse and her assistants opened the first of her series of spinning and weaving schools in the Free State. These centres provided work for women of all races in a country impoverished by the South African, or Anglo-Boer War. The articles they produced were mostly functional. Erich Mayer, known mainly as a landscape painter, is recognized as the first artist to make designs that his wife, Marga Mayer-Gutter executed. It was only well after the Second World War that weaving acquired a distinctive aesthetic quality in South African art, despite the international revival of tapestry from centuries of dormancy by such French artists as Jean Lurçat in the late-1930s. Later a local weaving tradition flourished in such mission stations as Rorke’s Drift. These tapestries, typically naïve interpretations of traditional stories, did not follow the format of a specific design – rather, the images developed as the tapestry ‘grew’ on the loom.

diptych. Hodgins insisted on being present at the cutting off of his first tapestry. He invited all his friends to celebrate the occasion with him, including William Kentridge and Deborah Bell. And that is how Stephens started her long collaboration with Kentridge, culminating in the Wits Art Museum tapestry exhibition late in 2014.

GALLERY AOP promotes contemporary art on paper, notably limited-edition fine art prints, drawings and watercolours by new and established South African artists and also exhibits sculpture, mounts installations, and performance-based work. GALLERY AOP aims to engender a creative dialogue between artists and its versatile exhibition space, encouraging them to extend their artistic practice by articulating the famous 44 Stanley Avenue gallery space anew with each show. Exhibitions are often augmented with publications of various kinds, conceptualized in conjunction with each artist.

Marguerite Stephens wove her first tapestry, based on an abstract design of a Cecil Skotnes incised wood block, in the early 1960s. He swapped the woodblock for her tapestry, promptly sold it, and gave her half of the proceeds. Her career was launched and the rest, they say, is history.

44 Stanley Avenue Braamfontein Werf Johannesburg South Africa T +27 (0)11 726 2234 F +27 (0)86 510 0970 info@galleryaop.co.za www.galleryaop.com

A More Personal Space

awid Ras Gallery officially came into existence with

Anton Karstel, Eris Silke, Dylan Graham, Fleur de Bondt,

their debut exhibition at The Castle in Cape Town

Annelie Venter, Mathew Brittan and Nicolaas Maritz.

in 2004. Dawid is the gallery. The ‘by appointment’

description in the invites is therefore used in a purely practical way and not reflective of a highbrow approach to art. Art speaks for itself. Similarly, the artists that associate themselves with a gallery are a testimony in themselves. Nel Erasmus, who used to be the director of the

Representing young South African talent, there is Neo Matloga. Exhibitions by Sotiris Moldovanos, Luan Nel, Hannes van Zyl and Pascual Tarazona, will be on offer during the latter part of 2015. One South African artist who is now locally and

Johannesburg Art Gallery, and Dr Margaret McKean, former

internationally sought after, Lionel Smit, had two solo

Head of the Art Department at the Johannesburg College of

exhibitions at the gallery, in 2007 and again in 2010.

Education, opened the first permanent exhibition space of the gallery, formerly known as Dawid’s Choice Gallery. Some of the gallery's recent solo and group exhibitions

Seven annual exhibitions take place in Johannesburg on Saturday afternoons in the beautiful gallery garden. For more information or to secure an invitation, send an email

included Rhett Martyn, Olaf Bischoff, Zolile Phetshane,

to mdawidr@iafrica.com or register on our website

Ruhan Janse van Vuuren, Guy du Toit, Henk Serfontein,

www.dawidras.com. CF

36 / Creative Feel / April 2015

Springs Art Gallery Springs Art Gallery (SAG) aims to: • Show a variety of art forms, reflecting the cultural diversity of South Africa; • Promote visual literacy, making the visual arts accessible to everyone; and • Exhibit emerging talent, promoting Ekurhuleni artists in particular. The Springs Art Gallery is the only civic gallery in the City of Ekurhuleni. To support departmental programmes and the local visual arts and crafts industry, we have an ongoing commitment to develop more creative partnerships between the arts and business communities in Ekurhuleni, thus enhancing the business skills within the arts sector and the creative engagement of the business sector. Education goes to the heart of the mission of the SAG, caring through our outreach or community development programmes such as school art visits and gallery tours of permanent and temporary exhibitions. The programmes are part of the arts, Culture and Heritage Directorate’s general communications strategy, interacting, consulting and forging linkages with the communities we serve. On behalf of Ekurhuleni, SAG boasts a permanent visual art collection of historical and contemporary paintings and sculptures of various leading South African artists of the 20th century. There are approximately 100 artworks housed at SAG, which form part of the vast EMM Art collection. The permanent collection is available to view on request, contact the Curator at 011 999 87236/7 or email thabo.sekoaila@ekurhuleni.gov.za SAG has a wonderful limited space through which it offers two types of exhibitions: internal and external. The space is suitable for experimental projects and is easily accessible. Internal Exhibitions are organised by SAG and funded by

limited period and cover costs of running the exhibition.

Ekurhuleni Department of Sport, Recreation, Arts and Culture.

Artists approach the gallery by submitting proposals with

these include show of our permanent collection and selected

portfolios of their works.

artists. These may be solo or group shows. External Exhibitions are those that are organised by the artists themselves. Artists book the gallery space for a

Exhibition space is available for booking; please contact the Collections and Exhibitions Officer at 011 999 8973 or email nomcebos@ekurhuleni.gov.za

Creative Feel / April 2015 / 37

outoftheCUBE T

he South African online platform outoftheCUBE was

is featured in our ‘current exhibitions’ for ten to twelve weeks

co-founded in 2012 by Mandy Conidaris and Kevin

before moving fully-fledged permanently to our ‘archive’. On

Sneider. Our aim is to expose artists and their work

opening, and later randomly, we promote the exhibition on

to a broader viewer base, and to encourage people from all

our social media. Each exhibition has its own dedicated web

walks of life to engage in a simple but meaningful way with

link and the artist receives this with a QR code, both of which

cutting edge South African art. Each group of exhibitions are

they are free to use as they will. We hope that each artist will

presented as if they were gallery shows, in that they are care-

pick up the responsibility to actively promote the exhibition

fully curated with associated themes. The visitor to the site

among their own network, although this cannot be enforced.

can look at the artworks and read about the artists’ creative

The artists’ work may be for sale or not.

making and thinking processes in their own time and in their

Moving forward, as well as the more traditional art-mak-

own space using any computer, laptop or tablet. Although

ing techniques, we will be exploring ways of exhibiting new

there is much of significance to examine at length within

media, video and performance works and have some exciting

the site, it is also a great ‘dip in and out’ site to accompany a

projects lined up for 2015. Because of the comprehensive

quick cappuccino at your favourite coffee shop.

texts we write to accompany most exhibitions, we are also

outoftheCUBE is positioned as a contemporary virtual

looking for ways to establish ourselves as a creditable re-

space. Although we exhibit work by more established art-

source for researchers of contemporary South African art.

ists and visual art students, our main focus lies with early career artists. We look for artists whose work we feel is fresh, thought provoking and made with integrity. Many of these artists have not yet entered the formal gallery system, and we offer them an alternative means of exposure. Each exhibition

Most importantly, our core fascination with the work of artists is always ‘why?’ rather than ‘what?’ Website www.outofthecube.co.za What is outoftheCUBE? YouTube video https://www.youtube.com/watch?v=G-06vraiLEE CF

home about current exhibitions selfies archive contact

Candice Berman Fine Art Gallery: Contemporary Art Focus

Paul Blomkamp, Electric Highveld I & II Acrylic on Canvas 800x800mm

Candice Berman Fine Art Gallery Shop 8, Riverside Shopping Centre, 319 Bryanston Drive, Bryanston, 2191 011 463 8524 / 084 843 8302 info@candiceberman.co.za candicebermangallery.com

Paul Blomkamp, Protea VIIâ&#x20AC;Ś The Electric Essence. 160 x 160 cm. Acrylic on canvas

Creative Feel / April 2015 / 39

Simply more than an art fair The Cape Town Art Fair 2015 brought the best contemporary art truly alive at the V&A Waterfrontâ&#x20AC;&#x2122;s latest venue, the Avenue.

rom 26 February to 1 March, Cape Townâ&#x20AC;&#x2122;s V&A

the importance of live performance by visual artists as major

Waterfront became the hub for contemporary

museums in New York, London and Paris build dedicated

art when visitors strolled along the yacht basin,

spaces for their new performance programmes.

from the main venue, the Avenue, through to the North Wharf. Visitors had a sense of being on a

The author of the seminal book Performance Art, from Futurism to the Present, Goldberg explained why she launched

campus, with the chance to not only visit all the galleries

the first biennial dedicated to live performance by artists

and their exhibits, but also to take part in public art and

in New York in 2004 while Matthew Blackman, the current

installations along the way.

Director of the Association for Visual Arts and editor

The Cape Town Art Fair Guest Curator was RoseLee

of ArtThrob, was curating the Cape Town Art Fair Talks

Goldberg, the founder of Performa, a leading organisation

programme with talks as diverse as A conversation between

dedicated to exploring the critical role of live performance

Africa and Europe, Ancient Art and Contemporary Art; The rise

in the history of 20th century art and to encouraging new

of interest in contemporary art from Africa and its diaspora;

directions in performance for the 21st century. She discussed

Freedom of Expression: The rise of comic art & a history of protest;

40 / Creative Feel / April 2015

Continuing dialogue; Widening Access to the Contemporary Art Market; Camouflage and Attendant Ideas and others addressing the contemporary art market. As part of the Art in Public Spaces initiative, a carefully curated selection of outdoor installations occupied spaces along the Art Avenue and the North Wharf that gave everyone a chance to engage with art in a fresh, three-dimensional manner. The Cape Town Art Fair coincided with the Zeitz Museum of Contemporary African Art (MOCAA) Scheryn Pavilion’s various openings, the Design Indaba and the Guild International Design Fair. Also showing were William William Kentridge’s performance of his chamber opera Refuse the Hour at the City Hall and at the Iziko Museum of South Africa his display The Refusal of Time; Time and Again by Penny Siopis at the South African National Gallery and There’s Something I Must Tell You, by Sue Williamson at the Slave Lodge. In addition some interesting books were launched at the Cape Town Art Fair with Dylan Lewis and his brand new book, An Untamed Force. Lewis’ sculptures are fast becoming well-known landmarks in South Africa and this publication brings his photographic record up to date. Known for his diverse exploration of oil painting and stop-frame animation, Nigel Mullins latest book, Chaotic Region showcased his newest works. South African Artists at Home, the latest work from author Paul Duncan, gives the reader a glimpse into the homes and private locations of some of South Africa’s most loved artists and Making Art in Africa was launched by Sir Robert Loder. The 2015 Cape Town Art Fair was much more than an Art Fair, it simply was a great art experience at a special time during a week of art, more art and art and design in the Mother City. CF

As part of the Art in Public Spaces initiative, a carefully curated selection of outdoor installations occupied spaces along the Art Avenue and the North Wharf that gave everyone a chance to engage with art in a fresh, threedimensional manner.

Creative Feel / April 2015 / 41

Refuse the Hour William Kentridge’s multimedia performance Refuse The Hour recently premièred in Cape Town at the 2015 Design Indaba.

multimedia chamber opera incorporating dance and video alongside a host of mechanical sculptures, Refuse The Hour is an 80 minute long performance piece. This accompanies The Refusal of Time, the artist’s

collaboration with Philip Miller, Catherine Meyburgh and Peter Galison, presented by the Goodman Gallery at the Iziko National Gallery in Cape Town until June 2015. From the Greek legend of Perseus, whose discus accidentally brings about a death – one little action resulting in an irreparable loss – to Einstein’s relative time; the bellows-driven clocks of Paris to time across cultures, both Refuse The Hour and The Refusal of Time interrogate what turns out to be a fascinating subject. Against the backdrop of Philip Miller’s extraordinary soundtrack and Gavan Eckhart’s soundscape, William

42 / Creative Feel / April 2015

William Kentridge’s Refuse The Hour

“the idea of time, which is completely vague and invisible – there are ways of making it very visible. The film that runs forwards or backwards... having two images that are in sync but gradually get out of sync...”

sleeve... we were both interested in this notion of embodied ideas, of very abstract things worked out in the material world.’ ‘One of the things that artists do is take things we know but can't see and make them visible,’ says Kentridge in an online interview for Met Collects. ‘So the idea of time, which is completely vague and invisible – there are ways of making it very visible. The film that runs forwards or backwards... [ways] of fracturing time: having two images that are in sync but gradually get out of sync...’ Many of these are in play. Similarly, the sound and choreography emphasise the passing of time, its mutability, its unyielding march onwards. Refuse The Hour features an international cast of twelve, including former Standard Bank Young Artist for dance

Kentridge’s compelling narrative weaves together science,

Dada Masilo, whose choreography forms a key part of the

history and philosophy. On the one hand, our futile battle to

performance; uniquely versatile vocalist Joanna Dudley – a

prevent the clock from running out – the ultimate ‘full-stop’;

classically trained musician with the ability to contort her

on the other, the desire for an end; the ability to undo what

voice into a full spectrum of unexpected sounds; and opera

has been done, to change the past and save the future, as a

and gospel singer Ann Masina.

constant film of images projects our every move eternally into space. Unless, perhaps, it reaches the black abyss... The project stems from a collaboration between Kentridge

‘If you returned to see it several times, each time you’d emerge having resonated with different aspects of the performances, previously unseen shards of the action.

and Harvard professor, physicist Peter Galison. According

Its themes are timeless and also, somehow, pressingly

to Galison, both were ‘fascinated by this late 19th century

of this moment,’ wrote reviewer, Alexandra Dodd of the

moment when technologies wore their functions on their

performance at Design Indaba. CF

Creative Feel / April 2015 / 43

Unrest

99 Steps, 2014 Lightjet C-print on archival paper 114 x 188.5 cm Edition of 5 + 2 AP

Following the exhibitionâ&#x20AC;&#x2122;s debut at the 2014 National Arts Festival and a subsequent tour of the country, Unrest is coming to Johannesburg this April.

44 / Creative Feel / April 2015

Drug Den, 2014 Lightjet C-print on archival paper 114 x 186.5 cm Edition of 5 + 2 AP

n 2014, twin brothers Hasan and Husain Essop

Key to the Essops’ work is their commitment to Islam. ‘The

became the youngest artists – and only siblings – to

root to our inspiration is our belief, is the religion of Islam.

win the Standard Bank Young Artist Award for Visual

It’s 100% of you; art itself is something very similar, so the

Art. Perhaps the most important part of the award

two kind of… influence each other,’ they explain. Location

is the chance to create work for an exhibition on the

too – another crucial factor of individual identity – plays a

Main at the National Arts Festival. Thus, in July last year,

central role. At the heart of Unrest lies Cape Town, where the

Unrest debuted in Grahamstown – to great interest – before

brothers were born and raised amid ‘this melting pot of all

moving on to Port Elizabeth, Durban, Cape Town, and

these different cultures... a unique place and environment. This

Bloemfontein. Finally, the exhibition is set the Standard

exhibition is to give people an insight into this beautiful place,

Bank Gallery where it will show from 22 April – 20 June 2015.

to some of the issues that are troubling it,’ they say.

Creative Feel / April 2015 / 45

Night Patrol, 2014 Lightjet C-print on archival paper 114 x 138 cm Edition of 5 + 2 AP

“[Cape Town is] this melting pot of all these different cultures... a unique place and environment. This exhibition is to give people an insight into this beautiful place, to some of the issues that are troubling it”

46 / Creative Feel / April 2015

Unrest depicts locations familiar to the brothers, places ‘that we see every day, that are politically loaded,’ which they have captured using a new technique – ‘shooting in a sphere, so the whole landscape becomes our stage.’ Against this, the brothers perform, multiplied into a host of clones populating the urban landscape. This serves both as a critique of the stereotyping of Muslims, the blurring of individuals into an undifferentiated other; it is also a practical response to Islamic reservations regarding the depiction of life.

Silat Mulut, 2014 Lightjet C-print on archival paper 114 x 167.5 cm Edition of 5 + 2 AP

From about 20 to 25 photographs, the brothers have

reference made overt by the incorporation of weapons, ‘those

selected roughly half, pushing their technique to create images

typically found in South Africa... like the miners of Marikana,

both visually appealing and thought-provoking.

who charged the police with machetes and kieries; the okapi

Unrest continues the Essops’ interrogation of their identity within a society, both local and global, and seeks to capture a

knives confiscated from students in schools...’ In its tour of the country, Unrest has stimulated much

growing sense of unease, of precariousness infusing society –

discussion, with the Essops sometimes personally on hand

‘this tension, that could either explode or subside’ – intensified

to further the debate. Although they note that ‘we have

by the ripples of local and international events, xenophobic

our own intentions for the work, we have our reasons for

outbreaks, escalating protests, the Arab Spring, and tensions

it,’ the brothers welcome the possibility that viewers may

in the Middle East and beyond, that continue to disrupt and

come up with their own interpretations. ‘It adds another

dismay. The exhibition is rooted in this ‘kind of violence’, a

aspect to it,’ they say. CF

Creative Feel / April 2015 / 47

Ghosts of the

Past

Kemang Wa Lehulere speaks to Creative Feel â&#x20AC;&#x2122;s Nondumiso Msimanga about the ghosts that haunt his work and the importance of artistry.

48 / Creative Feel / April 2015

Kemang Wa Lehulere. Standard Bank Young Artist 2015 for Visual Art. Photograph by Adam McConnachie

“Contemporary art is indefinable. It is an endless number of possibilities”

To Whom it May Concern. Installation View © Kemang Wa Lehulere  Courtesy Stevenson, Cape Town/Johannesburg  Photograph: Mario Todeschiniy

Standard Bank Young Artist Award (SBYAA)

in the country and abroad through various other awards, it

is almost inarguably the greatest tribute the

is refreshingly candid to hear an artist say that ‘this kind of

South African arts industry can bestow on

derails me.’ Wa Lehulere does not seek to win awards. He

an artist. So it is understandable that artists

never imagined that he would be a Standard Bank Young

spend nights dreaming of achieving this

Artist. ‘I’m focused on my work,’ he says, but adds that even

honour. This is not Kemang Wa Lehulere. He is an insomniac

though it is important to gain this credit, the work has to

and a workaholic. His works are a stream of consciousness

come first if he is to continue to grow as an artist. And so, the

that utilise a plethora of materials ranging from chalkboard

story of the Gugulethu-bred mixed race man who grew up

drawings, paintings, scripts, text, glazed sculptures, found

without his father but developed with many questions about

objects and even himself He is also excavating his interest in

the nature of identity continues; with a retinue of talents as

film and working on a video. Having already been recognised

tools for an archaeology of existence.

Creative Feel / April 2015 / 49

To Whom it May Concern. Installation View © Kemang Wa Lehulere  Courtesy Stevenson, Cape Town/Johannesburg  Photograph: Mario Todeschiniy

Much has been made of the use of the gesture of digging,

charming way, he speaks as though the endless sleepless

as well as the images of bones, in Wa Lehulere’s work. There is

nights spent crafting his work and drafting new ideas can be

a certain quirky haunting presence to his drawings. They are

forsaken for the chance meetings he has had with ghosts of

filled with chalk lines that hint at their immanent evanescence

the past that inform his contemporary art. ‘I started digging

as seemingly endless works in progress. When he won the

in 2008 here in Cape Town’ is the familiar story of how this

inaugural Tiberius Art Award Dresden, Hartwig Fischer

vocabulary came to be. When he continues to think – his

(Director General of Staaliche Kunstsammlungen Dresden)

mind rapidly flooding with more memories – he slickly states

said, ‘his over-sized wall drawings represent the performative

that ‘there are all these ghosts lingering around.’ He evokes

art of drawing, vanishing as they do at the end of the

a 19-year-old Wa Lehulere reading Nat Nakasa and realising,

exhibition.’ Wa Lehulere calls it an ‘archaeology of moments’.

at the time, that Nakasa was buried in New York as an exile

‘During a performance I discovered bones.’ He remembers

and ‘found it fucked up’. When Wa Lehulere found himself in

how digging began as a mere symbolic gesture for him and

New York in an autumn August in 2013, he visited Nakasa and

how ‘discovering bones was purely chance.’ In a disarmingly

‘took a piece of grass from his grave.’ The many stories that

50 / Creative Feel / April 2015

When I can't laugh, I can't write. © Kemang Wa Lehulere  Courtesy Stevenson, Cape Town/Johannesburg  Photograph: Mario Todeschiniy

fill his works are memorable imprints on contemporary art.

falling event 8. © Kemang Wa Lehulere  Courtesy Stevenson, Cape Town/Johannesburg Photograph: Mario Todeschiniy

The dream was not to win the SBYAA for Visual Art, as

His simple take on his multiple awards is that ‘because I work

grateful as he is, it surprised him. The dream is ‘to inspire,

across mediums a lot of people find that fascinating.’

that’s the only thing I can return.’ Growing up in a close family

Contemporary art, he says, is indefinable. It is an ‘endless

of over 16 cousins, many of whom are also artists, he was

number of possibilities’ that he started to seriously explore the

exposed to the arts and, armed with research, he was able to

limits of when he cofounded Gugulective in 2006. Without fear,

fearlessly pursue his craft. His uniquely brazen quality goes a

he has carved out his own space in contemporary art. He is also

long way. When he went water boarding with his cousins once,

a cofounder of the Centre for Historical Re-enactments and is

he simply jumped on board and only after a successful first

looking forward to his exhibition touring the country after the

attempt did he then tell them that he did not know how to

National Arts Festival. He hopes that the acknowledgement

swim. One cousin dubbed him either the bravest of people or

accompanying this award can bring not just his story but also

the stupidest. He says, ‘I still don’t know which I am.’

the many stories that he tells, to people who are like him but are afraid that they don’t have a place in the arts.

Stupid or brave, as he dives into the expansive depths of contemporary art, Wa Lehulere is definitely inspiring. CF

Creative Feel / April 2015 / 51

52 / Creative Feel / April 2015

:: GRACE MEADOWS UJ Performing Arts Producer :: Photo by Jan Potgieter

UJ ARTS & CULTURE’S 2015 PROGRAMME CURATED AS A CELEBRATION OF, AND A REFLECTION ON, TEN YEARS OF ARTS ACCOMPLISHMENT, UJ ARTS & CULTURE’S ANNUAL PROGRAMME FOR 2015 ENTITLED COMPRISES SIGNATURE PRODUCTIONS, EXHIBITIONS AND CONCERTS. THE CRUCIBLE BY PULITZER-WINNING PLAYWRIGHT, ARTHUR MILLER, IS SET TO OFFICIALLY LAUNCH THE PROGRAMME THIS MONTH.

“What better way to launch our tenth anniversary celebrations than with a timeless theatrical classic?” asks Grace Meadows, who is producing the play for UJ. “Written in 1953 as an allegory of the social-political situation in America at the time, The Crucible has just as much relevance for our contemporary global community as it did when it served as Miller’s commentary on the intolerance of McCarthyism,” she reasons. Set in colonial Massachusetts, during the Salem Witch trials of 1692, Miller’s play is based on actual events where greed and vindictiveness fanned the flames of religious fervour until they almost destroyed an entire village. According to Meadows, “We need only look to sensationalist newspaper headlines, the masqueraded ‘truth’ of Huffington Post and Charlie Hebdo to see we have clearly come full circle to an age where fanaticism is destroying reason and witch hunts are once again reducing people to fearful animals. Ostensibly, it may not seem celebratory but for us anniversaries are not just an occasion for heady celebration. They are even more of a reason to reflect on who we are, how we arrived here, where we really want to be and what we need to do to get there. ” Meadows has assembled a stellar creative team for the production: Alby Michaels takes the reins as director; Wilhelm Disbergen is on board for set and mask design; Oliver Hauser takes care of lighting; Dawid Boverhof will create an original score; Craig Morris

returns to UJ as movement specialist, and Jo Glanville will be designing costumes. “It is no coincidence that this is the second time I am directing this play,” says Michaels, who received a Naledi nod for his 2011 Joburg Promusica production of the play. “There are certain plays I keep coming back to.” The Crucible is one of those plays because Arthur Miller’s observation of the human condition is more than universal, it’s almost primordial.

Auditorium; the 180-seater Con Cowan Theatre and dance studios on the Bunting Road Campus and cultural offices on the Soweto and Doornfontien Campuses. Venues also serve as receiving houses for professional South African and international productions, concerts, exhibitions, conferences and cultural events. For more information please visit www.uj.ac.za/arts.

UJ Arts & Culture’s production of The Crucible, featuring a mix of UJ students, alumni, and guest professional performers, runs in the Arts Centre Theatre on the Kingsway Campus from 16 April 2015 (low-price previews on 14 and 15 April). Full price tickets are R60 and discounted tickets for students, pensioners or bookings of more than 10 are R50 per person. Book at Computicket or at the UJ Arts Centre offices during working hours. For more information call 011 559 3058 or email preciousm@uj.ac.za. For school and/or group bookings please contact Kerry Lee on artsbookings@uj.ac.za.

UJ Arts & Culture produces and presents world-class student and professional arts programmes aligned to the UJ vision of an international university of choice, anchored in Africa, dynamically shaping the future. Venues include the UJ Arts Centre located on the Kingsway Campus comprising the 436-seater Arts Centre Theatre, Art Gallery, dance studios and choir rooms; the Experimental Theatre also located on the Kingsway Campus next to the Sanlam

Creative Feel / April 2015 / 53

SA-UK Seasons’ Projects Announcement During a media event on 6 March 2015, held at Constitution Hill, Johannesburg, the SA – UK Seasons announced the projects that will be taken forward as part of the SA – UK Seasons 2014 & 2015 programme.

fter an open call for applications in South Africa and United Kingdom in October 2014, which attracted more than 400 submissions, about 40 projects were selected by the SA-UK Seasons’ joint

organising committee to be part of the 2015 joint artistic programmes between South Africa (SA) and the United Kingdom (UK). In addition, the SA Season in the UK will be comprised of about 40 projects and British Council Connect ZA comprises over 20 projects in 2015. The SA – UK Seasons 2014 & 2015, a project between the British Council and the South African Department of Arts and Culture, is a multifaceted bilateral collaboration between the two nations, with a particular focus on artistic and creative capacity building and relationship development intended to raise cultural relations between the two countries. Among the distinguished guests in attendance were the Prime Ministerial Trade Envoy to South Africa, Baroness

54 / Creative Feel / April 2015

â&#x20AC;&#x153;Clearly these Seasons are fulfilling their objective, which includes connecting new generations of creative professionals and audiences in SA and the UK. Perhaps more crucially, these Seasons promote the fostering of skills transfer and development and sharing expertise for the growth and sustainability of the arts and culture sectorâ&#x20AC;?

Ghost Diamond 3

Creative Feel / April 2015 / 55

I See A Different You

Scotland, the British High Commissioner to South Africa,

‘We are all impressed with the amount of collaborative

Her Excellency Mrs Judith Macgregor and Deputy Director

projects between South Africa and the UK that are already

General of the Department of Arts and Culture, Ms

in the making. What is surprising but wonderful is the fact

Maseapo Kganedi.

that these projects span across all artistic disciplines, such

Deputy Director General of the Department of Arts and

as the visual arts, theatre, dance, cinema, literature, music

Culture, Ms Maseapo Kganedi, speaking on behalf of the

and creative economy and are not centred on only one or

Department of Arts and Culture said: ‘The Department

two creative disciplines. The standards of these projects are

is delighted at the success of the SA-UK Seasons 2014 &

very high and with the SA-UK Seasons’ support are sure to

2015. Clearly these Seasons are fulfilling their objective,

be successes,’ said Her Excellency Mrs Judith Macgregor.

which includes connecting new generations of creative

Nineteen projects are receiving partnership support grants

professionals and audiences in SA and the UK. Perhaps

and 22 projects are being issued Creative catalyst grants to

more crucially, these Seasons promote the fostering of skills

further develop these projects and partnerships within the

transfer and development and sharing expertise for the

arts. There is a total fund of R6 million allocated to the SA-UK

growth and sustainability of the arts and culture sector.’

Seasons 2014 &2015 Joint Projects.

56 / Creative Feel / April 2015

Sequins, Self and Struggle

Official endorsement of projects by the SA-UK Seasons

contemporary culture and creativity in both countries.

2014 & 2015 are still being considered. These projects will

In 2014 more than 450 artists participated in prestigious

benefit from the overall marketing and publicity of the

festivals and events across both countries, and the

SA-UK Seasons.

projects of 2015, just announced, will further strengthen

Colm McGivern, Country Director, British Council

this constructive engagement,’ says Commissioner-

South Africa said, ‘All of these successful projects address

General of the SA-UK Seasons, Mr Bongani Tembe.

the importance of strengthening existing relationships

The SA-UK Seasons 2014 & 2015 is made possible

and creating new connections within the arts. It is to

because of the eager and talented creatives who see the

our mutual benefit to see such valuable skill transfer

need for developing the arts; the benefits of forging cross-

happening between our two nations. This is fundamental

border relationships, and building a solid platform to

in what the SA-UK Seasons aim to achieve.’

ensure the arts live on for future generations.

‘With regards to showcasing and promoting the SA

To see the full list of projects for 2015, visit

and UK arts and culture, the programme has presented

http://southafrica-unitedkingdom.com/saukseason/

works that challenges and updates perceptions of

#new-seasons. CF

Creative Feel / April 2015 / 57

A triple celebration for Des and Dawn Lindberg Des and Dawn Lindberg are two of South Africa’s most prominent theatrical personalities. They have reached a milestone in their lives; in 2015, they celebrate 50 years in show business, and 50 years of marriage. Peter Feldman looks back at their life in showbusiness for Creative Feel.

Zuraida Jardine, Dawn, Shia, Zaria and Joshua

Des and Dawn Lindberg

n 19 April, the dynamic Dawn celebrates her

By the mid 60s, Des had already established himself as a fine

70th birthday, five days after the staging of

folk singer, and he achieved enormous success with an Afrikaans

the Naledi Theatre Awards, her brainchild

song, ‘Die Gezoem Van Die Bye’, which went to number one on

and one of the highlights of the South

the South African charts where it remained for 20 weeks.

African theatre calendar.

Durban-born Dawn is one of seven children. She was

In 1965, Des and Dawn were married; they then hit the road (literally) when they bought a caravan and toured

educated at Parktown Girls’ High School and after matric,

South Africa and the then Rhodesia, visiting dorps and

she won an AFS scholarship and spent a year in Detroit,

towns with their legendary show, Folk on Trek. Remembers

Michigan. A highlight of the trip was meeting the late

Dawn: ‘There was no TV in those days, so to get known you

President John F. Kennedy on the lawns of the White House.

had to go on the road and meet the people.’

She studied Fine Arts at Wits University, and in 1962

Their first album, Folk on Trek, was promptly banned

she met her husband and long-time partner in music and

on the grounds of obscenity because of dubious lyrics to

theatre, Des Lindberg, who was studying Law at the time. ‘He

the nursery rhyme, ‘Mary had a little lamb’, and the Negro

was like a gentle Viking,’ she recalls, ‘tall, with blond hair

Spiritual, ‘Dese bones gonna rise again’. They went on appeal

falling over his eyes, and a guitar slung over his back.’

but lost the case and all copies of the album were ordered to

58 / Creative Feel / April 2015

be destroyed – but some die-hards hid them and thankfully, there are still copies in existence today. The couple then embarked on a plan to help make a

Their influence in the South African theatre industry has been far reaching and significant: Des was chairman of the Theatre Managements of South Africa for 22 years, and

significant change to the country’s political thinking and in

he was on the boards of the State Theatre and the Joburg

1973 they produced the ground breaking musical, Godspell,

Theatre for 5 years each. He crafted the new Standard

the first multiracial show to be staged publicly in SA. With a segregated South Africa still existing, the show’s multiracial cast was forced to rehearse on the lawns of the Lindberg’s magnificent Victorian mansion for the grand opening at a theatre specially built for them at the Holiday Inn in Maseru, Lesotho. When they decided to bring the show to SA, it was promptly banned by the censors on the grounds of blasphemy. The Lindbergs took the case to the Supreme Court and they won after the show was allowed one

“There was no TV in those days, so to get known you had to go on the road and meet the people”

performance so that Judge Lammie Snyman and the

On their wedding day

Des and Dawn Lindberg

Des and Dawn with their grandchildren

censors’ legal team could view it. Godspell went on

Theatre Contract with the theatre Agents and Actors’

to triumphantly tour the country for 18 months. It

Union in 1998, which is still in use today. Dawn’s greatest

spearheaded the opening of theatres to all races in 1977, the

achievement has been the creation and nurturing of the

first bastion of apartheid to fall.

internationally recognised Naledi Theatre Awards, which has

The success of this production prompted the Lindbergs to move more into the theatrical arena and over the years they staged a succession of musicals and plays that

honoured over 300 artists and theatre makers, and awarded over 60 Lifetime Achievement Awards. Primarily though, Des and Dawn are down-to-earth

included Pippin; The Black Mikado (the first West End

family people. They have two sons, Joshua (44) and Adam

musical to premiere in Soweto); The Best Little Whorehouse

(42). Joshua is married to television personality Zuraida

in Texas, (when the title was banned!); and The Vagina

Jardine and they have two children, Zaria, 6, and Shia, 4.

Monologues about abuse of women.

Adam lives in Cape Town and has his own rap group, Afbotz.

The Lindbergs have enjoyed a successful career as

Icons in South African theatre, Des and Dawn Lindberg

entertainers, punctuated by many hits that included ‘The

continue to strive to make a meaningful and uplifting

Seagull’s Name was Nelson’ in 1971, which topped the

contribution to our country and we salute them on this

charts for 20 weeks.

landmark occasion. CF

Creative Feel / April 2015 / 59

Naledi Theatre Awards Nominations A highlight on the South African theatre calendar is the annual Naledi Theatre Awards which will take place at the Lyric Theatre, at Gold Reef City, on Tuesday, April 14. its puppeteers, and its South African producers, Pieter Toerien and RMB, with special emphasis on Joey and his handlers, for making this performance so real that audiences were able to suspend their disbelief and believe that Joey is alive. The Naledi Theatre Awards are proudly supported by Auto & General Insurance for the 3rd year, BASA, Distell, and RMB. Sponsorship in kind is from the Lyric Theatre and Tsogo Sun for the 4th year. Executive Head, Marketing of A&G, Carl Louw said: ‘Once again Auto & General Insurance is thrilled to support the Naledi Theatre Awards. Our involvement was the brainchild of Arts Angel, Carolyn Steyn. Thank you, Carolyn, for opening our eyes to the magical world of the Arts in

PJ Powers

SA. We salute our world class home grown talent for their dedication and commitment. Thank you to all the nominees

he Awards, which recognise and honour

for keeping Theatre in SA alive!’

excellence in professional theatre, celebrate its 11th year and is the biggest and most highly anticipated event of the year. Some of the most renowned names in South

African theatre will be recognised on the night including stalwarts Athol Fugard (The Shadow of the Hummingbird) and John Kani (Missing). Dawn Lindberg, Executive Director of the Naledi Theatre Awards said: ‘We are truly inspired by the quality and diversity of the productions that were presented in Gauteng in 2014, and our panel of judges had a difficult task selecting the nominees because of the intense competition among arts practitioners on all levels. There have been some amazing productions among the home-grown product, plus we were fortunate to see War Horse, with the famous puppets created by our own Handspring Puppet Company, on our shores.’ It was an impressive, and emotive, performance and Naledi felt the need to recognise this achievement. War Horse,

60 / Creative Feel / April 2015

Aubrey Sekhabi. Photograph by Sanmari Marais

Twenty-five awards will be handed out on the night, as well as a Lifetime Achievement Award presented to an individual who has made an indelible contribution to the arts. This will be a night to remember! The top nominee was Marikana – The Musical, Aubrey Sekhabi’s emotive production, with no fewer than twelve nominations. It created enormous interest because of its controversial subject matter and the manner in which it was depicted. It received nominations for Best Musical, Best New South African Script (adapted by Aubrey Sekhabi), Best Director, Best Theatre Design (Wilhelm Disbergen), Best Costume Design (Irene Moheedi Mathe), Best Sound Design (Richard Mitchell), Best Choreography (Thabo Rapoo), Best Score/Arrangement/Adaptation (Aubrey Sekhabi and Mpho ‘McKenzie’ Matome), Best Musical Director (Mpho

John Kani in Nothing But The Truth. Image courtesy of The Market Theatre Foundation

Design (Penny Simpson), Best Theatre Design (Tina Driedijk and Anwar McWhite) and Best Choreography (Louisa Talbot). Athol Fugard’s The Shadow of the Hummingbird received five nominations, including Best New South African Script and Best Production of a Play. On the children’s theatre front, Naledi is excited to be partnering with ASSITEJ SA in the newly re-named category: ‘Best Production for Young Audiences’. This category has a dedicated team of judges who now see a much broader selection of theatre for young audiences. Two Showcases are held at the Soweto Theatre at which judges can view a full day's productions in one venue. Athol Fugard

The Awards event is also celebrated with music and dance. Some of South Africa’s best-known performers will grace the stage, performing extracts from some of the

‘McKenzie’ Matome), Best Performance in a Musical: Female

productions staged during the year, Marikana – The Musical,

(Emma Mmekwa), Best Performance in a Musical: Male

The Sound of Music and Peter Pan.

(Meshach Mavuso), Best Supporting Actress (Siyasanga Catherine Papu) and Best Production of a Musical. A Naledi regular, Wilhelm Disbergen, received five

The emcees will be popular TV presenter, poet and actress Lebo Mashile and the famous Chester Missing, a puppet whose curt comments on matters political have sent

nominations in the field of Best Theatre Design and Best

a nation into stitches. To ‘add a slice of beefcake’ to the

Lighting Design, while flamboyant singer and composer

proceedings, Mr South Africa, Armand du Plessis and runner

Nataniël received three nominations for Best Score/

up, Sibusiso Sibanda will bring on the trophies.

Arrangement/Adaptation, Best Performance in a Musical: Male and Best Musical Director. The Rocky Horror Show was also a wildly popular

The Naledi Theatre Award judges for this year are: Dorianne Alexander, Alex Burger, Peter Feldman, Helen Heldenmuth, Ferosa Marais, Lance Maron, Mandla Motau,

musical, with a massive cult following, and it received seven

Lakin Morgan-Baatjies, Welcome Msomi, Rudi Sadler, Renos

nominations. They were for Best Production of a Musical

Spanoudes and Carolyn Steyn. The group, which has been

(Matthew Wild), Best Performance in a Musical: Male

drawn from all spheres of the theatre world, viewed more

(Brendan van Rhyn), Best Musical Director (Charl Johan

than 60 productions during the year.

Lingenfelder), Best Sound Design (Aki Khan), Best Costume

Visit www.creativefeel.co.za to view the full list of nominees. CF

Creative Feel / April 2015 / 61

The Bala Brothers

The Bala Brothers – Loyiso, Zwai and Phelo – are a household name in South Africa, thrilling audiences with their fusion of operaticallytrained voices, rich harmonies, R&B energy and traditional South African melodies and rhythms. Emblematic of the transformations wrought by Nelson Mandela, they are now entering a new, global phase in their career with the CD and DVD Bala Brothers, recorded live in Johannesburg and due for broadcast on America’s PBS network in March 2015.

he Bala Brothers released their self-titled debut

Three gifted South African brothers, lifted out of poverty

album with Warner Classics in March 2015. They

through their sheer musical talent, and already stars in their

perform an inspiring live program of music

own country, promise to become one of the most exciting

ranging from The Lion King to Paul Simon, with

new vocal trios to take the world stage.

special guests The Drakensberg Boys’ Choir, in

their hometown Johannesburg’s beautiful Lyric Theatre. Songs on the album include the anthemic ‘Circle of Life’

It was older brother Zwai who forever changed the history of ‘the Drakkies’ when at age 12 he became the choir’s first black member. That is a dramatic story in itself,

from Elton John’s score for The Lion King, the Paul Simon

set in the darkest years of apartheid and pitting this young

hit ‘Under African Skies,’ from his seminal album Graceland,

black child with an astonishing, once-in-a-generation voice

their own Xhosa-language love song ‘Masebuyelene’ and the

against the wishes of some of the all-white choir, some of

album’s centerpiece: the anti-apartheid anthem ‘(Something

their parents, and the choir’s generally white audiences.

Inside) So Strong’, a performance made all the more powerful by the presence of Winnie Mandela in the audience.

62 / Creative Feel / April 2015

There was also resistance within the school faculty, but Zwai had at least one fierce supporter among them, Bunny

Ashley-Botha, who was to become his music teacher. In the end, though, it was that voice and the boy with a personality like a force of nature that won him, and eventually his two very talented younger brothers, a place in the choir, and indeed, in the musical history of South Africa. Growing up, the Bala’s home with its dirt floors and no electricity might have shown little promise as the birthplace of a musical dynasty, but if the family lacked in financial resources, it was rich with musical talent. The whole family sang. The Bala parents met singing in church choirs and quartets, the maternal grandfather was a choral composer who taught his grandsons basic musical skills at a very early age. By age five, Zwai was being called upon to help work out his grandfather’s arrangements. By age ten he had his own choir.

“When we are together, we really understand each other, we know what’s expected of us… it’s really cool to work together in that way”

Before age 12, when he burst into the Drakensberg choir, Zwai had already won a national singing contest and was performing in his first professional stage production, making him the breadwinner of the family at age 13. At age 20 he was heading a million-selling rap trio and from there grew to become an all-round producer and arranger, recording artist and performer crossing many musical genres. For second brother, Loyiso, also born with blazing natural talent, it became clear that once he set his sights on a place in the Drakensberg choir, there would also be no way of stopping him. He joined the choir even earlier than his brother, at age ten. Loyiso’s singing skills turned out to be matched by a talent for composing. So when at 16 he had a certified national hit performing his song, Girl Without A Name, it was to no one’s surprise; he had the Bala gift. Loyiso has achieved his own place in South African music history by following his own path as a rhythm and blues and gospel singer/songwriter and producer. Loyiso serves as an official ambassador for Nelson Mandela’s charities and a Goodwill Ambassador for the United Nations’ UNAids programme. Third brother Phelo arrived in the family uncertain whether he had the same musical destiny as his brothers. Any doubt was laid to rest when he decided to apply to Drakensberg and won an audition. Phelo showed his own unique vocal talent, and became a valued member of the choir as a singer with an incredibly rich voice, and as the choir’s Head Chorister and Music Leader. While his long-term ambition may arc toward performing opera and classical music, Phelo comes to the trio with already established credentials as a pop star in South Africa. Combined, the Bala Brothers already experienced voices produce an authentic and joyful sound that transcends musical categories, in a wide range of repertoire, all grounded in their extraordinary African experience. CF

Creative Feel / April 2015 / 63

A Bright New Year for Cape Town Opera Three new talented individuals have been appointed in various positions to assist Cape Town Opera (CTO) as they strive ever upward.

African Angels performed by Cape Town Opera

avid Butlin, Christine Crouse and Matthew

As Vocal Coach and Repetiteur, singer-pianist and coach,

Wild have been appointed to the positions

David Butlin will assist Head Coach, Ean Smit in nurturing

of Vocal Coach and Repetiteur; Head

South Africa’s top operatic vocal talent.

of Outreach and Education and Artistic Director, respectively. Along with a wealth of

Enthusiastic in her new role as Head of Outreach and Education, Crouse is full of ideas to grow and nurture the

experience, knowledge and talent, Butlin, Crouse and Wild

CTO’s outreach and education programme. Christine Crouse

also bring fresh ideas and new methods to what is widely

has directed opera in the major theatres across South

viewed as South Africa’s top opera company.

Africa. She made her international directing debut with her

64 / Creative Feel / April 2015

highly acclaimed production of Porgy and Bess in the United Kingdom (2009). Operas directed include L’elisir d’amore, Madama Butterfly, Aida, Der Rosenkavalier, Die Zauberflöte, Il trittico, Hänsel and Gretel, Der Fliegende Holländer, La traviata, Nabucco, The Merry Wives of Windsor, A Midsummer Night’s Dream, Die Entführung aus dem Serail and Fidelio. Joining the former Cape Performing Arts Board in 1978, she worked as stage manager, assistant producer and resident director. Crouse was a part-time lecturer at the University of Stellenbosch and has directed and taught at the University of Cape Town Opera School. In 1997, she became Project Manager at the Baxter Theatre Centre, joining Cape Town Opera as Organiser in 2003. She was appointed Artistic Director of Cape Town Opera in 2004. Crouse directed the six-city tour of Porgy and Bess in the UK in 2012, making her West End debut at the London Coliseum and her German debut with her production of Porgy and Bess at the Wiesbaden Maifest (2013). In 2013, Crouse directed Madama Butterfly

“Opera is definitely the thing which is closest to my heart and I’d definitely consider it my home genre. Musicals are a more foreign genre for me, even though I’ve spent a bit of time doing that now”

and Il barbiere di Siviglia to great critical acclaim, for Cape Town Opera and made her directing ebut in France with a sell-out season of Porgy and Bess at the Grand Théâtre de

focussing more on directing, but I’m really looking forward

Bordeaux. She was on the international jury for the Belvedere

once again to be able to steer a company and work out a

Competition in Amsterdam in 2013 and in Düsseldorf in 2014.

strategy over a four-year period. I absolutely adore being

Diving straight into a busy schedule, Wild is in the process

able to work repeatedly with one ensemble. I think if you

of rehearsals for Cabaret at present. Matthew Wild is one of the most versatile and prolific South African theatre directors of his generation, equally at

really get to know a group of artists you can really start to get a lot more sophisticated.’ As Artistic Director, Wild’s aim is to ‘work very hard

home staging operas, musicals, new plays and classic texts.

to balance the work of the company abroad and the work

A two-time Fleur du Cap Award winner, Wild’s productions

at home and really try to make sure that each season

have been seen on stages throughout South Africa, as well

has a fantastic balance of repertoire and of different

as in Ireland, Sweden and Australia.

production styles and a range of artists. As far as casting

Wild fell in love with opera as a genre at the age of 14,

goes, whenever possible we’re going to try and bring back

and has pursued it since, by playing piano ‘decently’ as a

notable South Africans who have important careers in the

teenager, ‘listening to it profusely at home’ and directing

opera world and, of course, continue to feature great local

opera performances across the globe. ‘Opera is definitely the

stars…We’re going to continue to look for opportunities

thing which is closest to my heart and I’d definitely consider

where we can work with other opera companies and see

it my home genre. Musicals are kind of a more foreign genre

where we can share productions.’

for me, even though I’ve spent a bit of time doing that now.’

With another remarkable line-up for 2015 and three new

Wild says he is ‘looking forward to taking on my first artistic

creative talents on board, the future shines ever brighter for

directorship, my first time in this sort of leadership. I ran

the Cape Town Opera and the talented voices they foster.

a company for five years in my 20s and of late I’ve been

‘It’s going to be wonderful,’ notes Wild. CF

Creative Feel / April 2015 / 65

Buskaid and Melvyn Tan A full to overflowing hall set the scene for a highly successful collaboration between internationally renowned pianist Melvyn Tan and the Buskaid Soweto String Ensemble on February 7th. The concert took place at The Edge, St Mary’s School as part of the Johannesburg International Mozart Festival.

he theme of this year’s Festival was Masquerade,

During that period of his career Melvyn Tan was known

and to round off their classical programme the

for his ground-breaking performances as a fortepianist; now

Buskaid musicians played a specially arranged

he plays modern piano, but as his interpretation of Mozart’s

string version of Aram Khachaturian’s Masquerade Waltz.

K414 concerto with Buskaid demonstrated very clearly, that

However, the undoubted highlight of this concert was their

lightness of touch and delicacy of phrasing remain hallmarks

performance of Mozart’s Piano Concerto No. 12 in A Major

of his playing; in this performance the Buskaid musicians

with Melvyn Tan.

took inspiration from his approach and matched it with a transparent sound and keen stylistic awareness.

In 2014 Redefine Properties was a BASA Award winner for its support of the Buskaid Academy of String Teaching and Performance

Although Melvyn had another recital to give after playing with Buskaid, he stayed on until the end of the concert and enthusiastically joined in the onstage fun when the young musicians relaxed into their Kwela songs. It was the turn of the Buskaid musicians to provide a different sort of inspiration: Melvyn Tan positively danced off the stage and on to his next performance!

Melvyn Tan heard the Buskaid Ensemble perform during

This concert was proudly sponsored by Redefine

their tour to the UK last July, and it was his inspired idea to

Properties in collaboration with Classic FM, and was a

collaborate with the young musicians. Tan and Rosemary

wonderful example of how an enlightened corporate

Nalden, Buskaid’s founder/director were musical colleagues

company can not only help transform young lives, but

back in the 1980s, when he performed and recorded all

also bring a great deal of artistic enjoyment to the wider

the Beethoven piano concertos on fortepiano with Roger

community. In 2014 Redefine Properties was a BASA Award

Norrington’s London Classical Players, of which Rosemary

winner for its support of the Buskaid Academy of String

was a founding member.

Teaching and Performance. CF

66 / Creative Feel / April 2015

Creative Feel / April 2015 / 67

Wallflower ‘Wallflower, wallflower, won't you dance with me? / I'm fallin' in love with you’ – ‘Wallflower’ by Bob Dylan.

usically speaking, Diana Krall is no wallflower. By any standard this five-time GRAMMY®

chosen to hand over a little control to 16-time GRAMMY® winning producer David Foster in order, once again, to do

winning jazz pianist and vocalist is one of the

something unexpected. On the new album she has recorded

most accomplished and distinctive musicians

a collection of songs from the 60s to present day, showcasing

in the world today. Respected far and wide as a wildly

her considerable gifts as a vocalist in a bold and beautiful

successful recording and performing artist, Krall remains

way. Krall sings a set of songs that include familiar popular

a true musical force. At any given moment she could be

classics like The Mamas and the Papas’ ‘California Dreaming’

producing Barbra Streisand’s new album, serving as musical

and the Eagles’ ‘Desperado’, favourite vintage songs by

director and arranger for Paul McCartney or hitting the road

Krall’s musical heroes Bob Dylan (he inspired the album’s

for a good cause with Neil Young. As the record shows, Diana

title track ‘Wallflower’) and Elton John (‘Sorry Seems To Be

Krall has already done all that and much more. Along the

The Hardest Word’). The album also features more recent

way Krall has sold more albums than any other female jazz

gems like Crowded House’s ‘Don’t Dream It’s Over’ and a

artist of the last 30 years, establishing herself as one of the

wonderful new composition from Paul McCartney (‘If I Take

best-selling and most beloved performers of her generation,

You Home Tonight’). Recorded in Los Angeles and New York,

one whose recordings thus far have earned her nine gold,

Wallflower is a tremendously refreshing and collaborative

three platinum and seven multi-platinum albums.

effort that reflects Krall in a gorgeous new light.

On Wallflower, Krall’s stunning and surprising new album for Verve Records, this world-class player has consciously

68 / Creative Feel / April 2015

‘I have to give a lot of the credit for this album to David,’ Krall says. ‘He’s always said, “Let’s work together”

and finally the timing was right. I was ready to work with David and let him do what he does best. He did all of the arrangements and played a lot of the piano. He blew me away. I always knew David was good but I gained an even further appreciation for his talents as a producer and as a musician.’ That feeling proved to be extremely mutual. ‘Working with Diana was fantastic,’ says Foster. ‘I always wondered what it would be like working together. I never thought this would happen because I live in this “pop” world and Diana lives in this “jazz” world— or at least that’s how it’s perceived. But one of the many great things about Diana, after knowing her for 25 years, is that she’s truly an outstanding pop singer. Her ability to cross over into pop was a fabulous discovery for me. I’m sure Diana secretly knew about it all along. She tends to be way ahead of the rest of us.’ In making Wallflower Krall says, ‘it was a genuine pleasure to focus on my time in the vocal booth and let David really produce me. I thought, let’s make the kind of pop record David really knows how to do. I definitely gave my input about the songs and the musicians but for the most part I gave up the piano and the arrangements to him because I wanted this experience to be different – and it was.’ ‘I wouldn’t even pretend to go up against Diana as a musician because she is so talented,’ Foster explains, ‘but she did allow herself to be produced, with a lot of input of course. She knows what she wants and doesn’t want to do. She runs so deep in the jazz world that she leaves me at the gate as a piano player and musician, there’s no argument there. The fact that she responded to my input was so exciting. We kind of fed off of each other.’ Foster says that he particularly loves the songs on Wallflower where he convinced Krall to play piano solos. ‘On songs like “California Dreaming” and “I Can’t Tell You Why”, Diana plays beautiful, simple, solid, picturesque piano solos filled with melody. They are almost singable. That’s part of who Diana is as a musician. Her solos have a real arc. Like a lot of the great jazz musicians she sees the end of the solo before she starts. That’s what separates the good from the great.’ Foster adds, ‘I pride myself on getting great vocals out of people and that’s what I think we’ve done here. Diana has made a lot of incredible records and her success speaks for itself. But this time I really drilled down on the vocals, finding the exact right key for her voice to get the maximum out of her. I go into every project with the false notion that I’m going to get a better vocal out of the artist than anyone ever has, before or since. Now that may be a false notion but it’s been my mantra. I told her that when you leave me that open canvas you’ll get the best of me.’ As Krall puts it with a laugh, ‘When I work I like to give people the freedom to do what they do. I’m not a lint picker. I believe in letting people play the way they play and then tweak from there. I followed David’s direction but stood up when necessary. We had normal disagreements but it was a very smooth process for me, especially after I threw him out on the street a few times. But seriously, we both grew up in the same part of Canada and there’s a kind of understanding there, a common ground.’ CF

Creative Feel / April 2015 / 69

Misconduct Award-winning performance artist, Anthea Moys, is currently experimenting with the bounds of classical performance, and the role that a conductor could play in other sectors of the arts. Nondumiso Msimanga spoke to Moys and her team for Creative Feel.

‘W

hen was the last time you played?’

Mattheu Kieswetter, appears carrying an orange in his

As adults, human beings play

left hand and baton in the right. He provides the audience

all sorts of games. As ‘grown

with a brief insight into what it means to be a conductor.

ups’ people are expected to

With the orange tossed into the audience, Kieswetter says,

conduct themselves in certain,

‘Conducting is not only about “and now” (he gestures with

and certainly also, strict codes. Anthea Moys has made it her life’s work to investigate how games can speak to the

the baton). It is also about (he gestures)… how!’ Moys’ curiosity about what else a conductor could

vitality of humanity and now she introduces the first part of

conduct along with Kieswetter’s science of conducting finds

a series of interventions with classical conductors. The first

synergy in the alchemy of dance and music. The orchestra

part is called Misconduct.

will remain at rest while the conductor conducts a group of

‘I was inspired by a curious thought I had with my

dancers from Moving into Dance Mophatong (MIDM) to the

mom on a Wednesday morning,’ red-clad Moys says to a

choreography of Joni Barnard. But, as Moys is adept at not

now clearly uneasy classical music audience. ‘I wondered

only playing games but reinventing them also, she shifts the

what else a conductor could conduct…’ then a conductor,

conductor’s role to that of a movement conductor and she

70 / Creative Feel / April 2015

Misconduct featuring Mattheu Kieswetter as conductor and the dancers from MIDM. Photographs by Chris Saunders

also destabilises the usual comfort of dancing to music by

Whilst the MIDM dancers at first looked like fish out

casting the movers in silence. The audience is still brightly lit

of water, the piece’s ‘true collision,’ as Kieswetter put

as they try to discern the new codes for this game of dancers

it, was made more genuine by the dancers’ inexperience

dancing to silence and a conductor wearing earphones to

in the world of classical music. Masemola articulates

conduct – with his back to the orchestra – dancers.

the process in an astute analogy by saying it was like

Previous Classicfeel writer Brooks Spector simply says that

‘putting alphabets together with no vowels.’ He also notes

‘it made me smile and jump out of my skin; and I don’t jump

that when the music finally played, it felt like a riot as

out of my skin.’ The true thrill of the piece is the experience of

they tried to push closer to the orchestra without the

enjoying the surprise gift in the second half of the experiment.

conductor seeing their antics.

Where, in the first half, the dancers jumped and jostled about like a pack of young wolves trying to discern the commands of

As a conduct test, the piece itself is by no means perfect. The trial continues with more tests as Moys plans

the alpha-conductor, in the second half the orchestra picked up their tools to wield the pack and unleash a new vigour. The power of the combination enlivened the crowd – who had started joining the pack in making sounds to assuage the silence and satisfy their need for movement – and had the whole auditorium laughing or giggling by the end of the piece. While the tension of waiting for the surprise music was

“Now trained in the art of the game they can finally play and not simply follow the rules”

palpable throughout the room, it was the dancers – who had rehearsed in silence trying to read the music from the

to try a flock of ten conductors conducting the same piece

conductor’s gestures – that most appreciated Mozart’s La

of music at the next big showcase.

nozze di Figaro. Dancers Otsile Masemola and Mohlatsi Khotle

The reactions of the enthralled ‘grown ups’ show

are unanimous in the relief they felt to hear the piece. When

that playing is necessary to re-invigorate the spirit and

the alpha-conductor turns his back to the initiate pack to

re-animate the adult body; to release it from its daily

begin conducting the orchestra, his abandonment of the cubs

tensions. This is the gift of Anthea Moys. It may not be a

is welcomed by them. They no longer have to try to follow

‘perfect’ performance piece. In fact the structured mess

the rules under his watchful eye. Now trained in the art of the

seems to be one her winning trademarks, along with a

game they can finally play and not simply follow the rules.

touch of red. It is, as Barnard states, ‘Honest.’ CF

Creative Feel / April 2015 / 71

STANDARD BANK YOUNG ARTIST AWARD WINNERS NEVER STOP MOVING FORWARD

Tutu Puoane by Hugo Van Beveren

72 / Creative Feel / April 2015

langa is the Zulu word for the sun. And, as with most

accompanied by Kabomo’s vocals to give this song a fresh

cultures, the sun holds a hallowed place in Zulu

richness in its layering. Pierreux says that he was listening to

mythology as the patron of life. Ilanga is also the

Esperanza Spalding when he was creating the song. It is not

name of Tutu Puoane’s latest album; named after its

his usual sound but it is a budding new ring for the quartet.

title track. Puoane has lived in Belgium since 2004, which

‘It's really interesting to see four very skilled individuals

is coincidentally the year that she won the Standard Bank

still continue to grow musically the longer and the more

Young Artist Award (SBYAA) for Jazz. She left South Africa

they play together,’ she ruminates. Thys, the bassist, is

after completing her music degree at the University of

also now one of her composers and he gives the work an

Cape Town to further her studies in the Netherlands after

eclectic sensibility, as his compositions are quite different to

her History of Jazz teacher, patron and now friend, Jack

Pierreux’s. There is a sense of accomplishment in Puoane’s

van Poll, sponsored a year of her overseas education. It

tone when she speaks of the growth that the quartet has

was the SBYAA that helped her to fund the remaining half

seen with each other over the years.

a year of studies. And at the National Arts Festival (NAF), as a Standard Bank Young Artist, she was able to perform for the first time in South Africa with her European band. Having performed again at NAF 2014, she is now releasing her fifth album with ilanga as her guiding star. Puoane’s whimsical spirit simply said, ‘yes’ without worry or haste when she was offered the opportunity to go to

“If we can count 1, 2, 3, 4 and keep to the same beat then it doesn't matter and shouldn't matter where people come from”

Europe. Having wanted to travel abroad – even seriously considering becoming an air-hostess – the option fitted her designs and so she flew to what would, unbeknown to

Puoane is firm in her belief that every single performance

her at the time, become her new home. Her voice also grew

and accolade is equally important. When she was at

wings and she honed her incredibly subtle and smooth alto.

Fourways High School in Johannesburg there was no music

She found a trio of jazz musicians who counted to the same

in her life and she is mournful about that lack, so now she

beat and started to make ‘simply beautiful music’, as she

treasures every moment of her life as an artist. She was

puts it; and a sentiment to which the critics concur. The

never afraid of pursuing her dream though, and so did not

trio boasts equally accomplished pianist Ewout Pierreux,

study ‘something else, “something to fall back on”.’ To her,

drummer Jasper van Hulten and bassist Nic Thys. Ewout

every moment she gets to play on stage is as important as

Pierreux is her husband and also the composer of Ilanga.

any other, and that means each one is incredibly significant

Puoane can be credited for the South African vernacular

to her, as she believes ‘that reminds me to give it my best

inclusions in the album as she sometimes finds it more

and never take it for granted.’ Each song is also equally

fitting to substitute her vernacular in the compositions. So,

meaningful as she hopes that she can bring healing

in snowy Europe she still carries with her a life-affirming

wherever it is needed. From ‘Take Your Love and Keep It’,

sense of the famed African sun.

composed by Steve Kekana, to ‘Fascinating Rhythm’ (which

The sun shines everywhere for Puoane and she is a member of the world-at-large. Her albums enjoy strong

Puoane personally likes to ‘get down to’) – just like the sun itself – there is something for everyone. CF

sales in Japan and she collaborates with various artists from different parts of the globe. She says, ‘If there's truly one thing that we all have in common – from Soweto to Helsinki, from Perdubici in the Czech Republic to Limpopo – it’s music. We don’t always have to give it a description, a label.

The Young Artist Awards were started in 1981 by the National Arts Festival to acknowledge emerging, relatively young South African artists who have displayed an outstanding talent in their artistic

If we can count 1, 2, 3, 4 and keep to the same beat then it

endeavours. These prestigious awards are presented annually to

doesn't matter and shouldn't matter where people come

deserving artists, affording them national exposure and acclaim.

from.’ The lyrics for the title track of her new album were

Standard Bank has sponsored these awards since 1984.

written by Vusumuzi Nhlapo and Puoane’s smooth sound is

Creative Feel / April 2015 / 73

You’re Not You Director: George C. Wolfe Starring: Hilary Swank, Emmy Rossum, Josh Duhamel Kate (Hilary Swank) is a suave, married, eminently successful classical pianist just diagnosed with ALS (also known as Lou Gehrig's Disease). Bec (Emmy Rossum) is a brash college student and would-be rock singer who can barely keep her wildly chaotic and messy affairs, romantic and otherwise, together. Yet, when Bec takes a last-ditch job assisting Kate, just as Kate's marriage to Evan (Josh Duhamel) hits the skids, both women come to rely on what becomes an unconventional, sometimes confrontational and fiercely honest bond. Aimless as she is, Bec is determined to become an intimate shadow to Kate – accompanying her and translating for her through the most bewildering and awkwardly comic circumstances. The result is a camaraderie stripped down to the barest essentials of daily sustenance and late-night confessions. But as sensual, meticulous, wilful Kate begins to rub off on whirlwind, spontaneous, free-spirited Bec – and vice versa – both women find themselves facing down regrets, exploring new territory and subtly expanding their ideas of who they want to be.

AT CINEMAS 17 APRIL 2015

BOOK REVIEWS

The 21st-Century Art Book Authors: Jonathan Griffin, Paul Harper, David Trigg and Eliza Williams Publisher: Phaidon Press Limited ISBN 9780714867397

A complement to the landmark The Art Book, The 21st-Century Art Book is an accessible guide to best contemporary art made since 2000, a hugely prolific period for the visual arts. Showcasing over 280 artists in alphabetical order, it places established figures like Jeff Wall, Marlene Dumas and Maurizio Cattelan alongside the rising stars of the next generation such as Camille Henrot and Haroon Mirza. International in outlook, it draws together artists from every continent and documents the unprecedented variety of approaches and mediums used by today’s artists – from oil paintings and bronze sculptures to video installations and performance. Each artist is represented by a fullpage colour plate and an illuminating text that both explains the work and introduces its creator. Easy to use, with an international directory of biennials and art fairs where the reader can encounter the art face to face.

Dylan Lewis: An Untamed Force By Dylan Lewis; Ian McCallum

South African Artists at Home By Paul Duncan

33 Artists in 3 Acts By Sarah Thornton

Publisher: Penguin Random House

Publisher: Granata Publications

South Africa

ISBN: 9781847089052

ISBN: 9781928213017

ISBN: 9781432301958

In three richly interlinked but distinct

The towering sculptures of Dylan Lewis are

Paul Duncan was given unparalleled

‘acts’ - Politics, Kinship and Craft -

becoming well-known landmarks in South Africa,

access into the homes and lives of

Sarah Thornton compares and contrasts

where they grace botanical gardens, golf courses,

15 of South Africa’s most revered

answers to the simple but profound

grand hotel foyers and the halls of discerning

artists. Over countless mugs of coffee

question: what is an artist? 33 Artists in

collectors. Increasingly, they are being snapped

or glasses of wine, he listened and

3 Acts draws on hundreds of personal

up by galleries and institutions abroad. This

observed as they spoke about their

encounters with the world’s most

publication builds on an earlier book, bringing

lives, loves and the way they make

important artists, to ask what it means

the photographic record of Lewis’ work up to

their art. For some, the workspace

to be making artworks in different parts

date. The brief introductory text reveals how

and home space are irrevocably

of the world today. 33 Artists in 3 Acts is

the sculptor’s boyhood in a happily bohemian,

intertwined. For others, home is a

a generational touchstone, a powerful

nature-loving and creative family inspired him,

sanctuary. Or perhaps it is the studio

triptych and gripping anti-monograph

and traces his artistic development from what

that is the sanctuary and home is

about truth, integrity, credibility and

have come to be known as ‘the cat years’ to his

where ‘real life’ happens. Either

recognition. Essential reading for

current, more esoteric and mythical approach.

way, if you have an interest in art,

anyone interested in contemporary

Dylan Lewis: An Untamed Force is co-written with

artists, and the often bizarre way that

art, this masterful act of storytelling

Ian McCallum and contains images of Lewis’

making art intersects with living life,

will also delight any reader seeking to

preliminary sketches and working methods.

you’ll find this book intriguing.

understand creative lives.

Publisher: Fernwood Press, an imprint of Penguin Random House South Africa

76 / Creative Feel / April 2015

CDs – new and exciting The latest releases to suit all tastes

DIANA KRALL – WALLFLOWER Verve Music Group 002098902 On Wallflower, Krall’s stunning and surprising new album for Verve Records, this world-class player has consciously chosen to hand over a little control to sixteen-time GRAMMY® winning producer David Foster in order, once again, to do something unexpected. On the new album she has recorded a collection of songs from the 1960s to present day, showcasing her considerable gifts as a vocalist in a bold and beautiful way. Krall sings a set of songs that include familiar popular classics like The Mamas and The Papas’ ‘California Dreaming’ and the Eagles’ ‘Desperado’, favourite vintage songs by Krall’s musical heroes Bob Dylan (he inspired the album’s title track ‘Wallflower’) and Elton John (‘Sorry Seems To Be The Hardest Word’). The album also features more recent gems like Crowded House’s ‘Don’t Dream It’s Over” and a wonderful new composition from Paul McCartney (‘If I Take You Home Tonight’). Recorded in Los Angeles and New York, Wallflower is a tremendously refreshing and collaborative effort that reflects Krall in a gorgeous new light.

IVAN ILIĆ – THE

AL JARREAU – MY OLD FRIEND:

THE BALA BROTHERS – BALA

TRANSCENDENTALIST

CELEBRATING GEORGE DUKE

BROTHERS

Heresy Records

Concord 7235357

Warner Classics 615695

Heresy’s newest artist, Ivan

The world of music was forever changed

Loyiso, Zwai and Phelo, better

Ilić, is one of classical music’s

in 2013 with the passing of legendary

known to South Africa audiences

most talented and intelligent

keyboardist, composer and producer George

as The Bala Brothers, have

pianists to emerge over the past

Duke. This year, Al Jarreau, famed vocalist

become emblematic of the South

decade. His debut album for

and long-time friend of Duke, re-interprets

African success story, thrilling

Heresy, The Transcendentalist,

some of Duke’s renowned catalogue of

audiences with their fusion of

is a recording of hypnotic

post-bop, jazz-fusion, R&B and Brazilian

operatically-trained voices,

and meditative music,

jazz with My Old Friend: Celebrating George

rich harmonies, R&B energy

demonstrating the influence

Duke. Produced by John Burk, Stanley

and traditional South African

Alexander Scriabin had on

Clarke, Marcus Miller and Boney James,

melodies and rhythms. Symbolic

the American avant-garde.

this work also hosts a stellar blend of guest

of the transformations wrought

The Transcendentalist features

artists including Gerald Albright, Dianne

by Nelson Mandela, they are now

piano works by Scriabin, John

Reeves, Marcus Miller, Lalah Hathaway,

entering a new, global phase in

Cage, Morton Feldman and a

Jeffrey Osborne, Kelly Price, Dr. John, and

their career with this CD and DVD,

world premiere by the young

more, with a special appearance by George

recorded live in Johannesburg and

American composer, Scott

Duke on the track ‘Bring Me Joy’ which also

due for broadcast on America’s

Wollschleger.

features Boney James.

PBS network in 2015.

Creative Feel / April 2015 / 77

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Nhlanhla's Open Chair: 10 March to 18 April Textured Translations: The Stephens

The Johannesbur info@artonpaper.co.za in association with Art Works for Cha

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works 163 (from top Avenue, left toParkwood, bottom right): Amnesty Int Jan Smuts 011 788 4805 Campaign, Rose Petals ; Hung Liu, From the Field; Maimuna Fero Johannesburg, Gauteng.

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3rd Floor, Fairweather Sir Lowry Tsumugi ; Yoko Ono,House, Cut 176 Piece ÂŠ; Yoko Inoue, Untitle Road, Woodstock, Western Cape. Being #1-13; Amal Kenawy, You Will Be Killed; Mona Hatoum, O

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82 / Creative Feel / April 2015

encore How have the arts industries in South Africa changed over the last ten years?

It’s definitely a brave new world in the world of arts and culture in South Africa. I have seen a nation trying to imitate and prove themselves to the world, find a sense of identity that is entirely of their own making in these

industries. The arts are far more experimental than they were when we first moved into our democracy.

Name one thing you think would improve the arts and culture industry in South Africa. FUNDING! All capitals and an exclamation mark, and yet it still does not sound emphatic enough. The country’s arts funding structures need to be expanded and applicable for more than just short-term projects. If the arts and culture departments were able to create more sustainable

Nondumiso Msimanga is a features writer for Creative Feel. She graduated from Rhodes University and completed her Masters in Theatre Studies at Wits University. Msimanga is also publishing a book and an article with the South African Theatre Journal.

employment in the cultural spheres then the artists of this great continent could really start to collaborate in more meaningful ways.

What is your most treasured possession? My journals are definitely what I would run into a burning building to save. They are my physical lucid dream: images, words and indecipherable symbols that filter and pattern what goes on in my mind.

Name three artworks that you love and why.

What do you regard as the lowest depth of misery?

Samuel Beckett’s Waiting for Godot remains my favourite

It is no longer having a reason to live. Life is full to the

play of all time. It resonates with me philosophically,

brim with various sufferings to dole out to humanity but,

psychologically and physically. Edward Munch’s The

like Nietzsche said, ‘He who has a why to live can bear with

Scream. It is difficult to qualify why because, apart from

almost any how.’

the canonisation of the work, for me, it was an absolutely visceral bond. The Mask with Jim Carrey was my favourite

Describe a defining moment in your life.

film as a child. I used to sit in front of the mirror and try

My grandmother’s death, on the 19th of February 2015, has

to convince myself with my facial transformations; and

been an alteration to my very being. It was a moment when

generally end up laughing at myself.

I felt a tear in the fabric of time.

Name one artiste you would love to meet.

Name one goal you would like to achieve in the next twelve months.

Jerzy Grotowski, if he could be resurrected.

I would like to publish my first fiction novel. It is an exciting

What are you reading at the moment?

and terrifying prospect to venture into the realms of sheer

Ngugi Wa Thiongo’s In the House of the Interpreter; a memoir.

imaginative writing but, it’s always been a dream of mine.

Creative Feel / April 2015 / 83

Moment of excellence.

It is the moment the chef places the exquisitely prepared food on the plate. 84 / Creativeof Feel / April 2015 An accumulation culinary artistry making Pierneef Ă La Motte a world-class restaurant. +27 (0)21 876 8800 www.la-motte.com