9
771607
519004
SA R36,90 (incl. VAT) - April 2016
04016
NO MATTER WHAT THE OCCASION WE WILL DRESS YOU
MICHELANGELO
TOWERS
MALL
SHOP AND DINE WITH US AT MICHELANGELO TOWERS MALL, OFF NELSON MANDELA SQUARESOUTH AFRICA’S FINEST LIFESTYLE CENTRE. AMPLE PARKING - ENTRANCE OPPOSITE SANDTON CONVENTION CENTRE www.towersmall.co.za . Tel: +27 11 245 4000
MICHELANGELO TOWERS MALL
Composed and premiered in Vienna, Austria 1791, Mozart’s opera - The Magic Flute has remained ones of the most performed and most beautiful music in the world for the last 200 years.
JOIN US AS WE SAVOR IN THIS RICH OPERA, WHICH WILL BE PRESENTED ON THE MANDELA STAGE, AT THE JOBURG THEATRE FROM THE 18TH MAY TILL THE 24TH MAY 2016.
This opera boasts an international and local cast made up of Musa Nkuna, Aubrey Lodewyk, Caroline Nkwe, Alexander Olczyk, Viola Zimmerman, Anna Nesyba, Christie Dammann, Marek Gastecki, Henning Jendritza and the award-winning Gauteng choristers as chorus. Internationally active theater director Dr Christoph Dammann directs the classic opera. Sybille Pfeiffe and Wolfgang Stärke design the costume and lighting and accompaniment is done by the German Rhine Philharmonic Orchestra under the baton of young conductor; Desar Sulejmani.
Ticket prices range from R200 to R500. Bookings can be done online at www.joburgtheatre.com or by calling 0861 670 670. For group bookings of ten or more tickets, contact the Theatre’s ticketing office on (011) 877 6815 / 6853 or book through the following options: Tickets for JOBURG THEATRE remain available from www.joburgtheatre.com and 0861 670 670, but from 1st January we have introduced the following exciting new options: • Option 1 – BOOK WITH WEBTICKETS at www.webtickets.co.za – patrons can book and pay online; this is ideal for patrons who are already registered with Webtickets. • Option 2 – BOOK ONLINE / PAY INSTORE – patrons can book tickets on www.joburgtheatre.com and pay at any PICK ’N PAY store. • Option 3 – BOOK AND PAY INSTORE – patrons can book and pay at selected PICK ‘N PAY stores (For a full list of stores http://www.webtickets.co.za/pnpoutlets.aspx). • Option 4 – BOOK AND PAY ON YOUR PHONE – patrons can book and pay via the Nedbank App on your Smartphone.
Stop the Press
T
A selection of chairs at the Sitting Pretty auction Bonhams
he headline should rather read ‘Stop Aids’ but
the specific challenges they face and help staff improve care.
these days the general public is not terribly
Their mentoring and teaching in rural health facilities and
interested in the Aids problem. ‘There is
the on-going support has enabled a new generation of better
treatment, right? What is the problem? Is there
equipped South African healthcare professionals to treat
really still a problem with Aids? Who is affected by Aids?
greater numbers of children living with HIV; to improve the
Who still gets Aids?’ Actually, all of these questions are still
long-term management of their health and well-being.
really important and need to be addressed. In South Africa we have a great number of people
When we heard about Bonhams’ Sitting Pretty charity auction in London we decided to get involved and highlight
who work extremely long hours, very often under difficult
CHIVA Africa by featuring these beautiful chairs as our
conditions, to make a very real difference to Aids and TB
cover story in Creative Feel. It is such a great, positive way
treatment and of course the prevention of these diseases.
of generating Aids awareness, that we really got inspired to
Medical staff is not only treating patients, they are educating
do something that we feel is important – talk about Aids,
them on taking their medication, living healthy lives and
stop Aids.
they are talking about prevention of Aids, still very important mainly in the adolescent population in our society. The Foundation for Professional Development’s (FPD)
Then why ‘Stop the Press’? Simple, we held this issue of Creative Feel back from printing in order to be able to announce the result of the charity auction in London that
Technical Assistance (TA) Cluster is an example of a project
was held on 15 March in aid of CHIVA Africa and generated
putting innumerable effort and resources into changing the
the proud amount of just over £90 000 (about R2 000 000).
South African healthcare system, dealing particularly with HIV and TB. One other such institution is CHIVA Africa, which is dedicated to improving healthcare for children living with
Congratulations and thank you to all the artists – both South African and British – who managed to use art to get the discussion once more going about something that affects us all – Aids.
HIV. Their paediatric programme, ‘New Chance for Life’ works closely with individual healthcare clinics to identify
Lore
T
We loved this!
E
A
M
PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za INTERNS Abigail Phiri Francesca Matthys Nomagugu Gumede ADDITIONAL EDITORIAL CONTENT: Natalie Watermeyer Nondumiso Msimanga Ismail Mahomed Michelle Constant Indra Wussow SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Oupa Sibeko; oupa@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za FINANCIAL DIRECTOR Debbi Smith; debbi@desklink.co.za DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION Debbi Smith; debbi@desklink.co.za Published by DeskLink™ Media
Nigerian artist Fred Martins uses art to trigger an emotional response in the viewer and to convey a serious message about climate change. The visual, graphic and surreal artist realised early on in his career that making pretty things wasn’t enough. He decided that using creativity to trigger an emotional response in the viewer was an important part of creating. Martins focuses on how art can create positive change in society, and is currently working within advertising and direct media. Some of his recent posters, which tackle the issue of global warming and its effects on the natural world, have been published by the United Nations on their Global Goals campaign.
8 / Creative Feel / April 2016
PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.
tuesday 19th april 2016 lyric theatre, gold reef city FOR 18:30 | DRESS: THEATRICAL TUESDAY18:00 19 APRIL 2016 | LYRIC THEATREGLAMOROUS | GOLD REEF CITY The Naledi Awards curtain goes up at 19:30 Cocktails and Wine served in the foyer
open to the public | book now at computicket Naledi holds a mirror to the best of the best of SA Live Theatre! A sparkling awards event showcases highlights from nominated shows, top entertainers, accompanied by the Joburg Youth Orchestra. Items from Sister Act, Little Shop of Horrors, Sweeney Todd
27 CATEGORIES - 4 SPECIAL AWARDS
NALEDI WILL BE BROADCAST ON SABC 3 TWITTER HANDLE: @NALEDIAWARDSSA | CLICK ON #NALEDIAWARDS FOR MORE INFO
30
SOUTH AFRICA CELEBRATES RESOUNDING SUCCESS OF THE SEASONS IN THE UK
The major cultural exchange initiative – SA-UK
Seasons 2014 & 2015 – has impressively delivered on
cover story
its mandate.
18
SITTING PRETTY
34
HISTORY WILL BREAK YOUR HEART
Designers, artists and celebrities from the United
History Will Break Your Heart, the exhibition by
Kingdom and South Africa have created unique
Kemang Wa Lehulere, the 2015 Standard Bank Young
chairs that were auctioned off by Bonhams
Artist Award winner for Visual Art, will showcase
London in aid of CHIVA Africa, an organisation
works by Wa Lehulere, Ernest Mancoba and Gladys
dedicated to improving healthcare for children
Mgudlandlu, as well as works made in collaboration
and adolescents living with HIV.
with the artist’s aunt, Sophia Lehulere.
Cover image: Sitting Pretty chair designed by Daniel Lismore. Photograph by Frederick Wilkinson
contents
arts and culture
36
SA TAXI FOUNDATION ART AWARD 2016
24
MBOISA 2016
Engines and paintbrushes, distinct, different
Every year, Design Indaba invites South Africans
and both part of the SA Taxi Foundation and
to think of how they define beauty and cast their
Lizamore and Associates’ fresh collaboration for
votes to determine what represents that idea in
2016. The SA Taxi Foundation Art Award is an
our country.
upcoming innovative visual art competition which
fuses the creativeness of fine art with the
enthusiastic and efficient nature of the South
African mini bus taxi.
38
THE MAGIC FLUTE IN JOBURG
26
CREATIVE ENTREPRENEURS CONNECTED
With the closing of the SA-UK Seasons and the
announcement that the British Council Connect
ZA programme will continue, Creative Feel’s
Tamaryn Greer spoke to Heath Nash and Unathi
most beautiful pieces of music ever written and it
Kondile, two South Africans who have participated
was Mozart’s last opera, composed shortly before
in Connect ZA’s cultural programmes.
his death.
10 / Creative Feel / April 2016
Mozart’s opera, The Magic Flute, is one of the
40
LA BOHÈME IN DISTRICT SIX
52
THE 2016 NALEDI THEATRE AWARDS
Giacomo Puccini’s La Bohème, the passionate, timeless,
The much anticipated annual Naledi Theatre
and indelible story of love among young artists in
Awards take place at the Lyric Theatre,
Paris, can stake its claim as the world’s most popular
Gold Reef City on Tuesday 19 April 2016.
opera and it is now coming to Cape Town again.
lifestyle and entertainment
42
A 50-YEAR-OLD MEMORY
2016 marks 50 years since the largest concentration of
people were forcefully removed from District Six in the
Western Cape, during the apartheid era.
46
BREAKING DOWN BOUNDARIES
The Market Theatre has played a valuable role
in the development of many important and
innovative productions over the years, including
works by Handspring Puppet Company and their
collaborations with William Kentridge.
48
THE FOUNDING OF THE MARKET PHOTO WORKSHOP
The vision that brought the Market Theatre into
12
ARTLOOKS & ARTLINES
being was one shared by many. Similar ideals also
Artlooks & Artlines is a monthly column
informed the establishment of the Market Photo
by Ismail Mahomed, Artistic Director of the
Workshop, founded within the ambit of the Market
National Arts Festival.
Theatre by David Goldblatt in 1989.
14
BUSINESS & ARTS
50
THE MARKET LABORATORY
Business & Arts is a monthly column by
The Market Laboratory was opened in a small
Michelle Constant, CEO of Business and Arts
warehouse in Goch Street in 1989 with Barney
South Africa (BASA).
Nondumiso Msimanga spoke to prior Market Lab
16
LITERARY LANDSCAPES
co-ordinator, Vanessa Cooke about this important
Literary Landscapes is a monthly column written
learning space for young people.
by Indra Wussow, a writer, translator and director of
the Sylt Foundation.
56 58 60 62 63
CINEMA NOUVEAU TIMES MEDIA TIMES MEDIA CD REVIEWS BOOK REVIEWS
contents Simon and Dr John Kani as founding directors.
contributors
Creative Feel / April 2016 / 11
MAKING MUSIC TOGETHER Making Music Together is an exhibition of 30 black-and-white prints journaling the extensive community, education and outreach of the busy KZN Philharmonic Orchestra, will be on display at the Durban Art Gallery from 17 March until 30 April 2016. ‘So often one associates the orchestra with performing sublime concerts in our magnificent Durban City Hall during our Symphony Seasons, not realising that although the Symphony Seasons are our flagship programme, they represent a fraction of the overall activities of the orchestra. The majority of the orchestra’s time is spent presenting performances, workshops, master-classes and mentoring programmes which take place in community venues, school halls, rehearsal rooms, old age homes and informal spaces across the length and breadth of the KZN province,’ says Bongani Tembe, Chief Executive and Artistic Director of the KZN Philharmonic. Working closely with the Durban Art Gallery, an exhibition has been created to give galleryvisitors special insight into some of these activities. The Print Room in the gallery has been transformed into a mock orchestra rehearsal room, with 30 carefully chosen black-and-white prints displayed on music stands. The photographs have all been taken over roughly a twomonth period during December last year and February this year, by photographers Val Adamson; Gcina Ndwalane and Rogan Ward to create a storyboard which begins to capture some of the special moments, connections and nuances of these community engagement programmes. The exhibition is curated by Illa Thompson; designed by Peter Court; photographic consultant is Val Adamson. Making Music Together can be seen at the Durban Art Gallery (DAG) until the end of April. DAG is open seven days a week: Monday to Saturday from 8:30 until 16:00, and Sundays from 11:00 until 16:00. Entry is free and all are welcome. For more information, contact the Gallery on 031 311 2264/9 or Jabu.Mngwengwe@durban.gov.za (weekdays). CF
12 / Creative Feel / April 2016
A UNIQUE VALENTINE EXPERIENCE Some people say that the ‘month of love’ is only in February. At Casta Diva’s Boutique Hotel we believe that every day is Valentine’s Day! Should we not make an effort to spoil our loved ones every day? Why not surprise your loved one, bring them to a place nestled on the northern slopes of the Magaliesberg, a place like no other hotel. Spoil yourselves with a weekend away in a magical environment, or simply enjoy a delicious dinner with someone special under the Fig Tree. We will meet you at our parking area and bring you to our reception with a warm, welcoming smile. All 28 of our rooms are comfortable and individually decorated without any clutter. Enjoy the amazing view of the mountain slopes from the deck of our most exclusive room, The Dam. Relax in the tranquil setting of The Village – five guest rooms joined by a quaint courtyard decorated with lemon trees and a water fountain, or Las Terrazas, the latest addition. Our property, just less than two hectares of lush green garden, is breathtakingly beautiful. Book your table at our restaurant, where you are guaranteed a culinary experience. Your host will tell you about the specials for the evening, or just order one of the delightful dishes from our á la carte menu. There are some interesting developments at our intimate theatre and art gallery, more news on this next month. Future classical concerts, usually hosted in our restaurant, will be advertised on the Facebook pages, Casta Diva’s Charisma and Casta Diva, The Place To… simply like these pages and you will be automatically updated with regard to the events. You are guaranteed to be amazed and made to feel special at Casta Diva Boutique Hotel. It truly is the place to just… be. For booking information visit www.castadiva.co.za or email us on info@castadiva.co.za. CF
Artlooks & Artlines In this first of a four-part series, Artistic Director of the National Arts Festival, Ismail Mahomed, reflects on some of the Market Theatre productions that are deeply etched in his heart.
I
n the ‘80s, Junction Avenue’s production Sophiatown, staged at the Market Theatre, was an incredible success. Apart from being a huge hit at the box office and going on to win several awards, the production offered its
audiences an opportunity to go back to a place in time that was deeply engraved in their hearts and minds. The production Sophiatown was no ordinary nostalgic play about a place and time that was destroyed by the bulldozers of the Nationalist Government. At the time when the play was first staged at the Market Theatre, South Africa was still in the grips of apartheid. The colourful suburb that was destroyed by the Nationalist Government in the ‘60s was arrogantly renamed by the government as Triomf (Afrikaans for ‘triumph’). The staging of the play at the Market Theatre was a wonderful metaphor. It said to the Nationalist Government that as long as the old suburb remained in the hearts and minds of South Africans, the Nationalist government would be enjoying no triumph. The return of the production to the Market Theatre this year is no coincidence. This year marks the tenth anniversary of when the suburb was once again baptised and officially took back its old name. At a ceremony to turn the tables on Triomf and to take back Sophiatown, the then Mayor of Johannesburg, Amos Masondo said, ‘The reclaiming and renaming of Sophiatown, which has had two names for far too long, is a past we dare not forget.’ I was a high school teacher in Lenasia in the ‘80s when
generation of students. They wanted to know more
Malcolm Purkey’s Sophiatown premiered at the Market
about Sophiatown and the inhuman Group Areas Act, the
Theatre. I took a small group of students to see the play.
Immorality Act, the Mixed Marriages Act and the various
What came in the weeks to follow was a pilgrimage of 13
other apartheid laws that ripped families and communities
busloads of students, teachers, parents and community
apart from each other.
leaders who all wanted to see the play. The return journey on the buses was a powerful moment.
Malcolm Purkey’s Sophiatown allowed these young students to share the pain and anguish that their parents
The play was an outstanding catalyst. It unleashed years
had endured watching their homes being destroyed and
of bottled emotion and unspoken memories. It inspired
their lives torn to shreds. The community of elders shared
a wonderful dynamic of inter-generational dialogue on
memories with a kaleidoscope of emotions. There was
the buses. Malcolm Purkey’s play had inspired a young
laughter on the bus. There were tears. And then suddenly
14 / Creative Feel / April 2016
“The Market Theatre was a place of healing. The stories told on its stages allowed those who were brutalised by apartheid to to be comforted and to have renewed hope. The courageous productions that it presented challenged the apartheid government. The Market Theatre stood up with truth to power” somebody would break into song. The protest songs which Malcolm Purkey had so meticulously reprised in the production would be sung by both the young students and the elder community members long into the night until I had said goodnight to the last passenger leaving the bus. The next morning the school classroom would become a little museum. The young students would bring photographs and other artefacts that late in the night their parents went to dig out from their closets. This was the unusual power that the Market Theatre held in the ‘80s. It wasn’t an Rehearsals for Sophiatown 2016. Photographs by Blaq
ordinary theatre. This was a place that served more than just the arts. It was the Palace of Justice in the old South Africa. The Market Theatre was a place of healing. The stories told on its stages allowed those who were brutalised by apartheid to to be comforted and to have renewed hope. The courageous productions that it presented challenged the apartheid government. The Market Theatre stood up with truth to power. Founded in 1976 – a tumultuous year when Soweto went up in flames – the lights in the Market Theatre went on for the first time. This year, as South Africans reflect on the 40th anniversary of the Soweto Uprising, the Market Theatre too will be offering us wonderful opportunities for critical reflection and celebration. The Market Theatre’s 40th anniversary is a celebration that is well deserved. The Market Theatre’s four decades of triumphantly being able to tell South African stories that heal, inspire, challenge, critique our society makes it undeniably one of South Africa’s most important cultural institutions. CF
Creative Feel / April 2016 / 15
Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).
L
istening to Minister Pravin Gordhan going through
and process that could give the corporate the opportunity
the Budget Speech made me smile. Whilst his job
to believe that they have made a true engagement based on
was probably the least desirable one in the country
Shared Value and Shared Opportunity? Is it something that
at the point in time, his humour and grace in the
could be driven through the BBBEE codes, and not simply
eye of extreme change, reminded me of a wonderful saying
as marketing? Importantly, the case of arts partnerships
by UK designer Naresh Ramchander, ‘Grace is the sugar
is not a case of ‘one size fits all’. In thinking about making
coating around the bitter pill of change.’ And indeed 2016
the link, one needs to become the customer, as obvious as
promised, and continues to promise, a very bitter pill of
that sounds. After all, as one of the speakers at the recent
change and how we swallow it will be a signal to our true
Design Indaba said, ‘A pitch is about finding a way to share
character as South Africans.
yourself.’ So the request to simply find someone who is
How we handle it in the cultural sector is further worth
‘approachable’ and willing to spend R2 000 000 (no small
noting. As mentioned by Gordhan more than once, it is the engagement between public, private and third sector that will support us on the rocky road. Given that this is, and has been the positioning of the arts for a while, it comes as no surprise that we need to interrogate what this relationship really means. I felt deeply despondent recently, when at BASA we received an email from a production company that I believe is doing extremely inventive and inspired work at the moment. The request in short, was ‘looking for a financial sponsor who would see the incredible value in this unique product. And we are “only” looking for R2 000 000 to help us make it all happen. If you have any thoughts on who/which entity might be approachable I would deeply
“Given the new austerity measures being prescribed by Minister Gordhan it behoves us in the arts sector to engage more rigorously in the process of creative entrepreneurship – identifying opportunities that exist in surprising places”
appreciate an introduction.’ To use a terribly hackneyed term – perhaps we should
sum for a country that is in dire need of support in many
‘unpack’ those three sentences. Firstly – if you are already
sectors) lacks the meticulous approach that the project
thinking of the ‘financial sponsor’ as the purse strings
merits in the first case.
and not as a partner, then there is no doubt that they
Given the new austerity measures being prescribed by
will feel the same way. An equitable partnership is about
Minister Gordhan, it behoves us in the arts sector to engage
collaboration, a relationship and an alliance. From the get-
more rigorously in the process of creative entrepreneurship –
go one should have this approach. The ‘incredible value in
identifying opportunities that exist in surprising places. The
this unique product’ implies, again, a lack of rigor. I would
Minister’s mention of tourism highlights the opportunities of
never argue that the product is not unique or incredible,
cultural tourism, the potential export of culture – in particular
but how are we going to sell it to the private sector as
to the African continent – the focus on small businesses and
such? How would it be valuable to a business or corporate
nation building. All of these offer stimulating prospects, and
who partners, or is considering partnering, in the current
we need to address them with an unwavering passion and
economic environment? What is it about the production
focus if we are going to succeed this year. CF
16 / Creative Feel / April 2016
Either Creative Feel print Creative Feel + UK Gramophone Print Bundle Creative Feel Digital subs@creativefeel.co.za 011 787 0252
Literary Landscapes is a monthly column by Indra Wussow, a writer, translator and director of the Sylt Foundation.
T
his month I would like to talk a little bit about
the injustice of it – which was still very much a strong
the reception of the African continent in the
colonial view point as we know today.
German-speaking world through the lens of its literatures. This is a vast topic and can only be
The publishing of South African literature in German experienced an incredible boom during this time. It was
superficially touched here but might be the introduction of
predominantly white writers such as Nadine Gordimer,
a more specific scrutiny into different countries and writers
Andrè P. Brink and JM Coetzee that garnered attention and
within the next months.
were published by the big publishers and definitely shaped
First of all, one can say that African literatures really
the image of South Africa through their writing. Beyond this,
bloom in the German-speaking parts of Germany, Austria
small publishers sold books by Lewis Nkosi or Zoe Wicomb
and Switzerland. In the last five years, approximately
that were widely read and told South Africa’s fight against
400 books of fiction by African writers where published
apartheid from another perspective. Anthologies of struggle
(excluding poetry and anthologies) on these three markets.
poetry and performances by poets like James Matthews were
The selection of writers is as diverse as the publishing scene
also incredibly popular.
and its readers.
The ‘90s somehow saw a declining interest in African
The information sought after in the books that have
literatures. The reason might be the opening of the ‘Iron
been translated into German has been subject to enormous
Curtain’ and the end of the Cold War that lead to a new
changes over the last decades, as has the postcolonial
discovery of territories in Europe, that had not been part of
reception. Writers like Chinua Achebe, Mongo Beti and
the literary landscape for some decades apart from those few
Ousmane Sembéne were the first whose works were
celebrated Samizdat writers such as Alkesandr Solzhenitzyn.
translated into German in the end of the ‘50s. During that
The end of the Cold War, on the other hand, led to a new
time there was a focus on the topics of history and politics;
discovery of those countries that had been perceived as
topics that are still prevalent today.
enemies or allies in those ‘proxy wars’ that had been fought
With the advent of dictators like Idi Amin or Bokassa,
fiercely before. The ‘Third-World-Movement’ was somehow
books were published that dealt with the phenomenon of
replaced by a more realistic attitude that has rather been
dictatorship and its role for the oppressed people. Novels by
based on partnership.
Congolese writers Henri Lopés or Y.V. Mudimbe, offered an
Even though it might be true that the majority of
experimental approach and told their sad and cruel stories in
German-speaking people still cling to obsolete perceptions
a way that questioned the prevalent image of Africa as ‘the
of ‘Africa’, there has been a major shift in the intellectual
heart of darkness’.
and cultural debates. This shift has led to a new reception of
The ‘80s in Europe saw a ‘professionalisation’ of the socalled ‘Third-World-Movement’ and therewith the topics of interest changed to a more sociocultural emphasis. Novels
African literatures and offered them a much broader and less preconceived space. A highlight of this new ‘handling’ of African literatures
by female African writers such as Amma Darko (Ghana) or
was a new translation of Chinua Achebe’s novel Things
Calixhte Beyala (Cameroon) were discovered and became
Fall Apart by German translator Uda Strätling in 2013.
part of a worldwide feminist discourse that was shaped by
This translation so deeply and profoundly questioned our
the idea that Africa’s problems of that time had been caused
language and its use when it comes to transmitting traditional
by colonisation and that the new generation of readers need
perceptions and ideas regarding ‘Africanness’ that it can really
to know the consequences of this legacy and help overcome
be regarded as a milestone in literary translation and also as a
18 / Creative Feel / April 2016
milestone in a new perception of African literatures. Strätling freed the original text from all the inherent colonial baggage of its old translation and gave it the modern, fierce and visionary face that the author had intended. The new interest in African literatures and their writers coincides with a more informed literary world; of publishers, editors, literary reviewers and readers of course, who have a broader knowledge of what has happened on the African continent. One chance to enhance the reception of African literatures in an adequate and effective form is the occupation of more than one book in order to deepen the intellectual knowledge through comparative reading. Today, like never before, German-speaking
“The end of the Cold War, on the other hand, led to a new discovery of those countries that had been perceived as enemies or allies in those ‘proxy wars’ that had been fought fiercely before”
countries are able to learn, to study and to explore other literary landscapes thoroughly and the amount of readers engaging in a new reception of ‘Africa’ has been growing over the past few years. Of course there are the bestselling writers like Chimamanda Adichie, whose works are widely read and her readings in Germany have been visited by hundreds of people. Aside from the mainstream, there is an incredible amount of diverse and literary experimental voices that are read and discussed; voices that further question and change our conceptions of the countries that these voices write about. But their voices do not only tell us about their countries, their literature contains a worldliness that tells us a universal story, too and tells us about ourselves in this difficult and not-peaceful world. These voices very often open us to new literary traditions and forms that enrich our idea of writing and reading, of literary criticism. Novels like Tram 83 by Congolese writer Fiston Mwanza Mujila (which is shortlisted for this year’s Etisalat debut prize) or Ishmael Beah’s (Sierra Leone) Radiance of Tommorow, which combines the tradition of oral literature with other forms in a very new way find their way onto the shelves of German readers, as did Shimmer Chinodya’s important novel Strife that dealt with African cosmology in the changing African world. An incredibly fruitful dialogue between writers and their readers has just started and it remains to be seen what the results will be. CF
Ishmael Beah © John Madere
Creative Feel / April 2016 / 19
Designers, artists and celebrities from the United Kingdom and South Africa have created unique chairs that were auctioned off by Bonhams London in aid of CHIVA Africa, an organisation dedicated to improving healthcare for children and adolescents living with HIV.
C
HIVA Africa was founded by Dr Karyn Moshal in 2005
KZN, the Eastern Cape and Northwest Province: more than
with the aim of sharing valuable knowledge gained
20 000 healthcare personnel looking after over 100 000
by doctors in the UK with regard to the treatment
children, so far,’ says Moshal. ‘We have taught, mentored and
of HIV. When the South African government first
supported; we have run workshops and seminars, master
introduced its HIV treatment programme in 2004, the health
classes and ward rounds empowering our colleagues with
service experience major challenges, particularly as few South
the practical skills and experience we have garnered over
African healthcare professionals had experience in the use of
years of clinical studies, service provision and trial and error.
Anti-Retroviral Treatment (ART) drug regimes. In the UK, as opposed to in South Africa at the time,
‘However there is much still to do, and as we set out to expand our programme, with our growing cadre of South
HIV was seen as a chronic condition for children, who
African experts joining their UK colleagues to continue our
continued to live healthy lives. In South Africa, HIV was
work through South Africa and beyond, I invite you to join
a death sentence for thousands who continued to die of
us on this extraordinary journey.’
AIDS. Ten years ago, when the first CHIVA Africa mentoring
The Sitting Pretty auction was conducted online until
teams arrived in South Africa, they found colleagues numb
14 March 2016, with a live event at Bonhams on 15 March.
and exhausted from watching patients, friends, family and
Thirty stunning hand-painted and upholstered one-off
communities die from a disease they felt powerless to treat;
chairs by stars, designers, artists and celebrities were
it was difficult for them to imagine that people could live
auctioned at Bonhams in aid of CHIVA Africa.
with HIV. The UK volunteers began work in the worst affected areas
A range of artists and designers from South Africa supported the initiative, they include: Norman Catherine;
of South Africa, providing mentoring, training and support
Sam Nhlengethwa; Beezy Bailey in collaboration with Jessica
for those caring for the country’s children. The effects of this
Dorrington; Vanashree Singh; Kimberley Gundle; Simone
programme can be seen, ten years on: most of South Africa’s
Krok and Porcupine Rocks.
HIV positive population are on treatment, living normal healthy lives and the children are growing up. The problem isn’t completely solved, however, and there
Their British counterparts included: Emma Viscountess Weymouth of Longleat; Victoria Baker Harber and Mark Francis of Made in Chelsea fame; Sorapol and Daniel
are many challenges remaining. Adolescents are the group
Lismore: designer team extraordinaire; Nicky Clarke and
with the greatest number of newly acquired infections.
Kelly Simpkin; Maureen Lipman; Aston Martin; Arsenal
In order to combat this, CHIVA Africa has developed an
Football Club; Dr Ranj Singh: NHS doctor specialising in
adolescent mentoring programme in order to address the
the care of children and young people; Sinitta; Tricia Guild:
issues facing them and those caring for them.
founder and creative director of Designers Guild; Deborah
‘CHIVA Africa has achieved a great deal in the past ten years, reaching staff in hospitals and clinics throughout
20 / Creative Feel / April 2016
Azzopardi; David Bent; Silia Tung; Rozanne Bell; Samson Soboye; Sam Edkins and Giovanni Bedin. CF
Daniel Lismore’s photography and fashion design college studies were interrupted by a modelling career at age 17. He has worked with some of fashion’s biggest names and was featured in magazines such as Vogue UK, L’Uomo Vogue and ID Magazine. In 2012, Lismore joined forces with designer Sorapol Chawaphatnakul, merging artisanal techniques with subversive silhouettes to create decadent idiosyncratic luxury. Since their launch in 2012, they have skyrocketed to cult status in the fashion industry to create the innovative fashion house SORAPOL. This uniquely wrapped chair is ‘upholstered’ with true Daniel Lismore style and flair, created by incorporating a mask of his face from his current exhibition at SCAD Fashion Museum
Photographs by Frederick Wilkinson. Images provided by CHIVA Africa
in Atlanta.
Norman Catherine is one of South Africa’s most acclaimed international artists. In the 30 years spanning his career, Catherine’s visual trademarks have included rough-edged comical and nightmarish forms, rendered in brash cartoon colours. His idiosyncratic vision, a combination of dark cynicism and exuberant humour, as well as an innovative use of everyday materials, Beezy Bailey is a highly collectable South
has secured his place at the forefront of
African artist who works in various media,
South African contemporary art. He has
including painting, sculpture, drawing,
had 25 solo exhibitions and his work
printmaking and ceramics. He is a full-
is displayed in numerous public and
time artist with an exceptional career
private collections, both in South Africa
spanning 30 years. Bailey has had over 20
and internationally.
one-man shows in London, Johannesburg and Cape Town. Bailey’s original landscape painting has
Catherine created this original artwork, which was then printed onto fabric resulting in this one-off piece, which was
been transferred onto fabric to upholster
a hit with collectors of his work. The solid
this solid beech chair. The chair is signed
beech chair is finished in gloss black,
on the back. Embroidery enhancements
upholstered in suedette, and includes the
were added by Jessica Dorrington.
artist’s signature on the back of the chair.
South African born Kimberley Gundle completed her BA and Postgraduate Studies at the Michaelis School of Fine Art, University of Cape Town. She went to London in the late 1980s to study at the Slade School of Fine Art and has lived and worked in the UK ever since. In designing her chair, Gundle took inspiration from her collection of artwork on the Maasai of East Africa. The original artwork has been printed onto velvet and the solid beech frame has been painted and then adorned with gold leaf.
South African born Kimberley Gundle completed her BA and Postgraduate Studies at the Michaelis School of Fine Art, University of Cape Town. She went to London in the late 1980s to study at the Slade School of Fine Art and has lived and worked in the UK ever since. In designing her chair, Gundle took inspiration from her collection of artwork Sam Nhlengethwa is one of South Africa’s
on the Maasai of East Africa. The original
leading artists; he is internationally
artwork has been printed onto velvet and
recognised and exhibited. Born in Springs,
the solid beech frame has been painted
South Africa in 1955, Nhlengethwa lives
and then adorned with gold leaf.
and works in Johannesburg. He was born into a family of jazz lovers and this has become one of the themes of his art. His love of jazz and admiration for Ella Fitzgerald was the inspiration behind the design of Nhlengethwa’s exclusive artwork. The chair has been upholstered in original artwork that has been printed onto suedette, the exposed legs painted in a matching gloss black.
Sorapol Chawaphatnakul, Director and Head Designer of SORAPOL, received a gift from his mother when he was aged ten that would inspire his artistic dreams – a book of Parisian Couture Design, which sparked his lifelong love and passion for fashion design. His pocket money was spent on fabrics and materials instead of toys from then on. He went on to study Fashion Design and Illustration, eventually taking the plunge and moving Simone Krok is a sculptor and multimedia
to London aged 17, to study at the London
artist who, for the past decade, has been
College of Fashion. From there, Sorapol
crafting visually striking and thought-
went on to form the brand SORAPOL with
provoking works that explore deep
artistic director Daniel Lismore.
questions relating to the human condition and the nature of creation. Krok has created this one-of-a-kind
This unique chair has been exclusively designed and created by SORAPOL. Upholstered in artificial grass, decorated
piece by using mixed media with found
with spring flowers and wrapped with gold
objects, Butler and Wilson bracelets,
foil featuring the Sorapol logo, this chair is
copper foil and acid patina resulting in a
a true piece of art.
truly individual work of art.
Sinitta is a singer, television personality, dancer and actress. She is best known for her work in television and for her hit records in the 1980s. Sinitta has 14 international hit singles and three albums. She has also acted in a number of West End shows. The solid beech frame has been varnished in an off-gold colour to create a warm finish. The centrepiece of Sinitta’s arresting chair is made of chocolate brown faux fur, shaped in a natural seating position (Sinitta was used as the model).
Creative Feel / April 2016 / 25
Every year, Design Indaba invites South Africans to think of how they define beauty and cast their votes to determine what represents that idea in our country. This year, there were ten nominations chosen by influential cultural commentators in South African culture. They were given wide parameters to determine their nomination and encouraged to think laterally about the concept of beauty. Past nominations have included street art, buildings, furniture, technology, film and even packaging. Tracy Lee Lynch, design, décor and styling guru, nominated the 2016 winning entry, the shawl by Laduma Ngxokolo. The Xhosa beadwork-inspired patterns that Laduma translates onto his knitwear have become iconic pieces of fashion from South Africa. His shawl has already been paraded on international catwalks.
Photograph by Simon Deiner / SDR Photo
MBOISA 2016
Director of the Museum of African Design in Johannesburg, Aaron Kohnhas nominated Haroon Gunn-Salie’s first solo exhibition, History After Apartheid. The exhibition focuses on contemporary South Africa and the struggle for socioeconomic justice. Using colour and light, the exhibition sparks debate and dialogue on resistance movements and riot control
Gareth Cliff, well-known radio and television personality and founder of CliffCentral, has nominated the Bottle 2 Build school initiative. The project’s
Veejay Archary and
primary aim is to tackle
Marisa Holley of Black
South Africa’s shortage of
Africa Group nominated
classrooms by upcycling
a vegetarian dish created
plastic water bottles to
by Candice Philip, a
Sindiso Khumalo, a fashion
form the ‘bricks’ needed to
renowned chef at the Five
designer whose label
build the infrastructure for
Hundred Restaurant at
focuses on sustainable
new schools.
the Saxon Hotel. Philip
contemporary textiles,
prides herself on her
nominated the Kassena
ability to use strange
Katlego Maboe, singer,
Town Cabinets by Dokter &
flavours to create
songwriter and television
Misses. The three cabinets
unexpected journeys. She
presenter, has nominated
are shaped to resemble mud
has recently created an
the See-Saw-Do social
buildings that together
innovative vegetarian dish
enterprise. The project uses
form a ‘village’ of cabinets.
that began with a simple
creative injections to transform
Doktor & Misses created
pea. Using peas, wasabi,
and enliven classrooms for
the set to look like a small
lemon crème and parsnip
underprivileged children.
West African town and are
fudge, she turned peculiar
This affords them a stimulating
hand painted with Kassena-
combinations into a well-
environment, which is more
inspired patterning
rounded taste experience.
conducive to learning.
Dillion Phiri, founder
Chief Director of Cultural
and creative director
Industries at the South
at Creative Nestlings,
African National Department
has nominated a
of Arts and Culture, Lindi
skateboard created by Kent
Ndebele Koka, has
Lingeveldt. Every board
nominated the Umthi
that leaves the Alpha
Hanging Lamp by Meyer Von
Longboards workshop
Wielligh. The inspiration
is hand cut, shaped,
behind the lamp was to take
sanded and finished by
processed wood back to its
the founder himself. Each
natural form and appreciate
board is unique and many
the material in light of its
The team at Design Indaba,
are custom artworks.
origin. The Umthi Hanging
the publication and festival
Lamp was then designed to
that celebrates the power of
resemble the organic lines of
creativity to create a better
Emilie Gambade, the editor-in-
tree branches
world, has chosen for their
chief of ELLE South Africa, has
nomination the Twenty
nominated the Basotho Blanket
Journey book. The book
Classic Starburst Coat by Thabo
was created by three South
Makhetha. The Starburst Coat
African photographers who
is a classic piece from Thabo
set out to visually document
Makhetha’s range of garments
the country 20 years into
inspired by the Basotho
democracy. Sipho Mpongo,
people. The Coat is a modern
Wikus De Wet and Sean
interpretation of this traditional
Metelerkamp have told the
South African culture
story of a new South Africa through their compelling photography series.
Creative Feel / April 2016 / 27
Initiated in 2013 as part of the South African leg of the SA-UK Seasons 2014 & 2015, the British Council’s Connect ZA programme supported cultural connections between young people in the UK and South Africa. With the closing of the SA-UK Seasons and the announcement that the British Council Connect ZA programme will continue, Creative Feel’s Tamaryn Greer spoke to Heath Nash and Unathi Kondile, two South Africans who have participated in Connect ZA’s cultural programmes.
Heath Nash
28 / Creative Feel / April 2016
CREATIVE ENTREPRENEURS CONNECTED
I
n February 2013, the British Council’s Arts department
UK (with fellow winners from around the globe) to witness
team invited a group of curators and designers to visit
what similar creators were doing. Around this time, Nash
Cape Town and Johannesburg, in preparation for Connect
was also looking at ways to manufacture the ‘leafballs’ and
ZA, a cultural season dedicated to connecting young
other designed objects that were now in high demand and,
creatives in South Africa and the UK. Tom Porter and Sarah
through trial and error, has now hired a skilled team who
Mann guided the travelling party through the urban cultural
handle the manufacturing in order for Nash to focus on
hubs to get a feel for the local scene. The team included
more creative endeavours.
curator Catriona Duffy of Panel; designer Mil Stricevic;
Nash’s Maker Library at GUILD (a partnership between
architects Stuart Falconer of GRAS and James Binning of
V&A Museum and British Council Connect ZA) in
Assemble and Daniel Charny, director at From Now On. The
2014 featured a varied programme of events, from skill
latter was commissioned to lead on the design and making
demonstrations to guest maker talks, bringing making into
aspect of the programme.
the design fair. The Library, which featured guest librarian
Inspired by the energy and entrepreneurship of the
Tetsuo Makai from Study’O Portable, included a display
emerging creatives met by the team, including Nkuli
of work by contemporary British designers in the Maker
Mangeli, Thingking, Alphabet Zoo and Heath Nash, Charny
Library’s gallery, curated by Jana Scholze from the V&A with
pitched an idea for a programme that would both support
Daniel Charny as curatorial adviser. ‘We did a lot of things,’
and enhance local activity, while connecting with the UK
says Nash. ‘We did porcelain, there was a wood carver, we
design scene.
made picture frames, bookbinding, electroplating, shoe
Mentoring, peer-learning and strong studio culture would form the basis of the project.
lacing and shoe making… After GUILD my next Library moved to a place called The Bank and then later I moved
This conceptual idea then became a creative concept
to the building next door, which is 75 Harrington Street [in
called the Maker Library Network (MLN), which was officially
Cape Town]’ where the Maker Library is currently housed.
launched on 1 March 2014 by Daniel Charny, the Network’s
‘My main area of interest is hand-making, simple craft
Creative Director, and leading British architect, Thomas
techniques and simple materials… lately I’ve been playing
Heatherwick. Founding Maker Libraries were based in Cape
with prickly pear, crushing it up and mixing with paper pulp.’
Town, London, Edinburgh and Glasgow, with the Network
Nash’s Maker Library is split into two streams: a public
currently expanding globally.
stream whereby people can walk in and participate (it is also
Through Charny’s connections made in 2013, Thingking and Heath Nash were the first South African Maker Librarians, with Thingking’s Maker Library kicking off
open on the City’s First Thursdays) and more private streams where professionals and amateurs are invited to co-create. Maker Libraries are workspaces defined by three key
at Design Indaba 2014 and Nash’s opening at the GUILD
elements: a library, a makespace and a gallery. Each Maker
exhibition in 2014.
Library is led by a librarian who is interested in fostering
Designer Heath Nash wowed the South African
creative, social thinking and learning through making by
creative industry with the 2005 Design Indaba debut of his
running a dynamic programme of activities and workshops.
‘leafballs’, created out of recycled plastic. In June 2006,
As an active member of the MLN community, the librarian
Nash was recognised by the British Council with a Young
has an opportunity to contribute, connect and learn with
Creative Entrepreneur Award and a subsequent tour to the
like-minded people. Librarians in each country will be
Creative Feel / April 2016 / 29
Daniel Charny
UK singer LAW, who travelled with Young Fathers on their SA tour in 2015,
Friday Jibu at the Maker Library Network at GUILD
The British Council’s Connect ZA programme was designed to further connect the two parts of the world through numerous cultural activities.
visits 75 Harrington in Cape Town
Fellow Young Creative Entrepreneur (awarded in 2014), Unathi Kondile started making a name for himself in the publishing world in 2010 when he and partner Madambi Rambuda formed Science Stars. The magazine (which is no longer owned by Kondile) is a science publication distributed in the rural areas of the Eastern Cape and Limpopo. Following this success, Kondile ventured into the realm of newspaper publishing. In 2012, while researching for a PhD proposal to transform the media, Kondile came across a number of Xhosa newspapers. The one that
able to share and adapt the MLN principles for their local
caught his attention was Isigidimi SamaXhosa, which
conditions and locations; whether in their studio, in the
was published from 1870 to 1888. The fact that this
corner of a café, or in a purpose built travelling vehicle.
newspaper spoke plainly to the readers about their issues
Maker Libraries exist as an addition to already existing
captured his attention. Later that year he revived Isigidimi
businesses and support the practices and exploration of
SamaXhosa, writing about the issues faced by the Xhosa
that space.
community on a daily basis, in the language they understand
When a Maker Library is set up, the librarian receives
best – their mother tongue – isiXhosa. ‘I liked what they
a starter kit which includes a blueprint and materials
were doing by not just telling news but also to change the
budget to build a library, a core set of books, a growing
living conditions of Xhosa-speaking people back then. I took
resource of open designs and access to a panel of mentors
the title from them… so it’s an ongoing project from almost
via an online platform.
100 years ago.’
Aside from the Maker Library, Nash is currently working
The print run grew from an initial 5 000 copies to
on personal projects such as conceptualising a sculpture
printing 20 000 a month. Kondile set up a business model
for the V&A Waterfront and has recently finished a public
that could promote growth of the Xhosa community in
commission called My Citi Bus Station.
which it was situated. The newspaper was sold on a monthly
Nash’s enthusiastic involvement with one of the original
basis for a nominal amount to individual distributors, known
Maker Libraries has been a contributing factor in the uptake
in their communities, allowing the sellers to keep 100% of
of the Maker Library Network worldwide.
the profits.
30 / Creative Feel / April 2016
Unathi Kondile with I’solezwe LesiXhosa
It was this entrepreneurial spirit that was recognised by the
to strength, becoming the country’s first daily Xhosa
British Council through the award and saw Kondile travel to
newspaper. Kondile is looking to expand it even further,
the UK with a group of creative entrepreneurs from all over the
with research currently being done into the markets within
world. ‘It feels like just yesterday,’ he says. ‘I saw other people
the Western Cape and Gauteng.
working at other creative projects across the country, so when
Kondile attributes this next step in his career to the
I won it, it was very unexpected, but it also opened a lot of
guidance received from the mentors he was partnered
doors for us. It was the first time I travelled overseas, we went
with through the YCE Award. ‘We got mentors who would
to London and met other YCEs from other parts of the world.
talk to us on a weekly basis after we won,’ he says. ‘I think
I think two of them were working on language and culture
that’s why I was able to let go of my company and focus
related things. We got to chat and see what they were doing and
on the actual newspaper and give it to a bigger company.
it was a networking opportunity more than anything else in
If I wanted to grow the newspaper, the only way was to let
those places. In London itself we got to see people doing what
it go. They told me that in other parts of London, that’s
we were doing on a bigger scale. So we got to meet all these
how it goes. It did assist in a number of positions that I
artists and creatives working around things that were still small
ended up taking and it was a drastic change. It did also
in South Africa. We were able to see how they were doing it and
dent my ego, confronting these challenges. It was a great
it meant that there were more opportunities and a lot of things
experience, the changes that happened were direct results
we have yet to do in South Africa.’
of that programme.’
In March 2015, Kondile incorporated the paper into the
Through work done before, during and now after the
Independent’s core of newspapers, renaming it to I’solezwe
SA-UK Seasons 2014-2015, the British Council’s Connect
lesiXhosa similar to the Independent’s Isolezwe Zulu
ZA programme has been paramount in facilitating
newspapers in KwaZulu-Natal. Under Kondile’s continued
opportunities for South African creatives and recognising
editorship, I’solezwe lesiXhosa has gone from strength
the exceptional talent that exists in our country. CF
Creative Feel / April 2016 / 31
Sibongile Khumalo, Thandiswa Mazwai and Gloria Bosnan
Arts and Culture Minister Mr Nathi Mthethwa
Inala with the Ladysmith Black Mambazo and the Royal Ballet Bokani Dyer
Esther Mahlangu
Jamie Callum
Mara Louw with Mr Brian Filling, Honourary South African Consule in Glasgow and former leader of the Anti-Apartheid movement in the United Kingdom
32 / Creative Feel / April 2016
South Africa Celebrates Resounding
SUCCESS OF THE SEASONS in the United Kingdom
The major cultural exchange initiative – SA-UK Seasons 2014 & 2015 – has impressively delivered on its mandate. The partnership, launched in March 2014 to strengthen cultural ties between South Africa and the United Kingdom, has officially closed after a remarkable two years and has been proclaimed a success by the arts community.
T
he SA-UK Seasons 2014 & 2015 was the multi-
Commissioner-General of the SA-UK Seasons, Mr Bongani Tembe
faceted bilateral project by South Africa’s Department of Arts and Culture and the British Council, whose main objective was to strengthening
cultural ties between the two countries. The SA-UK Seasons was comprised of three streams of activity, namely: Joint projects which were approved by the Joint Organising Committee (JOC) and received assistance grants from the JOC fund of R8 million; The South African Season in the UK, which was directly funded by the South African Department of Arts and Culture (DAC) which was managed by the SA Seasons’ team and implemented by the National Film and Video Foundation (NFVF) and lastly the Connect ZA, which was directly funded and managed by the British Council. During the SA Seasons in the UK more than 800 South
Business Arts South Africa (BASA) recognising their efforts which aimed to reach new and diverse audiences for the arts
African artists travelled to the United Kingdom and performed
and stimulate innovation, whilst forging new collaborations in
in more than 15 cities across the UK. The artists featured in
the creative arts sector.
more than a thousand performances in performing, visual
Minister of Arts and Culture, Nathi Mthethwa, said,
and creative arts. They collectively attracted audiences of
‘SA-UK Seasons creates a diverse multicultural environment
more than half a million people. The SA Department of Arts
that provides a great framework for cultural diplomacy
and Culture invested more than R20 million in this stream
to be practised by the two countries. The Department of
of the programme. The UK partners - in the form of major
Arts and Culture invested a substantial amount of money
arts festivals arts intuitions, arts council and performing
in contribution to the initiative. This was to support the
arts institutions - contributed more than R60 million to the
vision of forging stronger relations and creating platforms
resounding successful initiative which gained traction across
to foster mutual understanding through the arts as part
the United Kingdom.
of our ongoing commitment to open up new markets.
The Joint programme funded 40 projects and the Connect
Whilst showcasing South African talent is a major part of
ZA programme a highly successful. The programme made a
the programme, a large emphasis is also placed on skills
lasting impact in the South African cultural landscape, with
transfer, relationship-building as well as education,’ said the
Creative Feel / April 2016 / 33
“SA-UK Seasons creates a diverse multicultural environment that provides a great framework for cultural diplomacy to be practised by the two countries”
minister. He concluded that the SA-UK Seasons had been an
a critically applauded theatrical multimedia production by
overall success, adding, ‘The Seasons managed to promote
Handspring Puppet Company, directed by William Kentridge,
the growth and sustainability of the arts and culture sector
highlighted the atrocities of apartheid and received peer
with a strong emphasis on audience development, economic
recognition in the festivals in their contribution to talks and
growth and market access.’
discussions. Author Margie Orford represented South Africa on
Having sung at the inauguration of former and late
invitation to participate at the Edinburgh International Book
president Nelson Mandela in 1994, singer and actress Marah
Festival to discuss her Clare Hart thrillers, alongside Scottish
Louw paid homage to Madiba’s legacy with a performance
author Ben McPherson.
at Glasgow’s annual Book Festival Aye Write! in April 2014.
The Seasons also boasted noteworthy highlights. Three
Marah had sung in the presence of Mandela on his first visit to
talented South African fashion designers, Eleni Labrou,
Glasgow in 1993. In a celebration held to mark 100 days before
Laduma Ngxokolo and Adriaan Kuiters, were amongst 130
the commencement of the Commonwealth 2015 Games, 300
emerging designers from 30 countries in the largest public
young people aged between 16 and 19 years old also took part
fashion exhibition of its kind. They were placed second for Best
in the Aye Write! Future News International Young Journalists’
Exhibition at the International Fashion Showcase in London.
Conference. A month before the games, the SA Season in the
Additionally, Laduma Ngxokolo of the Amaxhosa fashion label
UK supported the participation of two young South Africans,
received a Best Designer mention at the London Fashion Week.
Samantha van Gysen and Matheu Kieswetter, who were part
Multiple award-winning a cappella group The Soil
of the prestigious Commonwealth Youth Orchestra that held
represented South Africa at the Commonwealth Day
Commonwealth Gala Concerts, starting off in Glasgow and
Celebration held at Westminster Abbey. The trio gave an
performing across the UK. The pan-Commonwealth project
incredible performance, with Her Majesty Queen Elizabeth
engaged with all six regions of the Commonwealth.
II and other members of the Royal Family amongst the
The SA-UK Seasons 2014 & 2015 included a partnership
audience. The group went on to meet the Queen after their
with major institutions in the UK such as the Edinburgh
performance, heralding a new era in South African cultural
International Festival. It signalled the best of the Seasons with
integration through art in the UK. The Soil also headlined at
participation in six different categories, namely the Edinburgh
the EFG London Jazz Festival, the UK’s largest celebration
Art Festival, Edinburgh Jazz and Blues Festival, the Royal
of jazz music and London’s biggest multi-venue music
Edinburgh Military Tattoo, Edinburgh International Book
festival. They shared the stage with GRAMMY-nominated
Festival, Edinburgh International Film Festival and Edinburgh
singer, writer and musician Melody Gardot. Next to world-
Fringe Festival. Inala, a dance piece that incorporated
class artists were the ladies of song and seasoned jazz divas,
South Africa’s internationally acclaimed male choral group,
Sibongile Khumalo, Gloria Bosman and Thandiswa Mazwai,
Ladysmith Black Mambazo, premiered at the Edinburgh
who brought the Cadogan Hall in London down with their
International Festival Society. They fulfilled key objectives of
richly South African-flavoured hits.
the Seasons in securing future invitations to tour nationally and internally. The creators of Ubu and the Truth Commission,
34 / Creative Feel / April 2016
The Seasons took pride in two octogenarians who, though partaking in different art genres, made a meaningful impact
to the initiative. Charismatic jazz pianist Abdullah Ibrahim,
the South Africa at 20: Freedom Tour. High on the goals of
in celebration of his 80th birthday, performed at London’s
this project was the challenge to promote multiculturalism
Southbank Centre. His performances told the story of South
and cross-cultural understanding and tolerance, and, most
Africa’s history and optimism in the new era. He brought
importantly, deepen the experience and knowledge of other
together the infectious township jazz of his septet Ekaya,
cultures. The project boasted 133 screenings of 25 films across
backed by the New Trio, and deservedly received a standing
47 venues in the UK. Two South African films, Hear Me Move
ovation. The exceptionally talented and world-renowned
and Four Corners, were both picked up by UK distributors for
Ndebele artist Esther Mahlangu also marked her 80th birthday
release in 2015. The themes and stories portrayed helped to
with an illustrative solo exhibition, Esther Mahlangu 80, at
dispel misconceptions and stereotypes about South Africa.
the Irma Stern Museum in Cape Town. The exhibition was
Commissioner-General of the SA-UK Seasons, Bongani
accompanied by a comprehensive exhibition catalogue
Tembe said, “The SA-UK Seasons served to change the
featuring most of her life’s work (her signature contemporary
perception of contemporary culture in both South Africa
paintings that reference her Ndebele heritage). She later
and the United Kingdom through cultural exchange
travelled to the United Kingdom to showcase her work as part
programmes, tackling the challenge positively. In showcasing
of the Seasons.
and promotion of both countries’ arts and culture in visual
In keeping with the Seasons’ objective for skills transfer
arts, theatre, dance, cinema, literature and music, the
and driving education, 2011 Standard Bank Young Artist
Seasons successfully delivered in its mission and met the
Award winner and talented pianist, Bokani Dyer teamed up
set objectives. These included promoting people-to-people
with harmonica player Adam Glasser and British jazz flautist
contact, institutional collaboration and programmes that will
and arranger Gareth Lockrane in leading a series of workshops
have the potential for long-term impact and sustainability in
and specialist music education events, live performances at
the creative sector of both countries”.
the Ivy House in London and jam sessions celebrating the
Director of the British Council in South Africa, Colm
vibrant legacy of South African jazz composers new and old.
McGivern, said further, ‘The SA-UK Seasons has been the
This was Dyer’s second instalment of the Seasons, having
largest programme of people-to-people cultural diplomacy
previously worked and collaborated with UK-based like-
ever mounted by South Africa and the UK. Forging connections
minded musicians in a skills transfer programme. During
with the next generation is principally our concern as to aid in
the educational leg of his participation in the Seasons, Dyer
strengthening relationships of people from both continents,
worked with aspirant young musicians, sharing a wealth of
which is vitally important. In using artists, creatives and
creativity found in the distinct South African music style. The
collaborations even right across education and training helps
UK participants benefitted from the educational workshop at
forge stronger relationships from country to country. The
the Royal Academy of Music and showed greater appreciation
SA-UK Seasons has been the template for this. It is important
of South African jazz via the cultural outreach.
to refresh people’s perceptions of culture in South Africa and
The Africa in Motion Film Festival gave a platform to artists to showcase the best of South African cinema at
the UK to get an up-to-date view, closing the gap between perception and reality.’ CF
Creative Feel / April 2016 / 35
To Whom it May Concern. Installation View © Kemang Wa Lehulere Courtesy Stevenson, Cape Town/Johannesburg Photograph: Mario Todeschiniy
HISTORY WILL BREAK YOUR HEART History Will Break Your Heart, the exhibition by Kemang Wa Lehulere, the 2015 Standard Bank Young Artist Award winner for Visual Art, will showcase works by Wa Lehulere, Ernest Mancoba and Gladys Mgudlandlu, as well as works made in collaboration with the artist’s aunt, Sophia Lehulere.
36 / Creative Feel / April 2016
H
istory Will Break Your Heart takes its cue from the works of South African artists Ernest Mancoba, Gladys Mgudlandlu, and writer Rolfes Robert Reginald ‘R.R.R’ Dhlomo. Employing narratives
of remembering and re-enactment, the exhibition presents the fractured personal stories of these artists in relation to Wa Lehulere’s own work, and questions the detrimental effects of society’s collective memory on the lives of these artists. Working within the genres of video, installation and drawing, History Will Break Your Heart explores intimate narratives that speak of the contradictions inherent in personal versus collective memory.
“His ethos, ‘The Foot Has No Nose’ is a Xhosa idiom, meaning one doesn’t know where one’s journey is going, or where one is headed, is closely linked to this”
Performer, photographer and filmmaker, initially a theatre aspirant working with the Cape Town Theatre Laboratory, Wa Lehulere enrolled in a performing arts course at CAP (Community Arts Project) and decided to change to a visual arts course because he wanted a challenge. Here, he garnered experience in drawing, painting and sculpture. From there his interest moved to new media and film and he recalls: ‘Initially I became drawn to works which dealt with identity politics because I could relate. I looked a lot at Berni Searle, Tracey Rose, and Thando Mama. That kind of work became my interest, instead of painting. Even though I have continued painting and drawing throughout, that was what drew me in, quite strongly.’ Co-founding the arts collective the Gugulective, and collaborating with the Centre for Historical Re-enactments and Falling event 8. © Kemang Wa Lehulere Courtesy Stevenson, Cape Town/Johannesburg Photograph: Mario Todeschiniy
the NON-NON Collective, Wa Lehulere focuses on initiating conversations in the arts, particularly bringing the arts into the townships and making it accessible to the masses.
Growing up in Gugulethu, 30-year-old Wa Lehulere was
Wa Lehulere’s visual artworks range across media where he
surrounded by a creative family as a child. His mother was
is particular about not conforming to one medium and draws
a singer and his cousins were scriptwriters, directors and
on a range of subjects by being open to the unknown. His ethos,
actors in film and theatre.
‘The Foot Has No Nose’ is a Xhosa idiom, meaning one doesn’t
Despite having won five awards, including the first
know where one’s journey is going, or where one is headed, is
International Tiberius Art Award Dresden, launched in
closely linked to this. Theatre also influences his works by using
2013 as a tribute to outstanding contemporary artists
props to change the traditional meaning of spatial relations on
outside of Europe; having had four solo exhibitions; 50
stage or in a gallery. He explores themes of boundaries: portals
group exhibitions and six residencies, he remains humble
between the living and the dead, the past and the present;
in his achievements and emphasises the importance of hard
segregation, discrimination and identity. Wa Lehulere uses
work, exposure to the arts and collaboration. ‘The most
iconic objects as reference points to represent these themes.
important thing for me has been to read as much as possible,
The longevity of his works are influenced by the medium in
interacting with other artists, going to see shows, going to
which he presents them: from using charcoal and chalk to
the theatre and watching a lot of independent films. It is also
create works, playing on the idea of preservation.
important to keep working and that doesn’t mean producing physical things but researching and writing as well.’
History Will Break Your Heart is showing at the Standard Bank Gallery from 15 April to 18 June 2016. CF
Creative Feel / April 2016 / 37
SA TAXI FOUNDATION Art Award 2016 Engines and paintbrushes, distinct, different and both part of the SA Taxi Foundation and Lizamore and Associates’ fresh collaboration for 2016. The SA Taxi Foundation Art Award is an upcoming innovative visual art competition which fuses the creativeness of fine art with the
D
irector of Lizamore and Associates, Teresa Lizamore fashioned the concept of creating an artwork which would be transferred onto the external surface of a taxi. The novelty of such
a process is rather intriguing and shows promise for art to come. Not only does the invention surpass the ordinary, it reaches the ordinary man. Although there are little defined rules of what art across all disciplines today entails, we are still moving away from the elitist nature of art in a dawdling pace, which should be questioned. Art, more so in Africa,
enthusiastic and efficient nature of the
has remained a vehicle through which social change and
South African mini bus taxi.
specifically from young artists, is sprouting up everywhere,
social connections are made. In an era where art of all forms, the average man or woman is still not gaining access to these powerful and influential works. Young artists deserve a platform and Lizamore and Associates believe that it is important to support the growth of young artists through various empowering exercises. These include gallery space, mentorship programmes where
38 / Creative Feel / April 2016
Artworks from the 2015 SA Taxi Foundation Art Awards. Images provided by Lizamore and Associates
young artists are paired with established artists, curatorial
This fascinating initiative is such a positive
mentorship programmes and awards such as the SA Taxi
contribution to the South African arts industry. Last
Foundation Art Award.
year, the entries were all of an outstanding standard and
The SA Taxi Foundation has assembled a three tier guide
this is proof that South Africa is not short of talent. It
to what the artists may experience. The first tier provides
is, however, important that artists are constantly being
the artist with a sound platform; an exhibition of their
supported, especially young and upcoming artists. This
work which will boost their careers. The second consists of
project does just this and more. Art has always been
artists using their submitted work to follow a further brief.
a space for expression and catharsis and availing this
This is a crucial lesson as artists in the industry are often
platform to the public can only bring about positive
commissioned to create different works and follow briefs.
social transformation.
The final tier involves our society. The final works will be
Entries for the SA Taxi Foundation Art Award 2016 are
transferred onto numerous operating taxis, which will not
open and applications can be found on
only allow exposure for artists but exposure to the people;
http://www.sataxiartaward.co.za/.
the public who may not be exposed to the gallery space on
The SA Taxi Foundation Art Award is certainly an event
a regular basis. This then becomes a moving public artwork
to look forward to and will absolutely produce talent that
which is able to spark dialogue.
should be watched closely. CF
Creative Feel / April 2016 / 39
Mozart’s opera, The Magic Flute, is one of the most beautiful pieces of music ever written and it was Mozart’s last opera, composed shortly before his death.
T
he Magic Flute is a highlight in any opera season at any opera house or theatre anywhere in the world with many popular melodies like the duet by Papagena and Papageno, ‘Pa Pa Pa’ or the heart-
melting aria ‘Dies Bildnis ist bezaubernd schön: This image is enchantingly lovely’. The two arias sung by the Queen of the Night include the highest notes possible in music and are sung by a coloratura soprano. The world premiere of the opera was conducted by Mozart himself on 30 September 1791 and was called a Singspiel on the playbill. Literally meaning ‘Sing-speak’, the form combines spoken dialogue with arias and ensembles, and relies on spectacular visual effects to keep the crowd happy. Interestingly, in his letters Mozart referred to it as an opera – he evidently took the piece more seriously than a mere Singspiel. He wrote the music to the words of his friend Emanuel Schikaneder, an actor, impresario and fellow enthusiast of the freemasons – a group whose rational ideals had a powerful influence on the opera’s plot where a noble prince is ordered by the mysterious Queen of the Night to rescue a beautiful princess who has been kidnapped. Joburg Theatre, in partnership with MDN Classics, will
Musa Nkuna
40 / Creative Feel / April 2016
be presenting Mozart’s The Magic Flute on the Mandela
The two arias sung by the Queen of the Night include the highest notes possible in music and are sung by a coloratura soprano.
stage at Joburg Theatre for four shows only in May, the texts will be sung in German for this production and the spoken dialogues have been adapted into a mixture of South African languages to activate the light-hearted side of this opera and to be as close as possible to the audiences. What better way to do it than with Mozart’s masterpiece: The Magic Flute? An international cast has been assembled for this production, which will include German-based South African tenor Musa Nkuna as Tamino; South African classical singer Aubrey Lodewyk as Papageno; German-based South African soprano Caroline Nkwe as Pamina; Polish coloratura soprano Alexandra Olczyk as the Queen of the Night; the Three Ladies are Viola Zimmermann, Christine Dammann and Anna Nesyba; Polish bass Marek Gastecki as Sarastro; German tenor Henning Jendritza as Monostatos and the award-winning Gauteng Choristers will be the chorus. The stage director is Dr Christoph Dammann, an internationally active theater director and cultural manager, including director of the Cologne Opera, the Portuguese National Opera Lisbon and the Opera Festival Berlin. Costume and lighting design is done by Sybille Pfeiffe and Wolfgang Stärke. This production is accompanied by the German Rhine Philharmonic Orchestra under the baton of Desar Sulejmani, a young Albanian-German conductor whose conducting has taken him to some of Europe’s most important opera houses and concert halls. Performances are on Wednesday 18 May, Thursday 19 May, Friday 20 May and Tuesday 24 May. Tickets range between R200 to R500 and are available by calling 0861 670 670 or visiting www.joburgtheatre.com, as well as through Webtickets. For group bookings of ten or more, please contact the theatre Caroline Nkwe
directly on (011) 877 6853/6815. CF
Creative Feel / April 2016 / 41
Giacomo Puccini’s La Bohème, the passionate, timeless, and indelible story of love among young artists in Paris, can stake its claim as the world’s most popular opera and it is now coming to Cape Town again.
LA BOHÈME in District Six
E
ver since its world premiere in 1896 at the Teatro Regio in Turin, La Bohème has played at soldout opera houses around the world. The opera has a marvelous ability to make a powerful first
impression and to reveal unsuspected treasures after dozens of hearings. At first glance, La Bohème is the definitive depiction of the joys and sorrows of love and loss; on closer inspection, it reveals the deep emotional significance hidden in the trivial things – a bonnet, an old overcoat, a chance meeting with a neighbor – that make up our everyday lives. Once again, La Bohème, is coming to Cape Town but this time around the classic opera comes with a local twist,
42 / Creative Feel / April 2016
staged as La Bohème in District Six to mark 50 years since the destruction of District Six. Africa Arts, a collaborative production company, will be staging La Bohème in District Six at the Suidoosterfees. District Six was a vibrant neighbourhood with a diverse population who appreciated the arts and music, which is why it became a logical idea for Africa Arts to combine La Bohème’s storyline with the historical legacy of District Six. ‘La Bohème means “The Bohemians” and District Six was well known for its bohemian atmosphere. It was a place where South African artists of all races and religions could mix freely and share ideas, which resulted in a collective culture in opposition to the apartheid regime.’ The original La Bohème is set in a Paris garret and is a tale of four young struggling bohemians. The opera revolves around a tragic love story between Rodolfo, a poet, and Mimì, a young seamstress. La Bohème in District Six is a 90-minute version of the classic opera, re-imagined by the seasoned opera veteran, Angelo Gobbato. His arrangement is accessible while still keeping the essence of the most important operatic moments. The opera will be accompanied by a live orchestra conducted by Alex Fokkens. La Bohème in District Six will feature five emerging South African singers who portray this 120-year-old story in a South African context. Given Nkosi plays Rodolfo; Amanda Osorio will be Mimi; Lynelle Kenned as Musetta; Marcello will be played by Owen Metsileng and Njabulo Sifiso Mthimkhulu will play Schaunard. This group of talented artists will be led by the awardwinning Tara Notcutt as director. She has received best production accolades for …miskien and The Three Little Pigs and this will be Notcutt’s first full scale opera. ‘I am beside myself with excitement at having a chance to direct such a well-loved piece. As my first opera, I feel very lucky to be in the hands of such incredible music and the wonderful team at Africa Arts. La Bohème in District Six is about the spirit of beauty, love and art and I hope that audiences allow themselves to be swept up in the romance of Puccini’s music.’ La Bohème in District Six will be presented at Suidoosterfees 2016, at the Kyknet Theatre in Artscape Theatre Centre, Cape Town on Thursday 28 April, Friday 29 April and Sunday 1 May. CF
Creative Feel / April 2016 / 43
A 50-year-old Memory 2016 marks 50 years since the largest concentration of people were forcefully removed from District Six in the Western Cape, during the apartheid era.
District Six Museum interior. Photograph by Paul Grendon 44 / Creative Feel / April 2016
D
emolished based on the notion that if we were different we’d have to be separate, District Six became the largest concentration of residents subjected to forced removals under the apartheid
Group Areas Act. Following this, in 1966 the absconded land was proclaimed as a ‘white’s only’ area under the mentioned law of 1950. The sundry of cultures in District Six was made up of African, Indian, European, Malay and European immigrants as well as ex-slaves and bohemians. Soon after 1966, the area was renamed to Zonnebloem. District Six, a pulsating communal hub was robbed of its entirety and its strong community foundation was difficult to reclaim in the Cape Flats, where certain groups were moved to. All that was left were the churches and mosques, which demonstrates the strong philosophy of coexistence in District Six. Apart from being a major occurrence in South Africa’s segregated history, District Six has provided a creative opening for many South African artists who were all inspired to document this intricate story through their art. Dollar Brand (now Abdullah Ibrahim), Gerard Sekoto and, most direct to the content: David Kramer and Taliep Petersen who created District Six: The Musical, to name a few. The arts had always been a driving force for the community of District Six, for example: the Kaapse Klopse (Cape Town Minstrel Carnival), various artists, intellectuals and writers were a part of helping the community flourish regardless of their environment. As we approach the 50th year since the forced removals, we are overcome with an ocean of grief; observing our country and the residue of apartheid slowly creeping its way back into our society. Formally a Methodist Church, a communal sanctuary in District Six, the District Six Museum houses the last remnants of what was once a vivacious, assorted lucky packet of culture. The Museum desires to craft and use the memory of this mixed heritage rather than to recreate this sensitive space, which is still deeply entrenched in the entire beings of former residents. The Museum, which opened in 1994, focuses on the lives of the District Six residents and, specifically, the forced removals. These forced removals have become such a prominent event in history, showcasing mass destruction of both homes and lives. As you enter the Museum, you are confronted by a hanging display of street name signs, which were kept safe by a member of the demolishing team. Metal and paint, yet they hold so much significance in such a tightly woven community,
Corner of Hanover and Tennant Streets. Photograph by Jan Greshoff Creative Feel / April 2016 / 45
destinations which all speak of memories. There is a large map painted on the floor of the Museum, both this and the former represent the physical space of District Six. The entire Museum is crafted to reflect the delicate subject matter of people who owe their character to District Six. Inside the former place of worship, you will find a permanent exhibition: Digging Deeper, which opened in 2000. The exhibition finds meaning in the Museum space and how it is used and interrogated through the subject of memory. Digging Deeper is an interdisciplinary exhibition which uses the voices of exresidents of District Six as its primary source. The exhibition, however, penetrates the surface of its content in order for visitors, especially ex-residents, to engage and dialogue with our past as South Africans and how it affects our present. Some of the installations are replicas of bedrooms and other living areas in District Six homes. The joy in this is seeing a familiar doily draped over a coffee table and a porcelain dog perched on it politely; familiar. Domestic installations such as this create a sense of reality and allow us to politely invade on the past just for a moment. The Museum also encourages active social enhancement and uses the arts and other projects to do this. The Reminiscence Theatre Festival, hosted by the Museum in 2012, is an illustration of this. The Community Survey is a social project that was tasked to reconnect ex-residents, returning or not, and to start a conversation with them about their experiences, restoration of the area and how the museum could possibility benefit the community. This once alive and zealous area was home to a large group of people who took ownership of their surroundings; they felt safe. Today, the streets of Cape Town and its less kosher areas are avoided, as in many cities. Fifty years later, it is evident that the Museum is an attempt to restore but also to reconnect with ourselves as human archives and each other in contemporary South Africa. CF DISTRICT SIX MUSEUM: 25A Buitenkant Street Cape Town, _8001, South Africa Tel/Fax: +27 21 466 7200 Email: info@districtsix.co.za TOUR BOOKINGS, VISITOR ENGAGEMENTS: Zahra Hendricks Tel: +27 21 4667200 (during office hours: Monday – Friday) 09:00 – 16:00 Monday to Saturday On Saturday, please call 021 466 7100 (Sundays are by appointment only) Email: reception@districtsix.co.za
46 / Creative Feel / April 2016
Hanover Building during demolition process, Donor: Len Copin
Creative Feel / April 2016 / 47
Breaking Down Boundaries The Market Theatre has played a valuable role in the development of many important and innovative productions over the years, including works by Handspring Puppet Company and their collaborations with William Kentridge.
A
mong the many extraordinary and innovative works to have taken to the Market Theatre’s stage, some of the most memorable have been created by the
Handspring Puppet Company, often in collaboration with William Kentridge. Many of these were produced and co-produced by the Market Theatre and made their debut on its stages, conveying, as often as not, a powerful critique of the abuse of power and a meditation on the human condition. Handspring brought their quest ‘to break the longstanding division between straight theatre and other art forms such as puppetry, dance and sculpture’ to the Market and Baxter Theatres with 1988’s Midsummer Night’s Dream. This saw Shakespeare’s romantic comedy realised in a play that spliced together influences from the Bambara and Bozo traditions of Mali and the conventions of Japanese Bunraku. Then in 1990, co-founder of the Market Theatre, Barney Simon created and directed Starbrites with Handspring. This starred a plethora of puppet characters, including ‘gossiping neighbours in windows, Soweto street life, alley cats and life-size shebeen queens’ all performing alongside the principal
The witness from Ubu and the Truth Commission
48 / Creative Feel / April 2016
(human) cast.
The Vulture from Ubu and the Truth Commission
“To break the longstanding division between straight theatre and other art forms such as puppetry, dance and sculpture”
All images courtesy of David Krut Publishing.
and buying sprees, [consuming] all that Africa has to offer... his victims the African people and their land.’ No less critical of the status quo, 1997’s Ubu and the Truth Commission was directed by William Kentridge and placed Alfredo Jarry’s despicable glutton Ubu Roi in the midst of the unfolding drama of the Human
Niles, Handspring Puppet Company studio, Cape Town.
Rights Commission. Incorporating both animation and documentary footage, along with a cast of humans and
Handspring went on to team up with William
puppets, the production depicted Ubu as a policeman ‘for
Kentridge with Woyzeck on the Highveld in 1992, the
whom torture, murder, sex and food are all variations of a
first in a series of works that incorporated puppets,
single gross appetite.’
human actors and animation. Woyzeck on the Highveld,
Handspring further collaborated with William Kentridge
an adaptation of a play by Georg Buchner, delved into
to create Il ritorno d’Ulysse (1998) in which Kentridge
‘jealousy, murder and the struggle of an ordinary man
transposed Monteverdi’s Ulisse to a hospital bed in
against an uncaring society which eventually destroys
Johannesburg, (where live opera singers communicating his
him.’ As with their many of their re-visitations of classic
thoughts, dreams and memories of his return to Penelope
figures, Kentridge and Handspring brought Woyzeck into a
following his ten-year expedition following the Trojan War).
contemporary South African context, setting it within the
Confessions of Zeno and Zeno at 4am meditated on the limits
industrial backdrop of 1950s Johannesburg.
of self knowledge.
In 1995, Handspring and Kentridge similarly brought
These productions, and other works by both Kentridge
Faust – the 16th century scholar who sold his soul to the devil
and Handspring Puppet Company, have in turn given rise
– into a local context, creating Faustus in Africa. Here, Faustus
to many of the genre-bending, multi-media works that
parodies the greedy colonialist ‘indulging in elaborate feasts
continue to play on the Market Theatre’s stages today. CF
Creative Feel / April 2016 / 49
The Founding of the
MARKET PHOTO WORKSHOP 50 / Creative Feel / April 2016
The vision that brought the Market Theatre into being was one shared by many. Similar ideals also informed the establishment of the Market Photo Workshop, founded within the ambit of the Market Theatre by David Goldblatt in 1989.
‘W
hen the Market Theatre opened in 1976, it was a statement common to a lot of us,’ recalls David Goldblatt. ‘It became a community theatre and a community centre. It was the one place in Johannesburg where people from every area could come without harassment and do whatever they wanted.’
One of the early offshoots within the Market Theatre was the establishment of a photo
gallery opened by Carol Hacker, who worked with Goldblatt to present frequent exhibitions. ‘The exhibitions were often quite pointed in their interest, and many people, particularly young black people, would come to these exhibitions and ask questions about photography, and what photographs meant,’ he says. Hence the need that propelled the founding of the Market Photo Workshop: ‘At that time, it would have been very difficult for a young black person to take up an interest in photography, and become visually literate. Accommodation in Soweto was overcrowded; there was no running water, no electricity, no space. And there was no money. I thought it was essential, therefore, to provide some sort of facility, and the Market Theatre was the obvious place to do it. It was a community centre, in many ways, and this could become a community venture. And so we therefore started the workshop as a… rather rogue element in the makeup of the Market Theatre.’ Gillian Cargill taught the first beginner’s course, with classes held in unoccupied The Market Photo Workshop. Photograph by Chris Watterson
rehearsal rooms, and advertised in the Star Tonight supplement. Money from the Douglas Murray Trust also enabled the Workshop to buy cameras to lend to students. ‘People came from all over sub-Saharan Africa – Kenya, Zimbabwe, Tanzania,’ says Goldblatt. ‘I think it would be true to say it was a truly non-racial place. I knew personally of young people who’d come there – whites and blacks – who found themselves working together in the darkrooms and going out on expeditions and outreach programmes, and working closely together.’ Goldblatt attributes much of the success of the Market Photo Workshop, along with its traditional spirit of social engagement, to the people to have taught and directed the Workshop over the years. ‘Many of them were idealistic, in the sense that they could have earned far more in commercial photography and the marketplace than the Workshop was able to pay them; but they came. And particularly, in the last ten years that he has been there, John Fleetwood has been an astonishing director. ‘The Market Photo Workshop has given quite a lot of people a foothold both in culture and the economy that they would probably not otherwise have had, and some of the students from the Workshop have become eminent and internationally successful. I don’t regard that as being the be-all and end-all of achievement – I’m just very pleased to see the names that come up in credit lines in newspapers and magazines, and many of those are the names of former students of the Workshop.’ CF
Creative Feel / April 2016 / 51
THE MARKET
LABORATORY The Market Laboratory. Photograph by Chris Watterson 52 / Creative Feel / April 2016
A
space to imagine and begin to create the society that they hope for, is the space offered by the Market Laboratory (or Market Lab) to its students. It offers a unique programme that puts its students inside of one of the leading theatre
venues in the country and associates them with some of the nation’s best established directors and cutting-edge theatre makers. For Dr John Kani, it was important to create a place for underprivileged youth to be able to access training and see themselves release their potential for active citizenship. He cofounded the Market Laboratory with Barney Simon and then continued to listen to the needs of his community, which led to the opening of the Drama School. The now Ramalao Makhene Drama School (named after the Laurence Olivier Award-winning actor who performed in Cry the Beloved Country), provides a two-year certified course. With Mark Fleishman holding the title of its first co-ordinator, Kani then saw a need for the facilitation of the creation of new plays and Professor Zakes Mda was enlisted for his expertise and willingness to wield new work. The Laboratory Residency project remains an important part of the Market Lab’s living legacy – the grooming of new voices in the South African artistic landscape. A significant aspect of the Market Lab became its fieldwork. Vanessa Cooke, the third co-ordinator remembers how vital it was to not only bring students to the Market Lab, who would otherwise not have been able to afford any kind of higher learning, but also for the students to go and work inside of their communities. Festivals like the Zwakala Festival for new work, which still runs to this day, were critical. Cooke says, ‘Working on new plays that were happening in those communities and learning a lot from those plays about what people were feeling, what they wanted, it was amazing!’ The Market Lab was never, and is not, a school in the traditional sense. It was at the avant garde of pedagogy with its Swiss model of education and a considerable fieldwork approach. With SIDA support via the Stockholm’s Statsteater, for most of its earlier years, the students were able to participate in shaping their own education. They are still seen at every show hosted by the Market
The Market Laboratory was opened in a small warehouse in Goch Street in 1989 with Barney Simon and Dr John Kani as founding directors. Nondumiso Msimanga spoke to prior Market
Theatre and with the inception of the Theatre’s latest artistic director James Ngcobo, continuing the legacy of Barney Simon in his own invigorated way, the students are also seen on the stage in shows, performing alongside professional performers. The Market Lab’s education is imparted by the country’s leading practicing performers. Cooke recalls, ‘We had such fun at the Lab, my goodness.’ She and Clara Vaughan, the Market Lab’s current coordinator, agree that Ngcobo’s passion for cultivating young artists is crucial. Cooke says, ‘it’s important, how they see things,’ the young
Lab co-ordinator, Vanessa Cooke
people of this country. And Vaughan, who believes in empowering
about this important learning
states in the call for applications: ‘We don’t have scripts for the
space for young people.
young people with their own internal capacity for critical thinking younger generation – the younger generation must write their own scripts and say what they want to say.’ CF
Creative Feel / April 2016 / 53
THE 2016 NALEDI THEATRE
AWARDS
2016 nominees including, Phillip M Dikotla, Thabo Rametsi, Kayelihle Dom Gumede, Atandwa Kani, Monageng “Vice” Motshabi and Renos Spanoudes
54 / Creative Feel / April 2016
The much anticipated annual Naledi Theatre Awards take place at the Lyric Theatre, Gold Reef City on Tuesday 19 April 2016.
Sister Act
‘T
his year, we have the highest standard of
Counihan; Peter Feldman; Renos Spanoudes; Rudi Sadler;
excellence ever,’ says Executive Director, Dawn
Sandile Mabaso; Tiffany Courthenay Higgo and Welcome
Lindberg. ‘So much so that we have introduced
Msomi. All are passionate and informed theatre goers
four new categories: Best Director of a Musical,
and include drama teachers, theatre critics, practitioners,
Best Support/Featured Performance in a Musical and Best Performance in a Production for Children’s Theatre. The
academics and producers. New sponsors for award categories include ROBE and
fourth new category is in keeping with the new technology
DWR Lighting Distribution, who are sponsoring lighting
involved in design of sets: Best AV/Animation.’
and sound respectively. In addition, ROBE and DWR are
To help the judges to assess this new category, a ‘Techie
offering an all-expenses-paid-trip to Prague for the winner
Training’ session was held at the Market Theatre Laboratory
of Best Lighting Design to visit the ROBE factory and
last year, where experts in the fields of lighting, sound and
attend special workshops.
set design as well as directing, were invited to share some of
Other category sponsors include Dreamsets (Best Set
their techniques and vision. This will now become an annual
Design); Distell (Best Newcomer/Breakthrough); the Market
event for judges and students of theatre design.
Theatre, which sponsors the Best Emerging Voice Award for
The judging panel has been expanded by six new judges,
young directors and theatre makers of exceptional talent
chosen after extensive research following the highly
and ‘we are thrilled that our Arts Angel, Carolyn Steyn will
successful forum held last year to ascertain suggestions
sponsor the Joan Brickhill Award for Best Production of a
and input from the industry as to how to improve and
Musical,’ adds Lindberg.
develop the awards’ modus operandi. The new judges started assessing productions from January 2015.
Support funding from BASA and Mzansi Golden Economy has also been received, while funding from National Lottery
The panel now consists of: Annelize Hicks; Dorianne
Commission and the Gauteng DAC is still to be confirmed.
Alexander; Ferosa Marais; Fiona Gordon; Gregory Goss;
The Naledi Theatre Awards will once again be shown
Helen Heldenmuth; Jenni Newman; Johan van der Merwe;
on SABC3 on Thursday 5 May at 20:30 with a repeat on
Lance Maron; Maishe Maponya; Mandla Motau; Matthew
Friday 6 May at 14:00.
Creative Feel / April 2016 / 55
Alan Committie and
Sue Pam Grant,
Candice von Litsenborgh
Atandwa Kani and Sylvaine Strike
‘Our entertainment line-up is also very special,’ says Lindberg. ‘For the first time we have the full Johannesburg Youth Orchestra Company, conducted by Eddie Clayton. All music has been specially arranged for the event and singers will perform to live music. Entertainment includes Candida Mosoma from Sister Act; Sharon Spiegel Wagner from I’m Playing Your Song; Lelo Ramasimong, Chantal Herman and Dionne Song from Little Shop of Horrors; and Somizi Mhlongo of Idols fame… Nominee and multiplewinner Jonathan Roxmouth will be performing a spoof from Sweeney Todd together with fellow nominee, Charon Williams-Ros and Timothy Moloi will perform “The Impossible Dream”. ‘The host is Mark Banks and celebrity presenters include Nataniel; Tobie Cronje; Maps Maponyane; Tema Sebopedi and Motlatsi Mafatshe from Isidingo; Robert Whitehead; Terence Bridgett and other luminaries from stage and television. Expect sparks to fly!’ Fishers of Hope proves to have had a highly successful 2015 run, with nominations for Lesedi Job (Best Lead Performance in a Play – Female); Mncedisi Shabangu (Best Lead Performance in a Play – Male); Phillip M Dikotla, Phillip Tipo Tindisa and Shaun Oelf for Best Supporting Candida Mosoma
Actor; The Baxter Theatre Centre and Mopo Productions in association with the State Theatre (Best Production
Dawn Lindberg and Shane Maja
of a Play); Lara Foot (Best New SA Script) and many more. Atandwa Kani and Sylvaine Strike have received nominations for Black and Blue for Best Lead Performance in a Play – Male and Best Lead Performance in a Play – Female respectively. Respected actress Fiona Ramsay is nominated for Best Lead Performance in a Play for both Miss Dietich Regrets and Doubt. Hinterland too received multiple nominations: Caroline Smart for Best Director of a Play, Duncan Buwalda for Best New SA Script and Sipho Mahlatshana for Best Newcomer/Breakthrough. ‘We are truly proud that Naledi holds a shining mirror to excellence in SA theatre and that the nominations for productions staged in 2015 reflect the diversity of our industry and showcase the sort of productions that attract our burgeoning audiences who buy tickets, come to the theatre and applaud your work,’ says Lindberg. ‘In contrast to the recent controversy raging over the “All White Oscars” this year, we are proud that Naledi includes nominees from every culture, colour, gender and creed. ‘Without cow towing to quotas or affirmative anything, Naledi embraces ALL our people and celebrates our unique and very special stories through dance, song, music, acting and the spoken word.’ CF For the full list of nominations, visit http://creativefeel. co.za/2016/03/naledi-theatre-awards-2016-nominees/
DEMOLITION DIRECTOR: Jean-Marc VallÊe STARRING: Jake Gyllenhaal, Naomi Watts, Chris Cooper, Judah Lewis Davis Mitchell (Jake Gyllenhaal), a successful investment banker, struggles after losing his wife in a tragic car crash. Despite pressure from his father-in-law, Phil (Chris Cooper), to pull it together, Davis continues to unravel. What starts as a complaint letter to a vending machine company turns into a series of letters revealing startling personal admissions. Davis’ letters catch the attention of customer service rep, Karen Mareno (Naomi Watts) and amidst emotional and financial burdens of her own, the two form an unlikely connection. With the help of Karen and her son, Chris (Judah Lewis), Davis starts to rebuild, beginning with the demolition of the life he once knew.
AT CINEMAS 22 APRIL
Adapted from Stephen Elliott’s true crime memoir of the same name, The Adderall Diaries tells the unflinchingly honest story of Elliott – a once-successful novelist paralyzed by writer’s block and in the thrall of an Adderall addiction – who becomes fascinated by a high-profile murder case as a way to escape his personal struggles. As Elliott delves into the twisted case and it’s motley crew of suspects, he is haunted by the memories of his own tortured childhood and his cruel, estranged father. When his father mysteriously resurfaces and claims that his son’s nightmarish memories were fabricated, Elliott’s past is further thrust under the microscope. He embarks on a journey to separate fact from fiction, amidst a backdrop of self-medication and false confessions.
The Adderall Diaries releases at select cinemas on 15 April 2016 and is distributed by Times Media Films.
To book: Times Media Films
Times Media Films
JANE GOT A GUN JOEL EDGERTON NOAH EMMERICH RODRIGO SANTORIO BOYD HOLBROOK AND EWAN MCGREGOR A FILM BY GAVIN O’CONNOR BOIES/SCHILLER FILMS PRESENTS IN ASSOCIATION WITH EXCLUSIVE MEDIA A BOIES/SCHILLER FILM GROUP/1821 MEDIA/HANDSOMECHARLIE FILMS/STONE VILLAGE PICTURES PRODUCTION IN ASSOCIATION WITH STRAIGHT UP FILMS A FILM BY GAVIN O’CONNOR "JANE GOT A GUN" NATALIE PORTMAN JOEL EDGERTON NOAH EMMERICH RODRIGO SANTORO BOYD HOLBROOK ET EWAN MCGREGOR CASTING BY BILLY HOPKINS MUSIC BY LISA GERRARD AND MARCIELLO DE FRANCISCI COSTUME DESIGNERS CATHERINE GEORGE AND TERRY ANDERSON PRODUCTION DESIGNERS TIM GRIMES AND JIM OBERLANDER EDITOR ALAN CODY,ACE DIRECTOR OF PHOTOGRAPHY MANDY WALKER,ASC,ACS EXECUTIVE PRODUCER DAVID BOIES EXECUTIVE PRODUCERS DYLAN RUSSELL CHRIS COEN PARIS LATSIS JASON ROSE STORY BY BRIAN DUFFIELD SCREENPLAY BY BRIAN DUFFIELD AND ANTHONY TAMBAKIS & JOEL EDGERTON PRODUCED BY NATALIE PORTMAN ALEEN KESHISHIAN PRODUCED BY ZACK SCHILLER MARY REGENCY BOIES PRODUCED BY SCOTT STEINDORFF SCOTT LASTAITI TERRY DOUGAS DIRECTED BY GAVIN O’CONNOR © 2015 SP JGAG, LLC. ALL RIGHTS RESERVED.
AT SELECT CINEMAS 27 APRIL
JANE GOT A GUN
Jane Hammond (Natalie Portman) has built a life on the rugged western plains with her husband Bill “Ham” Hammond (Noah Emmerich) and young daughter. When Ham stumbles home riddled with bullets after a run-in with the relentless John Bishop (Ewan McGregor) and his gang, she knows they will not stop until her family is dead. In desperation, Jane turns to Dan Frost (Joel Edgerton), a man from her past, for help. Haunted by old memories, Jane’s past meets the present in a heartstopping battle for survival. The epic love story told amidst the sprawling expanse of the American west, Jane Got a Gun stars Academy Award® -winning actress Natalie Portman (Black Swan, V for Vendetta), Joel Edgerton (The Great Gatsby, Warrior), Noah Emmerich (The Truman Show, “The Americans”), Rodrigo Santoro (300, Rio), Boyd Holbrook, and Ewan McGregor (The Impossible, Star Wars: Episode III). Jane Got A Gun releases at select cinemas on 27 April 2016 and is distributed by Times Media Films.
Times Media Films
To book:
Times Media Films
Book Reviews Recently published
BODY OF ART | Foreword by Jennifer Blessing Publisher: PHAIDON | ISBN: 9780714869667 BODY OF ART is the first book to focus exclusively on the body in art. Providing not only a complete history of how the human form has been represented in visual culture over time, but also how it has become – literally and metaphorically – the canvas on and through which we talk about human experience. BODY OF ART examines art through that most accessible and relatable lens: the human body. There are no directly comparable titles in the market; this is the only book to examine the subject in such depth and scope. Diverse and multicultural, it explores the manifestations of the body through time, cultures and media. Visually arresting, this book will surprise, inspire and inform art lovers everywhere. With over 400 artists featured, works range from 11 000 BC hand stencils in Argentine caves to videos and performances by contemporary artists such as Marina Abramovic, Joan Jonas and Bruce Nauman.
Carrying Albert Home | By Homes Hickam
Landfalls | By Naomi J. Williams
30 000 YEARS OF ART | By Various
Publisher: Harper Collins
Publisher: Little Brown
Publisher: PHAIDON
ISBN: 978000815422
ISBN: 978408705773
ISBN: 9780714847894
Elsie Lavender and Homer Hickam Sr
Landfalls is a fictionalised reimagining
30 000 Years of Art presents
were high school classmates in the West
of the ill-fated Lapérouse expedition
1 000 great works of art from all
Virginia coalfields, graduating just as the
(1785-1788), a voyage of exploration that
periods and regions in the world,
Great Depression began. When Homer
attempted to circumnavigate the globe
arranged in chronological order
asked for her hand, Elsie instead headed
for science and the glory of France. Each
for a general readership. Breaking
to Orlando where she sparked with a
chapter of Landfalls is told from a different
through the usual geographical
dancing actor named Buddy Ebsen. But
point of view, including those of the French
and cultural boundaries of art
when Buddy headed for New York, Elsie’s
captains; their officers; scientist; onboard
history, it celebrates the vast range
dreams of a life with him were crushed
rank-and-file crew members; natives and
of human artistry across time and
and eventually she found herself back in
other Europeans they encountered; and
space. Each work is accompanied
the coalfields, married to Homer. Albert,
loved ones waiting at home. Landfalls
by key caption information (date;
her pet alligator, an unusual wedding gift
marks the launch of a brilliant new writer
title; place of origin; style or
from Buddy reminds her of her carefree
who creates an unforgettable narrative
culture; medium; dimensions etc.),
time with him. When Homer ‘bumps
told by a web of voices, a story of specific
and a short text providing more
heads’ with Albert, he proposes an
exploration, human tragedy and the world
information and explaining the art
ultimatum: ‘Me or that alligator!’
on the cusp of the modern era.
historical context.
64 / Creative Feel / April 2016
CDs & DVDs The latest releases to suit all tastes
Johann Strauss: Eine Nacht in Venedig De Ridder | Geszty | Migenes | Piso | Kunz | Schmidt Deutsche Grammophon 734435 After the great success in 1881 of his eighth operetta Der lustige Krieg (The Merry War), Strauss wanted a new libretto set in Italy with a finale in St Mark’s Square in Venice. The librettists Camillo Walzel (pseudonym: F. Zell) and Richard Genée presented Strauss with a story entitled Venetian Nights, set in the mid-18th century. The story appealed to the composer’s fondness for practical jokes. The message behind the plot was that men might try to dupe women, but the women will prove to be too sharp in the end. Strauss began to compose the operetta at once and it became one of his four greatest successes.
Spectre: Original Motion Picture
Greatest Hits Tracey Chapman Elekra Entertainment CDESP 445
Soundtrack is the soundtrack
It’s been 27 years since Tracy
Ten Top Tenors Pavarotti | Carreras | Bocelli | Domingo | Alagna | Kaufmann | Wunderlich | Flóez | Villazón | Calleja Decca 4824025
album to the 24th James Bond
Chapman released her debut
This two-CD album brings together
film of the same name. Released
album and it seems like it was
ten of the most famous tenors,
by Universal Music Classics,
just yesterday. She is celebrating
performing nearly 50 of the greatest
the music was composed by
a nearly three-decade career
arias of all time. It also features a
Thomas Newman, who previously
with this greatest-hits
16-page booklet with everything
composed the soundtrack of 23rd
compilation through Elektra/
you need to know about each tenor
Bond’film Skyfall, making him
Rhino Records. The album charts
– nationality, short biography, best
the third composer after John
the history of Tracy Chapman’s
recording, trivia and more – in an
Barry and David Arnold (and
most popular songs, all released
appealing and witty design. Disc
the first non-British composer)
as a single (but ‘Save Us All’
One contains 24 operatic arias,
to score more than one film in
and the vibrant interpretation
opening with the all-time tenor of
the series. Singer Sam Smith has
of ‘Stand By Me’ that she gave
tenors, Luciano Pavarotti, singing
made a huge name for himself in
at the David Letterman Show in
‘Nessun Dorma’.
a very short time, winning four
April 2015). She has received
GRAMMY Awards with his 2014
tremendous reviews from the
Neopolitan songs, Sicilian songs,
debut album, In the Lonely Hour.
press and her fans for it.
sacred music and others.
SPECTRE Newman | Smith Decca 4759509
Disc Two contains film themes,
Creative Feel / April 2016 / 65
encore Brett Rubin is a South African photographer based in Johannesburg. Over the past few years he has
exhibited his work in a variety of different exhibitions
including the Edinburgh Fashion and Art Festival, The Nirox Winter Sculpture show, the Design Indaba and currently as part of the Everard Read Sculpture show at the Mount Nelson Hotel in Cape Town.
Name three artworks that you love and why.
How have the arts industries in South Africa changed
• I have always loved the music and cover design on the
over the last ten years?
band Joy Division’s first album Unknown Pleasures.
The role of the internet has certainly escalated in terms of
The cover image designed by Peter Saville, is a stacked
its influence and ability to reach a wide audience.
plot of radio signals from the first discovered Pulsar / Neutron Star (CP1919) that appeared in the Cambridge
Name one thing you think would improve the arts and
Encyclopaedia of Astronomy.
culture industry in South Africa.
• Man Ray The Indestructable Object (Or Object To Be
Better funding for artists and foundations.
Destroyed) I think this simple idea of incorporating a photograph of the eye of an ex-lover and muse to an
What is your most treasured possession?
existing object, in this instance a metronome, was so
My bass guitar.
wonderfully Dadaist and ahead of its time. When it was destroyed in 1957 by a group of protesting students,
What do you regard as the lowest depth of misery?
Man Ray used the insurance money to make another and
Seeking the approval of others.
changed the name to The Indestructable Object. • I love the films of Jean-Luc Godard, in one film titled Bandé A Part (Band of Outsiders) there is a particularly great scene
What is it that makes you happy? Reading.
of the three main characters running through the Louvre trying to beat the record.
Describe a defining moment in your life. Waking up to Bob Dylan endorsing (on social media) the
Name one artist you would love to meet.
music video I helped create for Hugh Masekela’s version of
Ai Wei Wei.
the song ‘Its All Over Now, Baby Blue’, which we made as a tribute to Masekela’s close friend, the late legendary South
What are you reading at the moment?
African photographer Alf Kumalo.
The Plague by Albert Camus. Selected Short Stories by Nadine Gordimer.
What projects will you be busy with during 2016 and into 2017?
What is in your car’s CD player?
I am hoping to release a book on my ongoing photographic
David Bowie. The Durutti Column. Miles Davis.
series titled: Saccades and Other Surfaces.
Motel Mari. Givan Lötz. Name one goal you would like to achieve in the next If you could change one thing about yourself, what
twelve months.
would it be?
I would like to complete an artist residency in a place I have
I’d find waking up before sunrise much easier.
never been before.CF
66 / Creative Feel / April 2016
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