Creative Feel April 2017 by Creative Feel

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STOMPIE SELIBE

ART MEETS JAZZ Creative Feel / April 2017 / 1

Making music together.

Cover image: Stompie Selibe, Recollections (detail), 2016

This April, artists will once again unite to raise

cover story 46 VISUAL JAMMING As both a visual artist and musician, Daniel

RHINO DISHARMONY awareness about rhino poaching in Africa with the Rhino Disharmony concert.

34 TIGER BAY THE MUSICAL ROARS TO LIFE AT ARTSCAPE

‘Stompie’ Selibe uses improvisation,

Fans of musical theatre can anticipate the rare

experimentation and discovery. In anticipation

opportunity to attend opening performances of a large-

of his upcoming exhibition in May, Creative Feel

scale new musical in Cape Town. Tiger Bay the Musical

spoke to the artist about his work and his sources

will have a short run at Artscape from 20 to 27 May

of inspiration.

before transferring to the UK in late 2017.

contents

arts and culture 20 GOSPEL EASTER FESTIVITIES AT JOBURG THEATRE

36 THE STANDARD BANK NATIONAL YOUTH JAZZ FESTIVAL TURNS 25 Creative Feel contacted Alan Webster to find out the history and future of this important intermediary in

Gospel Spectacular is a feel-good show for the whole family and has something for fans of virtually every gospel genre.

22 BRINGING THE VOICES OF THE TENORS TO SOUTH AFRICA

many of South Africa’s jazz musicians’ careers.

A MUSICAL COLLAGE Creative Feel caught up with 2017 Standard Bank Young Artist for Jazz, Benjamin Jephta, about what he’s been

Aspire ICON Theatrical is proud to be returning to

up to since his win at the end of 2016, and his plans for

South Africa: this time bringing direct from Europe the

the future.

incredible show The Tenors – Live in Concert.

28 NALEDI THEATRE AWARDS 2017 NOMINATIONS REVEAL

THE 5TH SAJE JAZZ FESTIVAL The 5th SAJE Jazz Festival takes place from 28 to 30 April 2017 in Cape Town. International Jazz Day

After much anticipation, the Naledi Theatre Awards

will be celebrated on Sunday 30 April and is the

is proud to announce the nominees for productions

culmination of Jazz Appreciation Month (fondly known

staged during 2016.

as JAM), which draws public attention to jazz and its extraordinary heritage throughout April.

BETWEEN A LIFE AND ITS DREAM An inside look into life in the ghettos of Ghana and a glimpse at the themes that typify these places, is what visitors to the Absa Gallery in Johannesburg can expect from Between a life and its dream (Scrawl paintings) – the gripping solo exhibition of 2015 L’Atelier Merit Award winner, Gideon Appah.

52 PHENOMENAL RESULTS AT ASPIRE ART AUCTIONS’ FIRST CAPE AUCTION Be it historic, modern or contemporary art work, Aspire Art Auctions has achieved phenomenal sale results and broken numerous South African and international records in both its recent Inaugural

lifestyle and entertainment 66 68 70

CD REVIEWS BOOK REVIEWS CINEMA NOUVEAU

contents Cape Auction, and the Inaugural Johannesburg Auction held in October 2016.

NEW ACQUISITIONS

New Acquisitions: Standard Bank Corporate Collection is currently on at the Standard Bank Gallery in

ARTLOOKS & ARTLINES

Artlooks & Artlines is a monthly column by Ismail Mahomed, CEO of the Market

exhibition includes works par excellence by some of

Theatre Foundation.

JODY PAULSEN’S PUSHING THIRTY

ImpACT winner for Design 2016, Jody Paulsen, recently exhibited his latest body of work entitled Pushing Thirty at SMAC Gallery in Cape Town. Art lecturer and historian, Lloyd Pollak, reviews the exhibition.

Johannesburg, and runs until 4 December 2017. The South Africa’s leading contemporary artists.

contributors

COLLABORATIVE ROOMSETS

In May 2017, Design Joburg, featuring Rooms on View, will be transforming the Sandton Convention Centre.

LITERARY LANDSCAPES

Literary Landscapes is a monthly column written

by Indra Wussow, a writer, translator and director of

the Sylt Foundation.

BUSINESS & ARTS Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).

EDITOR’S NOTE

Artistic freedom…

avid Goldblatt, the internationally acclaimed South African photographer, is moving his collection from the University of Cape Town to Yale University in the USA. He recently told UCT management that he wants to move his collection from the university after eight years, saying the university could no longer protect freedom of expression, artistic freedom and the rights of artists on the campus.

There is no other photographer who has so prudently portrayed the complex South African society in a

career that spans more than 60 years. He has won numerous international awards including the Hasselblad (2006) and the Henri Cartier-Bresson (2009) Awards. His big break as a photographer came in 1964 when he was given a number of assignments by Sally Angwin, editor and owner of the avant-garde Tatler magazine. Goldblatt did a feature for the magazine on the AngloAmerican Corporation and this eventually led to a long and important association with Anglo’s in-house magazine, Optima. Goldblatt’s association with Optima gave him access to the mining operations of the most powerful South African company. This, in turn, allowed him, over the next decade, to complete his book On the Mines, published in 1973 with text by Nadine Gordimer. This lead to lifelong collaborations between these two great South African artists. His work for Optima also allowed Goldblatt to travel around the country taking photographs for his seminal book Some Afrikaners Photographed (1975) and a book about middle-class South Africans, In Boksburg. He also travelled on a bicycle, mainly photographing the Johannesburg Indian area of Fietas (Pageview) – the community was facing removal in terms of the government’s Group Areas Act which forcefully removed people to new segregated townships. During the period of darkest apartheid, the 1970s and ‘80s, his most haunting photographs gave the world evidence of the system’s cruelty and agony. ‘His acute David Goldblatt in his office at home © Lore Watterson, DeskLink Media

historical and political perception provides a sense of the texture of daily life, and an important piece of missing information regarding life under apartheid in South Africa,’ the Hasselblad Award citation noted.

The first time I did an interview with David Goldblatt, then in his seventies, he was still driving his converted, little, old van around post-election South Africa taking pictures; always critical, always topical. He was looking at the effects the AIDS epidemic had had on South African society, he was documenting areas of extreme poverty and exposing the inhumane treatment of farm workers. With the David Goldblatt Collection, described as a ‘South African heritage treasure’, South Africa is losing one of its most important research materials of inestimable value. The archive is a record of Goldblatt’s photography career, which includes digital images, negatives, transparencies and prints. For the last eight years, the collection has been housed at the UCT Libraries, in an agreement which has allowed UCT the use of the material for study and research, as well as exhibition. UCT said that it regretted Goldblatt’s decision but respected it. In typical David Goldblatt fashion, he himself has given no personal comment so far about this decision.

Lore 6 / Creative Feel / April 2017

Mohau Modisakeng, Untitled (from Frames series), 2012, dibonded aluminium composite Inkjet print on Epson UltraSmooth, 200 x 150 cm

INVITING CONSIGNMENTS FOR OUR WINTER AUCTION IN JOHANNESBURG 19 June 2017 | Entries close 24 April 2017

www.aspireart.net

We loved this!

PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za DIGITAL CONTENT CURATOR Angelia Muller; angelia@desklink.co.za ADDITIONAL EDITORIAL CONTENT: Ismail Mahomed Michelle Constant Indra Wussow Lloyd Pollak SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Zama-Africa Mkhize; zama@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION subs@creativefeel.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za

Tsoku Maela, The Anointing A Cape Town-based photographer, director and writer from Limpopo, Tsoku Maela found his path in life after a perplexing medical emergency in 2014 which inspired him to dust off his camera. Maela began his photographic journey through capturing surreal, metaphorical self-portraits and using digital manipulation to realise his visions, channelling dreams into tangible realities. He moved quickly through these to street photography to sophisticated and thoughtful portraits and narrative series. His work scouts for ways to define human connection through exploring the themes of strength, willpower, life and death, offering a perspective on everyday habitual life. He says, ‘I’ve always wanted to find ways to break the barrier between humans… No one talks to anyone today, we all struggle in silence. We live in our heads when we are surrounded by ten other people who feel the same way and have information they could share.’ Focusing on this human aspect of everyday life, Maela transforms moments into life lessons through his work.

8 / Creative Feel / April 2017

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

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

ome of South Africa’s best voice teachers have confirmed their availability to serve on the panel of the Second Unisa National Voice Competition taking place this winter at Unisa in Pretoria.

The competition will feature two categories: Jazz and

Classical. The jazz vocalists will be adjudicated by Debbie Mari, Nthabiseng Motsepe, Mageshen Naidoo, Nicky Schrire and Amanda Tiffin. The classical vocalists will be adjudicated by Lize Coetzer, Conroy Cupido, Hanli Stapela, Hanna van Niekerk and Thami Zungu. More than R250 000 worth of prizes will be awarded. The competition is being made possible by a grant from the National Lotteries Commission (NLC) and additional support from Unisa. Classical vocalists will compete on 8 and 10 July in Round 1 and Round 2 respectively. The Jazz Category will commence with Round 1 on 9 July and continue with Round 2 on 11 July. All competitors will perform in both the first rounds. After the second round, the semi-finalists will be announced. The semifinal round will also be divided into two days. The classical finalists will perform on Wednesday 12 July and the jazz finalists on Thursday 13 July. Only four vocalists will be chosen to perform in the final round – two per category. The requirements for the competition are extremely high and to be admitted to the competition is already an achievement. Competitors must be able to perform four live rounds, all with different songs. Furthermore, in the final round their ability to perform with a rhythm section (Jazz Category) and full orchestra (Classical Category) will be tested. Lovers of vocal music can look forward to a variety of some of the best-loved vocal repertoire: From coloratura arias such as ‘Glitter and be Gay’ by Bernstein to famous jazz standards such as Ellington’s ‘Caravan’ are on the programme. More information about the competitors will be available closer to the event. Tickets for Rounds 1 to 3 will be sold at the door. Final round tickets will be sold at Computicket. CF

Artwork used with permission: Justin Dingwall

RISE UP MAKE ART

he power of the L’Atelier art competition to open doors for young, emerging artists and provide them with a platform to share their art with the world, is highlighted in a new short film on L’Atelier Merit

Award winner, Collen Maswanganyi. Titled Mbatlo, the film traces Maswanganyi’s love affair with wood material, and his deep desire to continue his family’s legacy of sculpting wood using the traditional mbatlo tool. In addition, the film shows how Maswanganyi has been able to share his talent through the opportunities afforded to him by winning a L’Atelier Merit Award in 2010. L’Atelier organisers are now calling on young artists across the continent to enter the L’Atelier 2017 art competition, which promises the winner and finalists’ access to unparalleled exposure and opportunities to grow their careers both in South Africa and abroad. L’Atelier 2017 is hosted by Barclays Africa in conjunction with the South African National Association for the Visual Arts (SANAVA). It enters its 32nd year and is aimed at young, up and coming contemporary visual artists aged 21 to 35. The competition aims to nurture young talent, and serves as a platform for emerging artists to make their mark in the African art arena. As such, it is open to young artists in the ten African countries where Barclays Africa has a footprint, namely, South Africa, Botswana, Ghana, Zambia, Kenya, Uganda, Tanzania, Mauritius, Seychelles and, for the first time in 2017, Mozambique. Once artists have completed their online registration, artworks (a maximum of three) must be completed and submitted to their nearest collection point (see the website for details) between 24 and 28 April 2017. The L’Atelier competition has been instrumental in launching many significant careers in the visual arts. Once again, it features a string of highly coveted art residency prizes for the top two winners and top three merit award recipients, in addition to a significantly increased first place cash prize of R300 000. The top ten finalists are placed on a two-day art professionalism course to assist them in managing their careers. Full competition details can be found at www.lateliercompetition.com

R U ' O Y S IT TIME P U E S I R & MAKE ARTSTRISE #ARTMU

ITION T COMPETM R A R TION.COM IE L E RCO PETI L’AT AT L ATELIE OW REGISTER N 2017 SE 28 APRIL LO C S IE ENTR

ART, BEAUTY

CUISINE

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

Casta Diva Boutique Hotel accommodates their guests

in the lap of luxury with their elegantly decorated 28 guest rooms, whilst often entertaining them with some local arts and culture talent. They often host mainly classical and jazz performances in their elegant and beautiful Casta Diva’s Charisma Restaurant. Casta Diva’s Charisma Restaurant has recently revamped their chairs and they have now become individual works of

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

art, and you may choose which one to sit. Casta Diva also boasts an intimate 70-seater theatre/ art gallery, Casta Diva’s Vissi d’Arte, where local talent is encouraged to perform at no charge. This space is often used by up-and-coming talents who are serious about developing their art as well as showcasing their talents and even the talent of others. The intimate space is glittered up from time to time by Burlesque performances. The venue is also equipped to host art exhibitions with mesh wiring on the walls where paintings and other artistic pieces can be displayed. Fortunately, not only the privileged hotel guests of Casta Diva Boutique Hotel have the opportunity to wine and dine at Casta Diva’s Charisma Restaurant. The culinary team make a true effort to serve not only beautiful but also

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

delicious dishes. The vibrant culinary team always aims to outdo themselves with daily specials, ranging from a Beef Scalopini to a Cuban Style Pangasius fillet. The restaurant staff members are not referred to as waitrons but hosts as they truly make you feel at home, welcome and take care of your needs and wants. Please do note that bookings are only taken per reservation as the focus is on providing care; the number of reservations allowed is balanced with the number of inhouse guests and the number of hosts available. To reserve a table for a business or romantic dinner, or a lunch, call 012 542 4449. Do keep an eye on the Facebook pages, Casta Diva the Place to…; Casta Diva’s Charisma and Casta Diva’s Vissi d’Arte, to stay updated on events and special occasions. For a sneak peek of what this true gem looks like, visit their website at www.castadiva.co.za. Casta Diva Boutique Hotel where art, beauty and cuisine are perfectly combined in the elegant embrace of luxury.

Casta Diva, the place where you can break away, wind down, breathe and simply just… be. 12 / Creative Feel / April 2017

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

Chuma Sopotela

Bongile Mantsai

Chuma Sopotela and Bongile Mantsai in Lara Foot’s Karoo Moose

outh Africa excels in arts and culture in all its forms.

assets. Creativity is a resource that South Africa must invest

Our artists are presented at international festivals

in and nurture because the engaging work that our artists

and are lauded for their talents. Despite an on-going

produce is the soft power which is the conduit through

struggle for funding resources, our artists have built

which we can engage with the world on equal terms.

their artistic and creative successes on years of hard work.

During May this year, South Africa will host the 19th

They are an incredible resource and create opportunities for

ASSITEJ World Congress and International Performing Arts

us to be critically reflective about our pasts. They anchor us

Festival for Children and Young People (or the Cradle of

to the present, and provoke and challenge us to raise our

Creativity) in Cape Town. South Africa won the bid to host

consciousness. They let us envision new possibilities for the

this event with a 98% vote of confidence from more than 40

future. They let us dream. They let us escape.

countries. That is far more than what most political leaders

John Kani, Pretty Yende, Steven Cohen, Lara Foot, Yaël Farber, Mamela Nyamza, Robyn Orlin, William Kentridge and so many more South Africans are homegrown superstars

can currently muster up. Much of South Africa’s success can be attributed to Cape Town-based theatre director and arts education

who have strong international reputations. Apart from being

activist Yvette Hardie. For more than two decades,

outstanding artists, they are also superb mentors and role

Hardie has been selflessly working across the globe

models for young people. They are a testament to the rich

advocating for every child to have access to good quality

reservoirs of creativity which are a part of our national DNA.

theatre programming. She has made great strides to

They inspire us. They offer us hope. They remind us that

put South African theatre on the international radar.

the creative economy is one of South Africa’s most dynamic

Her continued advocacy work to ensure that every

14 / Creative Feel / April 2017

Zoleka Helesi, Chuma Sopotela, Bongile Mantsai, Mfundo Tshazibane and Mdu Kweyama in Lara Footâ&#x20AC;&#x2122;s Karoo Moose SOURCE ASSITEJ South Africa South African child gets access to good quality theatre

also helps to build critical and loyal audiences for the

programming is unparalleled.

future of the creative industries. Without a thriving creative

Exposure to the arts is important for the development of a young childâ&#x20AC;&#x2122;s emotional, intellectual, artistic and creative potential. While some children may find that they have a

and cultural economy our cities and towns risk becoming desolate spaces that will have no soul. The Cradle of Creativity will be more than just a

talent and may want to pursue a career in the arts or creative

showcase of performances from around the world. It will be

industries, for most other children the arts give them the

a dynamic opportunity for South Africa to recognise that

opportunity to express themselves freely. Stories drawn

our future will be diminished if we do not create greater

from different cultures also teach them at an early age an

access for more children to benefit from the arts. The Cradle

understanding and appreciation of the great richness of our

of Creativity is supported by the Department of Arts and

very diverse society. It makes them more tolerant citizens. It

Culture, the National Lottery Commission and a number of

enriches their own sense of identity and of their place in our

other smaller partners.

complex world. It nurtures a sense of responsibility about how to actively participate in a democracy. There is also an economic argument that an increased

The Festival and Congress presents an opportunity for corporate organisations to channel their Corporate Social Responsibility funding to this once-in-a-lifetime event for

number of employers are more frequently looking for people

most South Africans. The 19th ASSITEJ World Congress

who can think more flexibly, who are creative team players

and International Performing Arts Festival for Children

but who can act individually when they are called to do so.

and Young People is, after all, the World Cup of Theatre for

Exposing young children to good quality art programming

Young Audiences. CF

Creative Feel / April 2017 / 15

Literary Landscapes Literary Landscapes is a monthly column by Indra Wussow,

a writer, translator and director of the Sylt Foundation. hat do we know about Panama? Well, we have

advance their economic power. Ultimately, Panama’s

definitely all heard of the famous Panama

independence was achieved because the United States

Canal and the recent leaks of the so-called

needed a compliant nation that would not be resistant to the

Panama Papers.

US’s economic plans.

Panama is a narrow country and seems to consist

French engineers had originally begun work on the canal

more of water than of land; that there is land amongst

in 1881 but failed due to engineering problems and a high

all the water has been both a curse and a blessing. The

worker mortality rate. The US succeeded where the French

isthmus had ignited dreams and held the potential for their

had failed and built and opened the Canal.

fulfilment, with the Panama Canal being the epitome of conquering nature and of making the impossible possible.

In his novel, The Secret History of Costaguana, contemporary Colombian writer Juan Gabriel Vásquez evokes the period of the first canal experiment and the political turmoil that came with these new ideas. Joseph Conrad’s imagined land of Costaguana (Nostromo) in Central America becomes Vásquez’s metaphor for Panama as he highlights the revolutions, disease and escalating expenses that plagued the first canal project. The second, and successful, canal project saw Panama’s independence, but the country’s dependence on the United States that followed moulded many future events and can still be felt in Panama today. The US considered the Canal its own and owned the Panama Canal Zone, which was an unincorporated territory, from 1903 to 1979. This zone consisted of the Canal and an area extending about eight kilometres on either side of the centreline. This foreign occupation expelled many Panamanians from their own land and made it impossible to

Panama Canal

travel to certain areas of their own country. In 1977, US President Jimmy Carter and General Omar

And yet, this victory over nature was marked by so many

Torrijos, of Panama, signed treaties that transferred control

contradictory events.

of the canal to Panama in 1999 but gave the US the right

Following their independence from Spain on November

to use military force to defend the waterway against any

28, 1821, Panama joined a union of Nueva Granada, Ecuador,

threat to its neutrality. The US used this right on numerous

and Venezuela named the Republic of Gran Colombia.

occasions, often when they felt the Panama government was

When Gran Colombia dissolved in 1831, Panama and Nueva

not acting in the US’s economic interests.

Granada remained joined, eventually becoming the Republic

Panama City is a place where all these contradictory

of Colombia. On November 3, 1903, Panama was separated

developments can be seen. American pensioners roam the

from Colombia, a move directly linked to foreign interests,

streets of the CBD, which is defined by high-rise buildings

namely US ones.

and an atmosphere of wealth, growth and international

Building the Panama Canal in 1903–1914, President

players. One can find Donald Trump’s ‘Trump Towers’, as

Theodore Roosevelt saw the realisation of a long-term

well as the infamous law firm Mossack Fonseca, who have

United States goal: a trans-isthmian canal that would

allegedly assisted dictators, drug dealers and many of the

16 / Creative Feel / April 2017

Panama City CBD SOURCE Indra Wussow

rich and unscrupulous to launder their money through offshore companies. One of the directors, Panamanian Ramón Fonseca, was once even a consultant to the president. Crime, greed and politics seem to go hand-inhand in Panama, with leaders like the infamous dictator Manual Noriega, who ruled between 1983 and 1989, when he was removed from power by the United States during the invasion of Panama. Ramón Fonseca is also a poet of note. A charismatic man, he is seen as putting himself above the law and humanity. Meeting the young poets and writers, it becomes clear that they are not only concerned about the arts – most of them are activists as well who want to create a fairer and more humane society that respects all its people and not only those with money or power. These young poets and writers do not live in the glamorous city centre or the Casco Viejo. The old Spanish town has been gentrified and is today a place to go out, to dine, to drink, and to have fun. When I met with renowned poet Lucy Cristina Chau in her flat, it was a far cry from the charm of the city centre. We talked about the role of the writer in society, and she introduced me to her colleague Alfredo Belda, who was an independent candidate for the presidency. Although he didn’t stand much of a chance, his message showed young people that they have the potential to drive change. In a society dominated by money, neoliberalism and a toxic amalgam produced by Catholicism, a lot of courage and confidence is needed to challenge the current status quo. These poets travel to international festivals and use these platforms to make their causes known. As Chau says, ‘We want to lead Panamanian literature out of the quarantine into which our rulers have pushed it.’ Her colleague, Mar Alzamora-Rivera, is an incredibly versatile artist. Alzamora-Rivera writes poetry, is a musician, and organises poetry and music events that are renowned throughout the country. I travelled with her through downtown Panama and she proudly showed me beautiful murals that artists create in the city to remember victims of the system, such as the students killed in 1964 when they protested US rule in the Canal Zone. These important works bring injustice, ignorance and disempowerment to the fore. In Panama, the art scene is very much involved in political life, despite the dangers or lack of funding. It is these outspoken people who provide us with a different view of a country known for economic injustice, drug trafficking and politics intertwined with crime. CF

Creative Feel / April 2017 / 17

Business & Arts Business & Arts is a monthly column by Michelle Constant, CEO of Business and Arts South Africa (BASA).

he recent announcement by the Goethe-Institut and

the young people who are using creativity to grow more than

the Grohs family of the launch of the Henrike Grohs

just their own lives?

Prize for African Artists left me deeply moved and humbled. Henrike Grohs died last year in March in

Tragically and ironically, I understand that Daki, as he grew economically more successful through his work at the

an appalling terrorist attack in the Ivory Coast. She was well

Handspring Puppet Company, came under greater threat

known and beloved by South African cultural practitioners,

in his community, potentially leading to his death. As Van

and those from other countries, for her extraordinary work as

Graan states, we are losing extraordinary people not only

an administrator, driving the arts as international dialogue.

to our sector but to society, our country, and ultimately

As Johannes Ebert, Secretary General of the Goethe-Institut

the world, as well. He ends his statement with the words

is quoted, ‘Henrike Grohs was a colleague who stood for the

“SURELY, something has to be DONE to reverse this

unifying power of culture. In her work at the Goethe-Institut,

situation” (sic). The frustration that Van Graan expresses is

she was committed to supporting the contribution that

one we all feel; a red ribbon of distress, a tapeworm of fury

African artists make to their communities, to the continent

and betrayal that winds itself through the gut of many in this

and to global discourse. The Award talks to collaborative

country, not just our sector.

partnership, imparting knowledge to other artists and social engagement.’ The Award describes what I, and my colleagues, believe intrinsically. The arts can and do act as a force for social, economic and general good. It also comes at a time when the South African arts sector is left reeling after the murders of activists and practitioners – Mlululeki Sam and Ncedile Daki. Most recently theatre practitioner Sisa Makaula was also shot and injured. In a powerful commentary on Facebook, activist Mike Van Graan wrote, ‘Not only artists, but young men and women with a deep passion to contribute to the growth and

“Artists are leaders of diverse communities and social ‘tribes’, thought leaders and drivers of deep change, who cannot and must not be forgotten”

improvement of their communities. We are all the poorer for their loss.’ The prescience of the comment is not lost,

What do we do, how do we do it? Is the creativity

though, in that it talks to the power of the arts on so many,

of the arts, the agency of the sector enough to fuel the

many levels – it’s ability to change lives, to provide access

change we need?

to new economies, new ways of thinking about the world,

It was with this in mind that I was struck by the gesture

philosophies that are lost to us in the current education

of the Goethe-Institut and the Grohs family – signalling

system. Artists are leaders of diverse communities and social

that we do not give up. We do not allow the deep-rooted

‘tribes’, thought leaders and drivers of deep change, who

cruelty of some, the greed of others, the crazed nationalism

cannot and must not be forgotten. Every day the negative

and jingoism of even others internationally, to drive us into

overwhelms us; and our role in the sector as administrators,

silence. That we can each choose our means and manner of

creators and producers becomes more and more complex.

response is something we, I, you need to recognise. We are

How do we protect, physically protect, our greatest asset –

more, much more than the sum of those poisoned parts. CF

18 / Creative Feel / April 2017

Johannesburg’s premier event showcasing the leaders in décor and design. From 12 to 14 May, DESIGN JOBURG, featuring Rooms on View, will transform the Sandton Convention Centre into the continent’s most coveted and inspirational design destination. With roomsets and collaborations at the heart of the show, DESIGN JOBURG will provide a three-day platform for visitors and exhibitors to mingle and discover the very latest trends and innovations. ASSOCIATE SPONSORS:

IMAGES COURTESY OF: (CLOCKWISE FROM TOP LEFT) STUDIO 19, ATELIER, BLACK FABRICS, LA GRANGE INTERIORS, SKINNY LAMINX

Aubrey Lodewyk in The Messiah

Handel’s Messiah at

The Playhouse Company Back by popular demand, The Playhouse Company will present Handel’s magnificent Messiah on Easter Sunday, 16 April 2017 at 15:00.

he Messiah will feature popular soloists, Aubrey

Highlights of this much-loved work include a wealth of

Lodewyk, Khumbuzile Dhlamini, Violina Anguelov,

evergreen choral items. Among these are the magnificent

Thabiso Masemene, as well as the 60-strong

‘Hallelujah Chorus’, along with equally splendid numbers

Playhouse Chorale and the KZN Philharmonic

such as ‘For Unto Us A Child Is Born’, ‘And The Glory of the

Orchestra, directed by Marcus Desando. Desando, who is originally from Pretoria, began his

Lord’ and many more, as well as benchmark solos such as ‘Every Valley’, ‘He Was Despised’, ‘I Know That My Redeemer

career as a singer in 1989 and went on to sing in over 70

Liveth’, ‘O Thou That Tellest Good Tidings To Zion’, ‘Rejoice

operas, musical theatre productions and concerts in South

Greatly, O Daughter of Zion’, ‘The Trumpet Shall Sound’ and

Africa and abroad. He travelled the world singing and

‘Why Do The Nations So Furiously Rage Together’, to name

directing with New York Harlem Productions, Really Useful

but a few.

Company, Pieter Toerien Productions and Cape Town Opera.

Bookings for The Messiah are now open at Computicket

Having also directed over 40 productions, ranging from

outlets nationwide, and tickets can also be obtained from

opera to concerts, Desando is the Chief Executive Officer of

the Playhouse Box Office on (031) 369 9540/9596 for

the Gauteng Opera (formerly Black Tie Ensemble), as well as

R80 and R100. Discounted block bookings can be made

Chairman of the South African National Opera Association.

by calling Dawn on (031) 369 9407 or emailing her on

The Messiah is an enormously popular English-language oratorio composed in 1741 by George Frideric Handel, first

salescoordinator@playhousecompany.com. Come and be a part of this tradition which features the

performed in Dublin in April 1742. After what has been

world class KwaZulu-Natal Philharmonic Orchestra under

described as a ‘modest’ initial public reception, the oratorio

the baton of conductor, Naum Rousine. CF

has gained in popularity to the extent that it has become one of the best-known, best-loved and most frequently performed choral works in Western music.

20 / Creative Feel / April 2017

Book now to avoid disappointment.

Gospel Spectacular is a feel-good show for the whole family and has something for fans of virtually every gospel genre.

GOSPEL EASTER

FESTIVITIES G

ospel is South Africa’s top music genre and now

Brian Temba is an internationally acclaimed and award-

Joburg Theatre and ATTV take South Africa’s

winning singer, songwriter and record producer. He is also

favourite gospel songs and stage them in a

an actor with both theatre and television experience. Temba

multimedia spectacular that includes giant LED

was the first South African to play the role of Simba in the

screens, video projections, lasers, pyrotechnics and other

Award-winning musical The Lion King on the West End Stage

special effects. Gospel Spectacular will run on The Mandela

at Lyceum Theatre in the UK for five years. Before that, he

stage from 13 to 23 April.

was part of the original LA Cast of The Lion King, performed

Heading up the 30-strong cast are top South African

at the Pantages Theatre, USA. He was part of the Lion and

gospel and pop artists Brian Temba, Connell Cruise and

the Lamb musical play directed by John Kani at the Market

Mahalia Buchanan, backed by a big ensemble of singers

Theatre in 1999.

and dancers. Traditional gospel legend Teboho Moloi

Fresh from his time in the United States performing at

also makes a special appearance. Not only will the cast

iconic venues such as The Bitter End in New York City and

perform everyone’s gospel favourites like ‘O Happy Day’,

The Troubadour in Los Angeles, Connell Cruise has returned

‘Malibongwe’, ‘Stomp’, ‘Moya Wam’ and ‘Joyful, Joyful’,

to South Africa to continue his meteoric music career. His

each will also perform some of their own songs, so fans

debut hit ‘Not Just Friends’ took South African radio stations

won’t go away disappointed! From pop hits like ‘Shackles’

by storm and garnered him three SAMA nominations. He has

(Mary, Mary) to traditional songs ‘O Mpha Tsohle’ (Teboho

since topped the charts throughout the country with eleven

Moloi), movie favourites like ‘I Will Follow Him’, to light

hit singles. His release of his EP ‘Into the Wild’ introduced

classics like ‘You Raise Me Up’ and ‘The Prayer’, to sing-

him to international music audiences and created worldwide

along praise songs like ‘Ancient of Days’ and ‘Jesu Ke

social media buzz.

Moloki Waka’, Gospel Spectacular has it all! Even Carman’s

Cruise’s unique sound and established success, coupled

dramatic story song, ‘The Champion’, gets staged with

with his determination and relentless work ethic, grabbed

incredible lighting, graphics and stage effects.

the attention of none other than music industry legend L.A.

22 / Creative Feel / April 2017

Brian Temba

age of twelve. He later joined a local band and started to Teboho Moloi SOURCE Joburg Theatre

experiment with keyboards. He would sing at retail stores in shopping centres, mainly in Qwaqwa in front of crowds where he began to gain popularity. Moloi got his first break

Reid. Cruise’s deal with Island Records in 2015 is regarded

in 2005 and released Emmanuel. He has performed alongside

as the largest record deal in South African music history.

greats such as Sfiso Ncwane, Solly Mahlangu, Rebecca

He has written and produced music with a long list of

Malope, Hlengiwe Mhlaba, Benjamin Dube and Joyous

established international hit-makers, such as Ido Zmishlany,

Celebration. He has also performed on Season 2 and Season

John Ryan, and Teddy Geiger. He is currently working with

3 of a show called Gospel Classics and Gospel Time on SABC2

David Gresham Records on an upcoming album, to be

on Sundays.

released next year. A gifted vocalist and a worship leader, Mahalia Buchanan,

Award-winning creative director Andrew Timm is responsible for mounting one of the most ambitious musical

recognised music’s impact at a very young age, treasuring

extravaganzas of the year. The choreography is by showbiz

it as a gift. With her warm and powerful voice, Buchanan’s

veteran Sandy Dyer, and the musical director is Dale

musical accomplishments in the gospel industry never cease

Scheepers, former musical director for Showtime Australia

to amaze. Foremost on the list of her strong musical journey

and band leader of the Joburg Theatre Panto 2017.

is her contribution to South Africa’s biggest gospel group

‘Gospel Spectacular will be just that,’ says Andrew Timm.

and global name, Joyous Celebration. She was also afforded

‘Patrons will be dazzled by the sheer visual spectacle of

a presenting platform on Gospel Truth, a musical programme

it all, but the real stars of the show are the songs; there’s

on South Africa’s most popular gospel channel. Buchanan

something in the show for everyone.’ CF

has performed extensively as a soloist. However, the ultimate highlight of her entire musical journey was evident when she delivered a seismic solo performance with internationally renowned gospel artist and Pastor, Donnie McClurkin. Teboho Moloi was born in Kestell, Eastern Free State,

Tickets range from R100 to R250 and are available by visiting www.joburgtheatre.com or calling 0861 670 670, and through

a small town between Bethlehem and Qwaqwa. He started

Webtickets. For group bookings of ten or more, please contact

singing at his church, St. John’s Apostolic Church at the

the theatre directly on 011 877 6853/6815.

Creative Feel / April 2017 / 23

THE TENORS TO SOUTH AFRICA

ICON Theatrical is proud to be returning to South Africa: this time bringing direct from Europe the incredible show The Tenors – Live in Concert.

The Tenors SOURCE Joburg Theatre his infectiously enthusiastic group of men

swing, pop and rock classics. It is a gloriously happy show

continues to wow sellout audiences worldwide,

with ovation after ovation and perfect entertainment for

and they are particularly honoured to be

the whole family. It takes you on an unforgettable musical

invited to perform in South Africa as part of

journey from Italy to Ireland, Broadway to the West End.

their World Tour. The Tenors is a live production featuring twelve guys who take their audience on a musical roller coaster with outstanding vocal performances. The tenors display a

This is a superb night of sheer entertainment featuring some of the best-loved music of our time delivered by an unforgettable cast. Highlights include West Side Story, Carmen, Simon &

stunning combination of virtuosity and style coupled with

Garfunkel, Billy Joel, The Beach Boys, ‘The Rat Pack’, Queen

sheer musical prowess. These superb performers blend a

and many more hits, not forgetting Tina Turner and the

host of musical styles choreographed with amazing 21st-

ultimate all time Tenor signature, ‘Nessun Dorma’.

century symphonic arrangements of timeless classics in

The Tenors – Live in Concert direct from Europe is truly a

one spectacular show. This amazing concert features a feast

five-star production, a night of West End and international

of feel-good favourites from Broadway to opera, including

voices in a show not to be missed.

24 / Creative Feel / April 2017

Producer and vocalist Barry Potts is no stranger to

this is where his career began. Having also worked with The

South Africa after bringing his triumphant production The

Osmonds, Debbie Reynolds, Frank Sinatra Jr. and Elton John,

Sopranos – Live in Concert to Johannesburg. After studying

Potts decided to journey further into the crossover genre

at the Royal Academy of Music, Potts embarked on an

bringing timeless classics to 21st-century audiences.

international career that began in South Africa, conducting

‘I am so excited to be able to bring The Tenors – Live in

the Johannesburg Festival Orchestra with the hit show Rock

Concert to Johannesburg where I can guarantee an evening of

Legends, that led to further engagements with the KwaZulu-

amazing music, fun and five-star entertainment,’ says Potts. CF

Natal Philharmonic Orchestra and The Cape Philharmonic Orchestra, before touring the world conducting the Honolulu

Tickets range from R180 to R350. These are available by

Symphony Orchestra and the Wellington Sinfonia among

visiting www.joburgtheatre.com or calling 0861 670 670, as

others. This led to the chance to work with The Rat Pack

well as through Webtickets. For group bookings of ten or

show on Broadway in New York, USA. Potts was proud to

more, please contact the theatre directly on

be instrumental in the conception of this hit show at The

011 877 6853/6815. Special student and pensioner discounts

Joburg Theatre. His return to Johannesburg is very special as

are available.

Creative Feel / April 2017 / 25

UJ ARTS & CULTURE LEADS WITH THEIR ART â&#x20AC;&#x201C; AND ALL THAT JAZZ

Photo credit - Botsonyana Phakisi

UJ ARTS & CULTURE, A DIVISION OF THE UNIVERSITY OF JOHANNESBURG’S FACULTY OF ART DESIGN AND ARCHITECTURE (FADA), PRODUCES AND PRESENTS WORLD-CLASS STUDENT AND PROFESSIONAL ARTS PROGRAMMES ALIGNED TO THE UJ VISION OF AN INTERNATIONAL UNIVERSITY OF CHOICE, ANCHORED IN AFRICA, DYNAMICALLY SHAPING THE FUTURE. IN LINE WITH THIS VISION, THE 2017 ANNUAL PROGRAMME GEARS ITSELF TOWARDS STIMULATION AND ENGAGEMENT; LOCATED SOLIDLY WITHIN THE SOUTH AFRICAN AND PAN-AFRICAN ARTS PHILOSOPHY AND METHODOLOGY OF FOCUS IN THE CREATION OF DIALOGUE, DISCOURSE AND A DEMONSTRATION OF A WAY FORWARD.

UJ Arts & Culture embarks on a brand new chapter in 2017, with an urban music offering that keeps our vision of shaping African futures within the arts alive. This platform comprises five concerts intended to generate and develop audience access to some of Johannesburg’s leading composers and musicians in jazz, afro-punk and experimental music. The first half of the year sees this jazz offering taking shape in the Arts Centre Main Theatre, located at the Kingsway campus, with performances by The Wretched, Ippyfuze and the Amandla Freedom Ensemble. Inspired by the revolutionary writing of Frantz Fanon in his seminal text The Wretched of the Earth, The Wretched is a space that experiments with notions of intertextuality. Performed by jazz musicians Tumi Mogorosi, Andrei Van Wyk (Healer Oran) and Gabisile Motuba, this sonic interpretation of the Fanonian text forms the basis of the ensemble’s philosophy, a multiplicity of sounds – cohesive and distorting. The idea of the trio is to sonically carry this discourse into the performative space. Standard Bank Young Artist for Jazz (2016), Siya Makuzeni, performs with her band Ippyfuze in May. Audiences can also look forward to a symphony orchestra performance by UJ Arts & Culture’s residents, The Johannesburg Youth Orchestra Company ( JYOC) as well as the Resonance String Quartet, important anchor points in UJ’s alreadyestablished classical music programme. Since taking over the reins from Ashraf Johaardien (now the Executive Producer of the National Arts Festival) in an acting capacity, Grace Meadows has further developed partnerships with local, provincial and national arts organisations, pushing the boundaries and

scope of UJ Arts & Culture’s annual offering. This year sees UJ partner with Jo’burg locals such as POPArt and Goliath & Goliath to present Out The Box stand-up comedy, featuring various highly talented local acts. Think Theatre and The Playhouse Company from KwaZuluNatal will present their exciting productions of Othello and Hamlet. In response to last year’s unavoidable programme changes and cancellations brought on by unrest in the higher education sector, UJ Arts & Culture is newly committed to its role in audience development and engagement. ‘We’re presenting a programme that reclaims the future, despite the difficult headspace South Africans may find themselves in. It’s in these trying times that artists inspire agency, change and hope for a better tomorrow,’ explains Meadows. Renewed efforts focused on producing theatre for young audiences through collaborating with the South African chapter of ASSITEJ – the international association of theatre for children and young people underpins this strategy of audience development and engagement. Greatly subsidised ticket prices and a new online platform streamlines bookings and communications for ease of access to UJ Arts & Culture’s venues and arts offerings. Bookings for all events, unless otherwise stated, are through Computicket. For further information or to be part of the UJ Arts & Culture mailing list, please contact Precious Maputle on 011 559 3058 or email her on preciousm@uj.ac.za. Note: Parking for all UJ Arts & Culture events is now in the Kingsway parking lot. Patrons are required to have their tickets printed prior to arrival for presentation to security at the entrances.

Top: Ippyfuze logo Centre: Tumi Mogorosi and Gabi Motuba. Photo credit - Muntu Vilakazi Bottom: Ippyfuze Cover

DATE AND EVENT LISTINGS FOR Photo credit - Ignatius Mokone

APRIL TO JULY 2017 MUSIC | CLASSICAL

MUSIC | CHORAL

Wozani Symphony Concert by Johannesburg Youth Orchestra Arts Centre Theatre, Kingsway Campus 19 March :: 14h30

Varsity Sing 26 April on Kyknet (DStv 146)

The Wits Trio Arts Centre Theatre, Kingsway Campus 03 April :: 17h30 Resonance String Quartet Arts Centre Theatre, Kingsway Campus 08 May :: 17h30

Yale Glee Club and UJ Choir St John’s College 26 May :: 19h00

COMEDY UJ Arts & Culture, Goliath & Goliath, POPArt and The Box present Out The Box Con Cowan Theatre, Bunting Road Campus 15 March, 05 April and 10 May :: 19h30

MUSIC | JAZZ The Wretched with Tumi Mogorosi, Andrei Van Wyk (Healer Oran) and Gabi Motuba Con Cowan Theatre, Bunting Road Campus 25 April :: 19h30 Siya Makuzeni’s Ippyfuze Arts Centre Theatre, Kingsway Campus 04 May :: 19h30 Mandla Mlangeni’s Amandla Freedom Ensemble Arts Centre Theatre, Kingsway Campus 01 June :: 19h30

THEATRE | YOUNG AUDIENCES UJ Arts & Culture supported by Hillbrow Theatre Project and ASSITEJ SA present Dear Mr Government, Please May I have a Meeting with You Even Though I’m Six Years Old? Con Cowan Theatre, Bunting Road Campus 03-06 May :: 19:30, matinees included on 05–06 May :: 14h00

Tumi Mogorosi and Gabi Motuba Photo credit - Reatile Moalusi

THEATRE Think Theatre in association with The Playhouse Company present Hamlet/Othello Arts Centre Theatre, Kingsway Campus 08–19 May

VISUAL ART Booknessess Curated by David Paton (FADA) and Ross Cleaver (FADA) UJ Art Gallery, Kingsway Campus 25 March–05 April :: Gallery Hours FADA Gallery, Bunting Road Campus 25 March–05 April :: Gallery Hours PPC Imaginarium Awards Curated by Stephan Hobbs and Trinity Session Arts Centre Theatre, Kingsway Campus 18 May :: 18h30 for 19h00

PPC Imaginarium Exhibition Curated by Stephan Hobbs and Trinity Session UJ Art Gallery, Kingsway Campus 18 May–18 June :: Gallery Hours

PUBLIC LECTURES, MASTERCLASSES AND CONFERENCES Ginsberg/Kentridge Conversation Moderated by Prof. Jane Taylor UJ Arts Centre Theatre, Kingsway Campus 26 March :: 19h00

STUDENT ENGAGEMENTS COMING UP IN SEPTEMBER UJ Can You Sing? Arts Centre Theatre, Kingsway Campus 06 September :: 19h00

DWR Distribution presents The Patrick Woodroffe and Roland Greil Lighting Workshop Arts Centre Theatre, Kingsway Campus 21 April :: 09h00–17h00

UJ Can You Slam? Arts Centre Theatre, Kingsway Campus 07 September :: 19h00

Pan-African Thought and Conversation Conference Arts Centre Theatre, Kingsway Campus 16–18 June :: 09h00-17h00

UJ Can You Dance? Arts Centre Theatre, Kingsway Campus 08 September :: 19h00

ACT | UJ Creative Conference #CreativeUprising Unlearning for Change Arts Centre Theatre, Kingsway Campus 27–29 July

2017

NALEDI THEATRE AWARDS:

NOMINATIONS REVEAL FOR PRODUCTIONS STAGED DURING 2016 Grant Almiral in Singin’ in the rain

After much anticipation, the Naledi Theatre Awards is proud to announce the nominees for productions staged during 2016.

Suddenly the Storm with Paul Slabolepszy, Charmaine Weir Smith and Renate Stuurman

he Nominations Reveal was hosted by the Market

1 December of the previous year and the Naledi judges

Theatre as a sponsorship in kind for which Naledi is

typically evaluate over 100 productions in approximately 27

most grateful. The reveal took place on 27 March at

categories. The Naledi panel of judges consists of informed

the Mannie Manim Theatre amid great excitement

and regular theatre-goers, academics and members of the

from the theatre industry. The Naledi Theatre Awards have been in existence for

media covering the arts in Johannesburg. ‘It is indeed a huge commitment and labour of love for

13 years and are recognised as the premier awards event on

the judges whose only reward is two tickets to the shows,’

the Gauteng theatre calendar. Its mission is to recognise and

said Dawn Lindberg, Executive Director of the Naledis.

reward excellence in the performing arts, to raise the profile

‘The debates are open and vigorous, but in the end, an

of live theatre and to create awareness of the abundant

agreement is reached. Our only criterion is excellence, and it

talent alive and well on our SA stages.

is particularly gratifying to see how much new local work is

The Naledi Theatre Awards have honoured over 60 Lifetime Achievers: veteran artistes, technicians, and

rising to the top.’ Judges include: Renos Spanoudes (playwright, actor,

administrators who have dedicated their lives to SA Theatre,

presenter and drama teacher), Welcome Msomi (theatre

and also pays tribute to people in the arts who have taken

producer and playwright), Sello Maake ka Ncube (TV and

their final bows during the year under review.

stage actor), Maishe Maponya (playwright and arts activist),

The Naledi Theatre Awards cover all mainstream professional productions from the period 1 January to

30 / Creative Feel / April 2017

Peter Feldman (arts journalist), Helen Heldenmuth (educational drama specialist, public speaker, writer

Earl Gregory in Joseph

actress), Omphile Molusi (theatre director and playwright), Dorianne Alexander (drama teacher, actress, public speaking trainer and adjudicator), Lakin Morgan-Baatjies (arts and director), Gregory Goss (equestrian instructor, rider

administrator) and Renos Spanoudes (drama teacher, writer

and international judge), Johan van der Merwe (theatre

and director).

producer and Afrikaans Festival judge), Annelize Hicks

‘The date for the awards event has not been determined

(theatre lover and drama teacher), Jenni Newman (PR and

as yet, due to lack of funding,’ says Acting Chairman of the

radio presenter), Matthew Counihan (drama teacher and

Naledi Theatre Awards, Welcome Msomi. ‘However, we are

actor), Rudi Sadler (graphic designer and producer), Tiffany

hoping to hear from potential sponsors very soon so that the

Higgo (drama teacher) and Lance Maron (ENT surgeon

much-coveted awards event can proceed as planned.

with a special interest in care of the professional voice and singer/performer). A special panel for Theatre for Young Audiences is

‘The Lyric Theatre at Gold Reef City is holding dates, and Clive Morris Productions are on standby to film the awards event (once sponsorship or funding has been obtained).

partnered with ASSITEJ SA to provide a wider scope of

M-Net, KykNet and Mzansi Magic are keen to become media

quality work that is touring to schools and learners in

partners and have undertaken to broadcast the event.’

Gauteng. Selected productions are invited to special

‘It is vitally important to keep Naledi alive as we hold a

showcases twice per year at which the panel sees work they

mirror to what is happening on our stages while encouraging

would not otherwise see due to the touring nature of theatre

new audiences and practitioners,’ says Lindberg. ‘Theatre

for young audiences. This panel includes Gerard Bester

reflects our ever-changing society and tells our stories

(director of the Hillbrow Theatre Project), Allison Green

of pain, rage, joy, celebration, and those of the human

(ASSITEJ SA director), Kgomotso Christopher (TV and stage

indomitable spirit,’ she concludes. CF

Creative Feel / April 2017 / 31

NALEDI THEATRE AWARDS: NOMINATIONS REVEAL FOR PRODUCTIONS STAGED DURING 2016

BEST CHILDREN’S PRODUCTION Supported by ASSITEJ SA (0 - 12) Disney’s Peter Pan | Disney’s Junior Aladdin | Khokho’s Treasure | Library Lion | Mr Popper’s Penguins | Ntombi Dreams Big | Seussical JNR BEST PRODUCTION FOR YOUNG AUDIENCES Supported by ASSITEJ SA (13 - 17) Hoopvol | Just Antigone | My Japan | Shakespeare’s Coriolanus | Woza Albert BEST PERFORMANCE IN A CHILDRENS’ THEATRE PRODUCTION, Supported by ASSITEJ SA Gamelihle Bovana Library Lion Jovan Muthray Just Antigone Mathabo Tlali Nthombi Dreams Big Nyakallo Motloung Just Antigone Thapelo Sebogodi Shakespeare’s Coriolanus Veronique Mensah Library Lion Palesa Makhalima Seussical Jnr BEST NEWCOMER / BREAKTHROUGH Aubrey Mogali Narrative Dreams Dean-John Smith A Cock and Bull Story Edwin van der Walt A Cock and Bull Story Daniel Richards Pay Back The Curry! Ezbie Sebatsa Moilwa The Dying Screams of the Moon Phillru van Achterbergh Porselein Wilhelm van der Walt DOP BEST CHOREOGRAPHY Duane Alexander Joseph and the Amazing Technicolor Dreamcoat Janine Bennewith Shrek The Musical Lennox Sibisi Umshado - A Marriage of Heritage Nhlanhla Mahlangu TAU Sonia Thandazile Radebe Sophiatown & Nhlanhla Mahlangu Weslee Swain Lauder Saturday Night Fever Oscar Buthelezi iLembe BEST MUSICAL DIRECTOR Arthur Molepo Sophiatown Bryan Schimmel Annie Dawid Boverhoff Altyd In My Drome Heidi Edeling Sneeuwitjie Louis Zurnamer Singin’ In The Rain Rowan Bakker Shrek The Musical Wessel Odendaal I Love You,You’re Perfect, Now Change

BEST ENSEMBLE Egoli | I Love You, You’re Perfect, Now Change | Sophiatown | Sherlock Holmes | 6 Characters in Search of an Author | TAU | Tease! BEST CUTTING EDGE AS | I See You | I Turned Away and She Was Gone Les Cenci: A play about Artaud | Porselein | TAU The Year of the Bicycle BEST SUPPORTING ACTRESS IN A PLAY Ameera Patel Scorched Ashley Carine de Lange Bad Jews Barileng Malebye Sophiatown Lesedi Job A Raisin in the Sun Renate Stuurman Suddenly the Storm Tholani ‘Khoni’ Miya iLembe Toni Morkel Tobacco and the Harmful Effects Thereof BEST SUPPORTING ACTOR IN A PLAY Alesandro Mendes iLembe Brandon Auret The President’s Man Craig Jackson Sherlock Holmes Katlego Letsholonyana Egoli Oli Booth Bad Jews Tiaan Slabbert Porselein Wilhelm van der Walt DOP BEST DIRECTOR OF A PLAY Jade Bowers Scorched John Kani The Dying Screams of the Moon Lara Bye Oskar en die Pienk Tannie Marthinus Basson A Cock and Bull Story Sibusisi Mamba 6 Characters in Search of an Author Sylvaine Strike DOP Thabiso T. Rammala TAU BEST DIRECTOR OF A MUSICAL/REVUE Elizma Badenhorst I Love You, You’re Perfect, Now Change Nataniël Mannequin Neels Clasen Altyd In My Drome Paul Warwick Griffin Joseph and the Amazing Technicolor Dreamcoat Steven Stead Shrek The Musical Weslee Swain Lauder Sneeuwitjie

2017 BEST SUPPORTING/FEATURED PERFORMANCE IN A MUSICAL/ REVUE: FEMALE Delray Halgryn Annie Kiruna-Lind Devar Saturday Night Fever LJ Nielson Saturday Night Fever Taryn-Lee Hudson Singin’ In The Rain Taryn Sudding Annie Tessa Denton Altyd In My Drome

BEST SUPPORTING/FEATURED PERFORMANCE IN A MUSICAL/ REVUE: MALE Bongi Mthombeni Saturday Night Fever Jacobus van Heerden Shrek The Musical Jonathan Roxmouth Joseph and the Amazing Technicolor Dreamcoat Rory Booth Shrek The Musical Stephen Jubber Annie Steven van Wyk Singin’ In The Rain

BEST NEW SOUTH AFRICAN SCRIPT DOP | Prod. by Kosie House of Theatre. Written by Retief Scholtz. Dir. by Sylvaine Strike. I See You | Prod. by the Market Theatre & Royal Court Theatre. Written by Mongiwekhaya Mthombeni. Dir. by Noma Dumezweni. iLembe | Prod. by Soweto Theatre in ass. with Sibikwa Arts Centre. Written by Small Ndaba & Phyllis Klotz in co-op. with Balungile Dlamini, Bhoyi Ngema (†), Andries Mbali & Jeremy Richard. Dir. by Small Ndaba & Phyllis Klotz. Pay Back The Curry! | Prod. by Siv Ngesi in ass. with 969 Festival. Written by Mike van Graan. Dir. by Rob van Vuuren. Sherlock Holmes | Prod. by Pieter Toerien. Written by Robert Fridjhon & Bronwyn Gottwald. Dir. by Alan Swerdlow. Suddenly the Storm | Prod. by the Market Theatre & Windybrow Theatre in ass. with the Auto & General Theatre on the Square. Written by Paul Slabolepszy. Dir. by Bobby Heaney. TAU | Prod. by the Market Theatre & the Windybrow Theatre. Written & Dir. by Thabiso T. Rammala.

BEST LEAD PERFORMANCE IN A MUSICAL/REVUE: MALE Earl Gregory Joseph and the Amazing Technicolor Dreamcoat Graham Hopkins Robin Hood and the Babes in the wood Grant Almirall Singin’ In The Rain Lyle Buxton Shrek The Musical Neels Clasen Annie Willem Botha Altyd In My Drome

BEST PRODUCTION OF A PLAY Bad Jews | Prod. by Eric Abraham in ass. with The Fugard Theatre & the Auto & General Theatre on the Square. Written by Joshua Harmon. Dir. by Greg Karvellas. I See You | Prod. by the Market Theatre & Royal Court Theatre. Written by Mongiwekhaya Mthombeni. Dir. by Noma Dumezweni. Scorched | Prod. by Jade Bowers in ass. with UJ Arts & Culture. Written by Wajdi Mouawad, Dir. by Jade Bowers. 6 Characters in Search of an Author | Prod. by the Market Theatre & Windybrow Theatre. Written by Luigi Pirandello, Adapt. & Dir. by Sibusiso Mamba. Suddenly the Storm | Prod. by the Market Theatre & Windybrow Theatre in ass. with the Auto & General Theatre on the Square. Written by Paul Slabolepszy. Dir. by Bobby Heaney. A Raisin’ in the Sun | Prod. by the Market Theatre in ass. with the US Embassy. Written by Lorraine Hansberry. Dir. by James Ngcobo. Ubu and the Truth Commission | Prod. by Handspring Puppet Company in ass. with the Market Theatre & the Windybrow Theatre. Written by Jane Taylor, Conceived & Dir. by William Kentridge.

BEST PERFORMANCE IN A PLAY: FEMALE Busisiwe Busi Zofuka Ubu and the Truth Commission Busisiwe Nyundu iLembe Charmaine Weir-Smith Suddenly the Storm Ilse Klink Scorched Masasa Lindiwe Mbangeni The Dying Screams of the Moon Sandra Prinsloo Oskar en die Pienk Tannie Tinarie van Wyk Loots Plant vir my ‘n Boom André 23. BEST PERFORMANCE IN A PLAY: MALE André Odendaal DOP Andrew Buckland Tobacco and the Harmful Effects Thereof Andries Babalo Mbali iLembe Desmond Dube I See You Lunga Radebe I See You Motlatsi Mafatshe Mooi Street Moves Mpho Osei-Tutu Scorched

BEST PRODUCTION OF A MUSICAL Altyd In My Drome | Prod. by Kosie Smit in ass. with Pieter Toerien. Adapt. by Neels Clasen & David Boverhoff, Dir. by Neels Clasen. Annie | Prod. by Pieter Toerien and Hazel Feldman in ass. with Michael Harrison Ent. & David Ian Prod. Dir. by Nikolai Foster. I Love You, You’re Perfect, Now Change | Prod.by VRG Theatrical in ass. with Dalro (PTY) Ltd. Written by Joe Dipietro, Dir. by Elizma Badenhorst. Joseph and the Amazing Technicolor Dreamcoat | Prod. by Pieter Toerien & the Really Useful Group. Lyrics by Tim Rice, Music by Andrew Lloyd Webber, Dir. by Paul Warwick Griffin. Shrek The Musical | Prod. by KickstArt in ass. with Gold Reef City. Book & Lyrics by David Lindsay-Abaire, Dir. by Steven Stead. Singin’ in the Rain: Prod. by Pieter Toerien and the Chichester Festival Theatre, Dir. by Jonathan Church. Umshado | Prod. by the SA State Theatre in ass. with One Step Productions CC. Written by Bogosi Bolokwe Ratladi, A Marriage of Heritage | Dir. by Eddie Mathiba.

BEST LEAD PERFORMANCE IN A MUSICAL/REVUE: FEMALE Angela Kilian Sneeuwitjie Bethany Dickson Singin’ In The Rain Charon Williams Ros Annie Jessica Sole Shrek The Musical Kate Normington Robin Hood and the Babes in the wood Lilla Fleischmann Annie

Rhino

This April, artists will once again unite to raise awareness about rhino poaching in Africa with the Rhino Disharmony concert.

he Rhino Disharmony movement aims to create one

South Africa and draws attention to the fact that the world has

global voice against rhino poaching through the

lost 52 per cent of its rhino population in the past 40 years.

participation of artists, their fans and the informed public. The movement aims to create a global

As in previous years, world-famous pianist Tian Jiang will perform classical showpieces with invited musicians. By

platform that will draw attention to the rhino poaching crises

contrasting these classical pieces with modern lyrics will show

in South Africa, to encourage a shift in perception about the

how the contrasting forces in nature can also come together

use of rhino horn and how it is fast tracking this species to

and create harmony - such as the one that we hope to restore.

extinction. The annual concert will once again highlight the disharmony that is caused through the poaching of rhinos in

34 / Creative Feel / April 2017

The Los Angeles Times once wrote: â&#x20AC;&#x2DC;Tian Jiang achieved an exquisite performance of Mozartâ&#x20AC;&#x2122;s beloved

Pianist Tian Jiang © Peter Schaaf

appear in the BBC film, Music after Mao Ashkenazy in China, documenting his visit. A subsequent meeting with the American violinist and goodwill ambassador Isaac Stern likewise resulted in a friendship, and an agreement with the Chinese government to allow Jiang to study at the San Francisco Conservatory for one year. Returning to China in 1982, Jiang graduated from the Shanghai Conservatory with a bachelor’s degree, won the first prize in the National Piano Competition of China, and eventually achieved his goal of returning to the United States. A Van Cliburn Scholarship Award then took him to The Juilliard School where he graduated with a Master of Music. Jiang’s debut concert at Carnegie Hall in 1989 attracted such critical acclaim that word of a remarkable talent – with a remarkable story – soon leaked to the media, prompting Jiang’s profile on CBS’ Sunday Morning. He has performed recitals in more than 35 countries. Piano Concerto No.23. The internationally known Jiang

He is proudly the first Chinese pianist to have toured his

is a deeply persuasive Mozartean who delivers the

homeland with the Royal Philharmonic Orchestra on its

full spectrum of the composer’s virtues - wit, pathos,

historic visit to China in 2000, and the first Chinese pianist

brilliance, and serenity in this buoyant performance...’

to have joined the Shanghai Symphony Orchestra as a

Praised for his ‘formidable technique, shining, crisp,

soloist on a ten-city US tour in 2003.

energetic and colorfully illuminated playing’ by the New

As a recording artist, Jiang already has 13 CDs to his

York Times, a subsequent profile on CBS’ Sunday Morning

credit, including two new releases: Tian Jiang Live at

further celebrated the sweet irony of this remarkable

Carnegie Hall and Shanghai Night. His original composition

artist’s rich, imaginative interpretations: that this music

Shanghai Dream, distributed worldwide by CBS Records,

he had been forbidden to hear, let alone play, as a child

caused a sensation and quickly became a best-seller.

had become his life. Tian Jiang was born in Shanghai during the early days

Jiang’s highlights 2016 include his successful tour through Russia, including the premiere performance of the ‘Yellow

of China’s Cultural Revolution. His first memories resound

River’ piano concerto in Russia. In December, he completed a

not of Bach and Mozart, but of the boots of the Red Guard

China National Concert Tour with internationally celebrated

as they stomped through his home in search of cultural

violinist Alexander Markov. Their masterful performances led

contraband, such as books and music. By the time he turned

to the duo being immediately booked for five years of concert

nine, the tide of the Cultural Revolution had receded and he

engagements, ending in 2021.

was admitted to the Shanghai Conservatory to pursue his insatiable interest in classical music. At the age of 16, Jiang met Vladimir Ashkenazy, who

Jiang’s annual South African tour, where he ‘writes music for his animals’, is much anticipated and a highlight on the classical music calendar. The Rhino Disharmony Concert

was then touring China for the first time. So impressed

takes place on the 20th of April 2017 at Haggie Hall, St

was the great Russian virtuoso that he invited Jiang to

Cyprian’s School in Oranjezicht, Cape Town. CF

Creative Feel / April 2017 / 35

Tiger Bay the Musical Roars to Life at Artscape A WALES MILLENNIUM CENTRE PRODUCTION IN ASSOCIATION WITH CAPE TOWN OPERA

Fans of musical theatre can anticipate the rare opportunity to attend opening performances of a large-scale new musical in Cape Town. Tiger Bay the Musical, a rousing epic set in Cardiff’s bustling multiracial docklands at the turn of the last century, will have a short run at Artscape from 20 to 27 May before transferring to the UK in late 2017.

iger Bay the Musical continues the twelve-year partnership between the Wales Millennium Centre and Cape Town Opera (CTO), combining local talent with an outstanding international creative team. Director Melly Still leads an outstanding international creative

team that includes choreographer Kenneth Tharp OBE and multi award winning designer Anna Fleischle. The star-studded cast includes Broadway musical star John Owen-Jones (the Phantom in The Phantom of the Opera), young Welsh singer Vikki Bebb and South African artists Luvo Tamba and Judy Ditchfield. Joining the talented cast is an ensemble of 15 children, selected from diverse communities throughout the Western Cape, who have trained for months to perform as the Water Boys. Consummate musician, composer and performer Daf James has written a magnificent score that will be performed by a 20-piece orchestra. Tiger Bay the Musical’s intensely modern, unique sound is rich in Celtic undertones. Prize-winning local author Michael Williams wrote the book and lyrics for Tiger Bay the Musical. After uncovering fascinating facts about Tiger Bay’s cosmopolitan community, Williams, whose grandfather and mother hail from Cardiff, pitched the idea for a musical to the WMC, who were enthusiastic and commissioned him to write Tiger Bay the Musical. The lovable characters of Tiger Bay the Musical will steal your heart: from the feisty Rowena Pryddy, a suffragette shopgirl who questions sacrificing her freedom for love, to the streetwise Water Boys and the Marquess of Bute, the worlds’ richest man and a tortured soul with a penchant for spiritualism. The story is set in motion when Themba, a Zulu man who tragically lost his wife and son during the Boer War, arrives in Tiger Bay. He finds work as a Donkeyman, hauling coal along the railway tracks, and meets Ianto, an orphan. Tiger Bay the Musical explores the universal themes of love and redemption. Some of the issues it examines, such as economic inequality and migrant labour, are especially pertinent in contemporary South Africa. As Williams writes: ‘Tiger Bay the Musical is about how we can live and work better together by doing the little things right.’ CF

Book through Computicket or Artscape Dial-A-Seat (021 421 7695) or through the Computicket Call Centre (0861 915 8000).

36 / Creative Feel / April 2017

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W W W. C R E AT I V E F E E L . C O. Z A

The Standard Bank National Youth Jazz

Festival turns 38 / Creative Feel / April 2017

The Standard Bank National Schools Big Band 2016. Since 1995 a national schools’ band has been selected

Alan Webster, from Stirling High School, East London, took over as Director of the Standard Bank National Youth Jazz Festival in 2001. Creative Feel contacted him to find out the history and future of this important intermediary in many of South Africa’s jazz musicians’ careers. Creative Feel: Congratulations on 25 years of the Standard Bank National Youth Jazz Festival (SBNYJF). Please tell us about the ‘birth’ of this jazz festival. How did it come about? Alan Webster: The SBNYJF began in 1992 as the idea of Mike Skipper, head of music at St. Andrews College and Diocesan School for Girls, who invited teachers and pupils at selected high schools to attend a three-day festival where Darius Brubeck would give some guidance in jazz education focused on high school jazz programmes. The festival started with 43 students and three teachers and was so successful that it rapidly attracted large numbers of participants such that now there are over 300 students from all over South Africa, along with 50 teachers, 100 lecturers and performers, with a full administrative staff as well. [I] took over as Director of the festival in 2001. Lesley McQuaid was Administrator of the SBNYJF from 2001 to 2004/5; Donné Dowlman was Festival Administrator from 2005 to 2013, and has since been Festival Manager; whilst Matthew Boon became Production Manager in 2014. A National Schools’ Big Band was selected in 1995 for the first time, The size the festival has now become! Attendance is capped at 350 students and teachers, 90 musicians and 40 staff. We unfortunately have to turn away hundreds of students annually who apply as we cannot fit everyone in

and from 1998 students from tertiary institutions began to attend, with the selection also of a Standard Bank National Youth Big Band. A third band – the small Standard Bank National Youth Jazz Band – began to be selected from 2001, drawing the cream of the improvisers, and playing South African jazz written and arranged by the conductor of the band: Marc Duby (2001), Barney Rachabane (2002), Darius Brubeck (2003), Carlo Mombelli (2004),

Creative Feel / April 2017 / 39

The Stockholm Jazz Orchestra, one of the world’s leading ensembles, performed in Grahamstown in 2005 and 2015. The relationship between the SJO and SBNYJF since 2003 has been critical in bringing world-class musicians to Grahamstown, with Fredrik Noren (SJO leader) working with Alan Webster over the years to bring together the top musicians and students in Sweden and South Africa Zim Ngqawana (2005), Brian Thusi (2006), Andrew Lilley

The festival, sharing the audiences of the National

(2007), Neil Gonsalves (2008), Feya Faku (2009), Mike

Arts Festival, has become the most significant jazz

Campbell (2010), McCoy Mrubata (2011), Paul Hanmer

development programme in the country, and its

(2012), Marcus Wyatt (2013), Mark Fransman (2014),

reputation for innovative performance from across the

Concord Nkabinde (2015) and Carlo Mombelli (2016).

South African jazz spectrum – established and youth – is

Many of the young players selected to these national

also becoming renowned. The SBNYJF is now incorporated

bands have gone on to forge significant careers in

within the Standard Bank Jazz Festival, Grahamstown

professional jazz, providing a critical foundation for the

and forms the official Main Jazz Stage of the Festival,

strengthening of South Africa’s jazz heritage.

with three top-class performances per night. Professional

Standard Bank took title sponsorship of the SBNYJF in

jazz performers and educators from around the country

1998 and has continued to be the central, naming sponsor over

acknowledge its importance and happily agree to be

the past decade. Additional funding has come from SAMRO,

lecturers, making the SBNYJF a vibrant, professional

Mmino, ProHelvetia, and the governments of the Netherlands,

barometer of South African jazz and its future. The

Sweden, Norway, the US and Switzerland. The SBNYJF has also

festival attracts the best jazz musicians in South Africa,

had a multi-year exchange programme with the Stockholm

and has hosted musicians from Argentina, Australia,

Jazz Orchestra through the Swedish-South African Culture

Austria, Belgium, Benin, Brazil, Britain, Bulgaria, Canada,

Partnership Programme, through the Department of Arts

Denmark, Finland, France, Germany, Greece, Iceland,

and Culture and the Swedish International Development

Ireland, Israel, Italy, Japan, Mexico, Mozambique, The

Cooperation Agency whereby Swedish students and musicians

Netherlands, Norway, Portugal, Russia, Senegal, Serbia,

have performed in Grahamstown and the Standard Bank

Slovakia, Slovenia, Spain, Sweden, Switzerland, Taiwan,

National Youth Jazz Band has performed in Sweden.

the US and Zimbabwe.

40 / Creative Feel / April 2017

The Standard Bank National Youth Jazz Band 2002, conducted by Barney Rachabane, who performed at the Cape Town Jazz Festival

CF: You have managed to build the Standard Bank Jazz

CF: There is a rumour making the rounds that there have

Festival and its youth component into a very important part

been some interesting developments for the festival this

of the National Arts Festival (NAF). It has a great reputation

year? Are you able to let us know what they are?

and a loyal following of jazz lovers that grows every year.

AW: It’s not a rumour – we pride ourselves on always

How have you managed to sustain this?

having interesting developments! In the same way

AW: The Standard Bank Jazz Festival, Grahamstown is a

that jazz musicians constantly push their boundaries

festival run by musicians for musicians, attempting to be a

and alter the way they present themselves, we try to

barometer of jazz in SA each year. We attempt to reinvent

surprise audiences and musicians every year with the

the festival every year, surprising audiences, musicians and

array of performances we put on. One theme that has

students. So, we have a passion for the art form and give

run through the programming this year has been a

freedom to the musicians to express themselves, hoping

celebration of 25 years of the Standard Bank National

to inspire all facets of the SA jazz scene. On top of that, we

Youth Jazz Festival, and the programme is thus threaded

have 350 excited students and teachers together with the

through with examples of interesting young players

musicians for a week, making for a ‘jazz buzz’ that, I am

who have gone in different directions in music, who had

often told by our visiting musicians, is unmatched around

some of their first experiences of jazz in Grahamstown

the world!

as kids. And we have once again managed to find some spectacular South African and foreign acts that will blow

CF: We are interviewing Benjamin Jephta for this issue, and

away the NAF audiences!

once again you have managed to find an excellent artist who is also an incredible, likeable and humble person. How do

CF: The Standard Bank Jazz Festival is renowned for its

you do that?

collaborations between South African artists, Standard

AW: There has been a noticeable growth in the South

Bank Young Artists and international artists. What would

African jazz industry over the past two decades – our schools

be your dream collaboration, if money, distance and age

are teaching serious jazz, as are most of our universities,

didn’t matter?

and there are more and more opportunities for musicians.

AW: We have a long list of those and are working through

In Grahamstown, we feel that the part we have played in

them slowly! We have managed to bring in musicians of

this development has been the unique opportunities for

the international standard of Maria Schneider to work with

collaboration that SA musicians have had, and the chance

South Africans, so dreams do come true if you keep working.

to hear some of the world’s best musicians and, even more

There is a list of musicians – from Herbie Hancock to Joshua

importantly, really meet them and hang with them on

Redman to Wynton Marsalis to Jacob Collier – that we are

the DSG campus, making us just part of the world. That

working on getting to Grahamstown somehow to play with

combination of factors has begun to pay dividends for our

our South African stars! One of the stars coming this year

national jazz culture, producing the quality of Standard Bank

has taken me 17 years of pleading to get here, and he’s going

Young Artists that we have been proud to have.

to be worth it! CF

Creative Feel / April 2017 / 41

A MUSICAL

42 / Creative Feel / April 2017

Creative Feel caught up with 2017 Standard Bank Young Artist for Jazz, Benjamin Jephta, about what he’s been up to since his win at the end of 2016, and his plans for the future.

COLLAGE B

enjamin Jephta has had a busy few years, his career quickly gaining momentum with each gig and each collaboration as the local and international music industries recognise his undeniable talent. Along with the Standard Bank Young Artist Award (SBYAA), this graduate from the University of Cape Town’s

prestigious South African College of Music has also earned two 2016 SAMRO Wawela Awards for Male Artist of the Year and Songwriter of the Year and participated in a collaborative ‘residency/tour’ in the US, which involved 25 musicians from 17 different countries. The SBYAA ‘definitely has some gravitas and there are definitely some projects in the pipeline,’ he says. The 24-year-old has already made a name for himself as one of South Africa’s premier jazz double bass and electric bass players, having performed at venues and festivals locally since the age of 15. ‘I would say there were two turning points in my life. The first was meeting one of my first teachers and musical mentors, Fred Kuit, during high school [Muizenberg High School]. Lots of what I know today I learned and experienced during those last three years of high school. It was also when I probably did most of my shedding (practising). The second was the beginning of 2014, when I graduated from university and moved from Cape Town to Joburg, and I had to hustle my way into a new scene while still trying to push my own stuff. I got to play all sorts of music with different musicians and slowly started making a name for myself.’ An important platform for his career was the Standard Bank National Youth Jazz Festival, which turns 25 this year, as well as its offshoot, the Standard Bank National Youth Jazz Band.

Creative Feel / April 2017 / 43

‘I had been going to the festival with my family since I was in grade 10 in high school,’ he says. ‘My father loved music and my sister, who has now established herself as a writer/director, was getting into theatre at the time. I got involved in the National Youth Jazz Festival in 2011 when I auditioned and made it into the National Youth Jazz Band. The festival quickly became a part of my yearly calendar and I subsequently made the Youth Band three years in a row. ‘For me, the festival was my yearly dose of musical inspiration. It allowed me to have access to a high concentration of great music and also to interact with older musicians on a more personal level off stage. The networking at the festival definitely helped when I made the move from Cape Town to Johannesburg as many of the Jozi cats had seen me perform there.’ As the 2017 SBYA for Jazz, Jephta has joined an elite group of some of South Africa’s best jazz musicians, a group whose members frequently collaborate and feature on each others’ albums. ‘The jazz community in South Africa is small,’ says Jephta. ‘We’ve already collaborated and performed with each other in various ways. Kyle Shepherd, who was a past SBYAA winner, is a member of my quintet, which will showcase at the National Arts Festival. I’ve also been working with 2011 SBYA Bokani Dyer recently and I’m planning to use both him and Kyle for my “Acoustic Elektrik” performance at the festival.’ Besides being rooted in the jazz genre, Jephta is reluctant to confine himself to a single style or genre. ‘I am constantly evolving and, as a young person, I find myself definitely influenced by a lot of popular culture. I really dig hip-hop/ rap, electronic music, folk (singer-songwriter) and rock. I would say that my music has become an amalgamation of this in the context of jazz/improvised music,’ he says, once again displaying his musical depth. It’s hardly surprising, then, that he finds it difficult to pin down his influences. This ‘amalgamation’ of genres is evident in the single ‘Identity’ off his upcoming album, which features rapper Jitsvinger and vocalist Eden Myrrh. ‘The new single fuses my love for jazz, hip-hop and electronic music and the track speaks to self-expression and living your truth, fearlessly,’ he says.

44 / Creative Feel / April 2017

Benjamin Jephta SOURCE Total Exposure

‘I’ve always wanted to collaborate with Jitsvinger after working with him during the Afrikaaps show. When I came up with the concept of this track and what the message should be, it was a “no-brainer”. With Eden, I met her when I was sessioning on The Voice SA and she was a contestant. I generally dug her vibe and found out later that she’s a dope lyricist/producer, so I reached out to her.’ What can people expect from this upcoming album? More collaborations? More overlap of music genres? ‘YES, YES and YES!! This album is going to be a musical collage of all kinds of music I really dig, but in the context of jazz or improvised music. There are two or three collaborations on the album, but there are definitely more planned after this album.’ Jephta’s busy year also includes a plan to do a ‘residency at the Orbit in Braamfontein, Johannesburg during the second week of June 2017. In this week, I would curate some performances with various ensembles in which I would also perform. The line-up would then end with my two performances from the projects set to take the National Arts Festival stage.’ As parting advice to fellow young musicians, ‘I would say work hard at your craft and continue to be yourself in whatever you do. Respect not only older musicians but also your peers. Study those who came before you, but continue to pave your own way by composing or honing your sound/approach.’ CF

Creative Feel / April 2017 / 45

Top local and international musicians take to the stage for

5TH SAJE JAZZ FESTIVAL

The 5th SAJE Jazz Festival takes place from 28 to 30 April 2017 in Cape Town. International Jazz Day will be celebrated on Sunday 30 April and is the culmination of Jazz Appreciation Month (fondly known as JAM), which draws public attention to jazz and its extraordinary heritage throughout April.

he South African Association for Jazz Education

This year, the Festival offers an exciting line-up of South

(SAJE) is a section 21 non-profit organisation and

African jazz musicians and educators – including The Bokani

since 1992 their mission has been to assure the

Dyer Trio featuring pianist Bokani Dyer (Standard Bank

growth of jazz in South Africa and the development

Young Artist for Jazz 2011), bassist Romy Brauteseth and

of jazz and jazz education in urban and rural areas; to

drummer Sphelelo Mazibuko; also bassist Carlo Mombelli

build the jazz arts community by advancing education and

and pianist Kyle Shepherd (Standard Bank Young Artist for

research; to promote skills development and performance; to

Jazz 2014); guitarist Mageshen Naidoo and pianist Roland

develop new audiences; and to document, preserve and

Moses; Kalahari Connection; the UCT Jazz Voices; and the

archive our South African jazz heritage.

UCT Big Band conducted by Mike Rossi. International guests

The SAJE Jazz Festival is a biennial event focusing on

include guitarist Roberto Zechini (Italy), trumpeter Gordon

jazz education, performance, workshops, skills and audience

Vernick (USA) and accordionist Guilherme Ribeiro (Brazil).

development. It offers a unique forum for musicians,

The 5th SAJE Jazz Festival is open to everyone. There

academics, educators and teachers, jazz fans, students and

is much to see and hear – audiences can enjoy concerts,

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

workshops and industry displays. Workshops will include:

Along with workshops, performances and industry displays,

effective use of smartphones and iPads in music education

there will be opportunities for discussion, information

by Alistair Andrews, a vocal workshop by Nicky Schrire, a

exchange, and networking.

bass workshop by Carlo Mombelli, a workshop on South

46 / Creative Feel / April 2017

Left: Kyle Shepherd PHOTO Gregory Franz

Mike Rossi PHOTO Francesco Coppari

Carlo Mombelli PHOTO Reza Khota

African jazz by pianist Bokani Dyer, and a workshop on pedals and effects for guitarists, among others. Musicraft will offer onsite repairs and a display along with Paul Bothner Music. Concert tickets will be available through www.quicket.co.za or at the door. To register for any of the workshops, please email sajejazz@gmail.com Venue: Reeler Theatre, Rondebosch Boys High School, Canigou Avenue, Rondebosch The 5th SAJE Jazz Festival is funded by the SAMRO Foundation, the National Lotteries Commission, Business and Arts South Africa (BASA), the Italian Institute for Culture (IIC) and Paul Bothner Music. Please visit the SAJE website and 2017 Festival website for more information: www.saje.org.za or http://sajejazzfestival2017.weebly.com/

Bokani Dyer

Creative Feel / April 2017 / 47

As both a visual artist and musician, Daniel â&#x20AC;&#x2DC;Stompieâ&#x20AC;&#x2122; Selibe uses improvisation, experimentation and discovery. In anticipation of his upcoming exhibition in May, Creative Feel spoke to the artist about his work and his sources of inspiration.

48 / Creative Feel / April 2017

PHOTO: Copyright the Artist | Courtesy of Candice Berman Gallery

Daniel Stompie Selibe 1974 Badimo, 2017 Mixed Media on Canvas 163x310cm

tompie Selibe’s artworks are sonorous, using markmaking and melodies in ‘an intuitive process of experimentation and discovery, similar to jamming musically,’ a method he refers to as ‘visual jamming’.

With paint, spray paint and charcoal he explores the world around him; ‘the layers, complexities, textures, histories and often hidden processes of life.’ Newspapers, sheet music and, more recently, fabric, also make their way into his mix, ‘along with “overwriting” with scribblings, drips, softly delicate line drawings and wildly expressive brush marks.’

Creative Feel / April 2017 / 49

Selibe has been working on his upcoming exhibition at Candice Berman ‘for over a year now. The work is rooted in exploring how indigenous methods and styles, be it music, images, cultural gatherings, identities or beliefs, can be tools for connection, healing and development in the world of today; they give us new possibilities.’ In these works, he uses ‘space as a means of showing and creating the connections of rhythms and space, a way to show and introduce new ways

50 / Creative Feel / April 2017

connect to parts of themselves and others that are often not reached in this day and age. Music enables us to experience things in ways that go beyond intellect and words, it can bring us together, with ourselves and with others, with our histories and most importantly with our creative and spontaneous ability to create anew each day. It frees our imagination and expresses the magic of being human. Working with sounds that evoke memory, that evoke forces and energies greater than ourselves, jazz sound engages people in a different and spontaneous kind of experience, one that refreshes, invigorates and connects with the magic and sacredness that both surrounds us and of which we are an integral creative part. The freeing of this magic invokes the power to alter and enhance lives and to create our wholeness.’ Selibe plays a number of instruments; he lists the cajón drum; djembe; bamboo sax and mbira, ‘and anything that has an interesting sound’. In addition to his artistic talents, Selibe is also a qualified art counsellor. ‘Working with art and music as tools for healing is as much a part of my artistic life as making a painting or making music is. Working as an arts counsellor is another way of using the tools of creativity and art to express the complexity, depth and mystery of being human.’ to improvise using mark making and melodies – new ways of creating our lives together.’ In 2015, Selibe was working on artworks centred on

‘I think as an artist I have the opportunity and tools – if not the responsibility – to address, explore and question what it means to be human today, to inquire about how

the metaphor of ‘the shadow and the scream’. Is this

and what we see, to look more deeply and uncover what is

still relevant in his current works? ‘This metaphor of the

beneath so many layers of our social conditioning, which

shadow, the darkness that trails us, is about how contorted

can blind us or distort what we see. I am an artist of post-

we become, we are broken chords within a broken city

apartheid South Africa, of a newly democratic South Africa,

that is made up of many different rhythms. The work is

of a struggling multi-racial, multi-cultural, multi-class

still relevant to me as we are living in the shadow of the

South Africa. So much of what we see and how we see is still

magnificence of the music we all make, the rhythms and

shaped by apartheid, it will take many decades for that to

chords, our aspirations and dreams! The broken shadow is a

change. I am an African artist wanting to explore and show

look at how our lifestyle of today impacts us, our experiences

new ways of seeing African lives and our experiences. Too

of living in the shadow of journeys, desires and aspirations

often in the art world, we do not see images of ourselves nor

for a better way of living together.’

are the images we see of ourselves created by ourselves, for

Jazz plays an important role in both his life and in his

ourselves nor are they about ourselves. We are many voices,

artistic output. In his creation of both music and visual art,

many rhythms, many colours, dimensions and textures, we

Selibe uses ‘a similar style of improvisation as a method

are complex, complicated, often hidden or distorted at the

of creation, of taking what is around me, creating new

same time as we are, along with others, builders of a new

connections and associations, trying to travel to places of

country that needs new ways for all of us to live, grow and

memory and history, as well as new places still to be created.

dream together. I hope that my art can be an improvisational

‘South African indigenous jazz creates a music that

invitation to explore the timeless questions of how we must

heals,’ he says. ‘Following in the tradition of religious and

be, see, listen, respond, interact, build community, heal, live,

spiritual music, the indigenous music of SA helps people

grow and create our future, together.’ CF

Creative Feel / April 2017 / 51

Between a life

Scrawl paintings, Gideon Appah, 2017

its dream

An inside look into life in the ghettos of Ghana and a glimpse at the themes that typify these places, is what visitors to the Absa Gallery in Johannesburg can expect from Between a life and its dream (Scrawl paintings) – the gripping solo exhibition of 2015 L’Atelier Merit Award winner, Gideon Appah.

52 / Creative Feel / April 2017

hanaian-born Gideon Appah first drew the attention of the international art world when he became the first non-South African artist to qualify for and win the 1st Merit Award at the L’Atelier

in 2015. The award won him a three-month residency at the Bag Factory Artists’ Studios in Joburg. Since his win, he has participated in numerous exhibitions and art fairs around South Africa, including Leonardo Da Vinci Gallery and DF Contemporary Gallery in Cape Town, and in Johannesburg with Gallery2, at Turbine Art Fair and at FNB Joburg Art Fair. ‘Things took off after winning the award, yet, I have a lot to learn and a lot to explore,’ Appah said earlier this year.

‘Before I start, I gather all the materials I need, like printouts of lottery numbers, carton boxes, labels, billboard paper, printed out words, photographs, coloured papers, etc. From there, I just tear them up either horizontally or vertically or anyway I want – it depends on what am looking for. I try to get these materials as dirty as I can by smearing them with a local Ghanaian dye called “Asiduro” and coloured wax. I do this to the canvasses as well. ‘I explore and experiment without inhibition, fear, or conformity: images and words, free flow, splashes and drips of paint, distortion, torn images, discarded and salvaged objects, collage and text.’ The works become palimpsest of imagery, reminiscent of the lottery boards that fascinate him, and appear to have been washed down with time. ‘These [lottery] boards communicate the stories of many people unknown and unidentifiable as they keep evolving. There is a strong conversation that the images, letters, words and marks on these lottery spaces are communicating. I reflect these conversations in my work.’ His work, says Appah, is a commentary on his thoughts on the nature of the deterioration of Accra’s urban landscape. ‘My work has an urban feel to it because it borrows visual-cultural elements mostly from slum settlements in some places in Ghana… my current projects are conceptually born out of the influence of imagery and marks of temporary structures, informal signage and a general deterioration of parts of Accra’s urban landscape.’ This year, Appah will premiere his new series called Scrawl paintings. ‘I chose the word “scrawl” because of the Since graduating from the College of Art, KNUST,

nature of how the works will be made. This word means a

Kumasi in Ghana in 2012, Appah’s career has quickly

lot because of temporary or permanent mark makings which

taken off. ‘I was the first out of my graduate class to have

normally appear scrawled on walls and wooden structures.

a show immediately after completing our studies,’ he says.

It will be my first series, which will be mostly paintings,

The exhibition, which consisted of a selection of Appah’s

sculptures and installations.’

installation pieces, was held at the Goethe-Institut in Accra.

It is a snapshot of these works that visitors can expect to

‘It was my first contact as an artist interacting with an art

see in Between a life and its dream (Scrawl paintings), which

audience.’ In 2014, Appah was a finalist at the inaugural

comprises a series of works on paper and works on canvas.

Kuenyehia Art Prize for Contemporary Ghanain artists.

The exhibition forms part of Appah’s prize for winning the

Appah’s work has been described as urban, gritty and

Merit Award in the 2015 L’Atelier art competition, and is

chaotic, and ‘draws inspiration from a personal and social

another example of how the competition seeks to further the

experience between [himself] and Sodom and Gomorrah (which

profile and exposure of the young and emerging artists who

is the biggest slum in Ghana), as well as other settlements in

participate in this renowned event.

Ghana. Labour, radicalism, anxiety, pleasure and the shanty nature of the habitation make up my works,’ he says. A multimedia artist, Appah works with mostly salvaged materials, melding them with acrylic and oil paints, colour wax, pastels, pieces of rags, torn papers, billboard paper,

Aside from his exhibition at the Absa Gallery, Appah is also preparing for his first show in Europe, in May, as well as a show at the newly opened AGOG Gallery in the Maboneng Precinct, in central Johannesburg. With his unique artworks that are universally appealing,

posters and corroded surfaces. ‘I enjoy creating a galaxy of

thought-provoking and arresting, Appah has secured a firm

works with these mediums,’ he says.

spot on our list of young artists to watch in 2017. CF

Creative Feel / April 2017 / 53

ASPIRE ART AUCTIONS’ Be it historic, modern or contemporary art work, Aspire Art Auctions has achieved phenomenal sale results and broken numerous South African and international records in both its recent Inaugural Cape Auction, and the Inaugural Johannesburg Auction held in October 2016.

spire’s exclusive focus on fine art has proven a tremendous advantage for both buyers and sellers, highlighting this innovative auction house’s expertise and strength in the South African art

market. The bar was set exceptionally high following Aspire’s Inaugural Auction in which the new company achieved a total

Walter Battiss, Melle (is Honey... ), c. 1975. Oil on canvas, 51 x 60cm. PHOTOS Repro Pictures

of 80% sold, an average hammer price topping R320 000, and the highest accuracy level of pre-auction valuations, reflecting

Cove, Seychelles at an estimate of R2 500 000 – 3 500 000, and

the real market value of a work.

the cloudscape of Vrystaat Reën at R500 000 – 800 000.

Held at the Avenue, V & A Waterfront on 27 March 2017,

Two early and rarely before seen, large-scale drawings by

Aspire’s first auction in Cape Town offered an extraordinary

William Kentridge were met with a flurry of bidding. Grande

selection with wide appeal. The expanse of high, white walls

Jeté (1987), purchased from Kentridge’s 1987 Standard

– custom-built with added, pure-white lighting to provide a

Bank Young Artist Award exhibition, was estimated at an

museum quality aesthetic – presented each work at its best

impressive R2 000 000 – 3 000 000, whilst Room Service

during the weekend-long auction preview, as anticipation

(1986) was estimated at R1 500 000 – 1 800 000.

mounted for the auction itself. The focused auction, of 182 lots split into a day and

Further noteworthy paintings of the 20th century led the sale. The pioneering South African impressionist painter,

evening sale, was met with scores of eager bidders looking

Hugo Naudé was represented by a number of charming

to enhance their own collections. Significant work by

oil paintings, including an unusual view from the artist’s

20th-century artists, as well as outstanding examples of

home. Naudé’s exquisite Karoo landscape, Kammanassie

contemporary art, attracted energetic bidding from around

River, Oudtshoorn, was repatriated by Aspire for the sale,

the world – with bids placed in the saleroom, by telephone

and estimated at R300 000 – 500 000. Pieter Wenning’s By

with Aspire consultants, and online.

Riversideweg, Nuweland, a little gem of Newlands at sunset,

A number of spectacular JH Pierneef landscapes were on

attracted much interest at the estimates of R350 000 – 450

offer, including the tropical scene of A View across Fisherman’s

000. The day’s catch, a bustling scene in warm tones painted

54 / Creative Feel / April 2017

UPCOMING AUCTION | 19 JUNE 2017 The Park on 7 | Hyde Park Corner | Johannesburg Consignments Close 24 April 2017 For gratis and obligation-free valuations, and to consign works of art to the upcoming Johannesburg auction, please contact: 011 243 5243 www.aspireart.net

Tulbagh. The diamond-shaped Black Rose Africa, estimated at R200 000 – 300 000, was considered so significant that it was selected as the cover image of the invitation to Christo Coetzee’s key solo exhibition at Goodman Gallery in 1971. One of Edoardo Villa’s earliest groundbreaking steel sculptures, Vertical composition is a significant piece with estimates set at R500 000 – 800 000. A selection of Villas complimented a strong range of sculptures on offer, from an impressive selection of works by Peter Schütz, David Brown’s powerful Hanging Man estimated at R200 000 – 300 000, to Wim Botha’s Faultlines estimated at R200 000 – 300 000 and Edoardo Villa, Vertical composition, 1958. Painted steel on a steel base, sculpture: 133.5 x 50 x 45cm. PHOTO Repro Pictures

his Composite Self-Portrait I estimated at R180 000 – 240 000. With Aspire’s significant collection of some of Africa’s top young artists, such as Igshaan Adams, Kudzanai Chiurai, Mohau Modisakeng, Zander Blom, Kemang Wa Lehulere and Nandipha Mntambo, contemporary art once again proved a popular choice. This included incredible photographic works – early and rare David Goldblatt prints, an important

by the Belgium-born Maurice van Essche was valued at R500

panorama by Mikhael Subotzky, and two Cape scenes by

000 – 800 000. Cecil Skotnes was well represented at the sale,

Hasan & Husain Essop, amongst others.

with the highlight being the powerful carved and incised

Aspire’s substantial success with contemporary work is

wooden panel, Ravine Wall, which was estimated at R700

particularly noteworthy given Aspire’s recent announcement

000 – 900 000. Strong paintings by Maud Sumner, Gregoire

of their implementation of Artist Resale Right (ARR). Aspire is

Boonzaier, Alexis Preller and Eleanor Esmonde-White added

the first auction house in South African history to pay living,

to this impressive historic and modern selection.

South African artists royalties on the resale of their works of

Walter Battiss’ important Melle (is honey…), full of

art. With 16 living artists benefitting from Aspire’s Inaugural

whimsy and exhibited extensively, was valued at R300 000

Auction, growing to an impressive 40 living artists eligible to

– 500 000. According to Hazel Friedman, the author of the

benefit from the Inaugural Cape Auction, the impact of this

Norman Catherine monograph, ‘if there is a single work

investment back into the industry is underlined.

that encapsulates Norman Catherine’s vision within an

Having already made significant changes to the art

astonishingly vast visual repertoire it is Negotiator.’ This key

auction industry in South Africa, Aspire’s next auction will

work, painted in 1990 and included in Catherine’s touring

be held in Johannesburg on 19 June 2017. Marking a year

retrospective, Now and Then, was valued at R600 000 – 900 000.

since its launch, the auction already promises a compelling

A number of works by the major South African

collection – from a beautiful Maggie Laubser landscape,

Modernist, Christo Coetzee sparked interest – including

to impressive Mohau Modisakeng and Kudzanai Chiurai

works to benefit the Christo Coetzee Gallery and Museum in

photographic works. CF

Creative Feel / April 2017 / 55

New Acquisitions

New Acquisitions: Standard Bank Corporate Collection is currently on at the Standard Bank Gallery in Johannesburg, and runs until 4 December 2017. The exhibition includes works par excellence by some of South Africa’s leading contemporary artists.

Hasan and Husain Essop, Cape Town (South Africa) Variation, 2009

he Standard Bank Corporate Collection boasts some impressive numbers: it includes more than 1 200 works by over 250 South African artists. Given the size and scope of the Collection,

it is not surprising that the diversity of South African art, both ‘historical’ and ‘contemporary’, is represented. New Acquisitions: Standard Bank Corporate Collection, an exhibition of artworks recently added to the Collection, condenses that variety. Most of the pieces on display were completed in the last decade or so, but two notable exceptions are Job Kekana’s Madonna and Child (1938) and John Koenakeefe Mohl’s Sophiatown (c.1946). Steven Cohen’s untitled hand-coloured silkscreen print (c.1985) emerged during the states of emergency that marked the final years of the apartheid regime. A number of the more recent works participate,

56 / Creative Feel / April 2017

Michele Mathison, Breaking Ground, 2014 gives visitors an insight into one aspect of the bank’s commitment to the arts but also presents an opportunity to reflect more generally on the complex dynamics of arts patronage. Why do we value the arts – and can we Diane Victor, Blind Faith, 2013

put a price tag on this value? What motivates companies, individuals and state institutions to sponsor an art project or to purchase works of art? What are the advantages

deliberately or coincidentally, in a ‘conversation with the

and risks of such an investment, and what kinds of

past’ – from Haroon Gunn-Salie’s bronze cast Sunday Best

responsibility come with it? The Standard Bank Corporate

(2014), which invokes the forced removals from District Six

Collection is displayed at Standard Bank premises around

in the 1970s, to Joni Brenner’s painting of the 300 million-

the country as well as in London and New York. As curator

year-old Taung skull. Claudette Schreuders’ sculpture

Barbara Freemantle observes, ‘The role of art is not only to

Eclipse (2008) presents a mother-and-child pairing to echo

enhance a work environment but also to contribute to our

Kekana’s, while Michele Mathison’s Breaking Ground (2014)

understanding of ourselves, collectively and individually,

may put some visitors in mind of Gerard Sekoto’s iconic 1947

by exploring our identities, histories, hopes and fears.’ CF

painting Song of the Pick. Experimentation in portraiture and self-portraiture, as well as in different methods of

The Standard Bank Gallery is located on the corner of

conveying the dynamic human form, connects the work of

Simmonds and Frederick streets in central Johannesburg and

Lisa Brice, Churchill Madikida, Diane Victor, Paul Emmanuel

offers free, safe undercover parking on the corner of Harrison

and the Essop brothers, Hasan and Husain. Ghana’s Owusu-

and Frederick streets. Gallery hours: Mondays to Fridays from

Ankomah and Zimbabwean artist Kudzanai Chiurai offer

08:00 to 16:30, and Saturdays from 09:00 to 13:00. Entrance

perspectives from elsewhere on the African continent.

to the exhibition is free.

Standard Bank is strongly associated with arts sponsorship. Their art portfolio includes the National

The Standard Bank Gallery will be open until 20:00 for

Arts Festival, Standard Bank Jazz, Standard Bank Young

First Thursdays on 6 April.

Artist Awards, Standard Bank African Art Collection and, of course, the Standard Bank Gallery. This exhibition

For further info, please contact 011 631 4467

Creative Feel / April 2017 / 57

A SISYPHEAN PUSH:

JODY PAULSENâ&#x20AC;&#x2122;S

PUSHING THIRTY

58 / Creative Feel / April 2017

Jody Paulsen, Pushing Thirty, 2017. Installation view, SMAC Gallery, Cape Town

Creative Feel / April 2017 / 59

Jody Paulsen, Pushing Thirty, 2016. Felt Collage 230 x 290 cm

hen Zeitz MOCAA acquired Jody Paulsen’s

of merely celebrating yet another meaningless birthday.

Highbrow Gayplan, they presciently chose a

Accordingly, what he evokes is the tension between what the

work unrivalled by anything on the artist’s

image portrays as a life of insouciant hedonism, mindless

most recent exhibition, Pushing Thirty. The

partying, drugs, alcohol and videos, and Paulsen’s nagging

artist struck the perfect balance between text and visuals

guilt about his lack of artistic self-discipline. Torments of

which were integrated with a seamlessness rarely apparent

conscience clearly emerge from the words ‘Pushing Thirty’

in his subsequent work where the different elements often

floated on a ground of zebra skin manipulated with Op art

contend, rather than reinforce each other. The illustrative

dexterity so that the black stripes simultaneously exert

element pulled a punch that has been dissipated by repetition

both a strong inward and outward pressure, conveying

of the same motifs in the artist’s countless felt banners, and

imminent crack-up and remorse for frittered time. The

the content – a crystal clear statement about all Paulsen’s

wizened homunculus-like figure from Munch’s The Scream

ambitions, hopes and dreams – was conveyed with a youthful

permeates the angst with hysteria, likening Paulsen’s regrets

buoyancy and chutzpah that charmed the viewer.

to the insane ravings of a tragic Hispanic drama queen in an

Pushing Thirty, the work that lends its title to the exhibition, reveals the artist’s lofty disdain for High Art

Almodovar melodrama. Paulsen’s continual readiness to send himself up is one

and complete submersion in popular culture. However, this

of his most endearing characteristics, and it springs to the

is mediated: Paulsen pushes it to extremes of so-called

fore in this act of contrition executed with engaging tongue

bad taste, stretching it to the limit of its innate crassness

in cheek verve. The banner is headed ‘The Singleton Years’

and vulgarity whilst capitalising on its predilection for the

and the words emerge from a bed of maidenly embroidered

outrageous, over-the-top, kitschy, camp, and cutesy, thereby

white blossoms which invoke a youth of strict conventual

concocting his own visual language, a ludic tongue that

chastity. Paulsen’s claim to undefiled purity is denied by

sends up all it speaks of in orotund satire, caricature and

the presence of forbidden fruit in the form of two lush

parody spiked with an inimitable puckish mischief and sass.

overripe pineapples behind which lurk the naked torsos of

Paulsen imagined that by the age of 30, he would have acquired maturity, understanding and self-control instead

60 / Creative Feel / April 2017

Michelangelo’s David, half-hidden like Peeping Toms, as they leer with mournful cupidity at the symbols of Paulsen’s

closely guarded maidenhood that deprived them of such toecurling erotic delights. Below spinsterly primness dissolves in a torrid jungle of flourishing green leaves which always betoken uninhibited physical and sexual release in Paulsen’s symbolic lexicon. At base the leaves are disposed in neat, spruce arrangements that suggest Rastafarian marijuana emblems while the words ‘Watching Netflix mainlining Afghan Kush’ confirm its consumption. The base depicts the festive birthday spread; cakes ordered from the Georgina Gratrix patisserie, cocktail glasses, over-flowing foaming tankards of beer (an obvious symbol of orgasm), Campari, Smirnoff and long outstretched tongues greedily gulping down illicit substances. But like Belshazzar’s Feast, the writing is on the wall for the words ‘the Age Issue’ float over the victuals. Paulsen is, without a doubt, an astounding fabric designer with an incomparable flair for knock-your-socksoff shape, pattern and colour, an inventive couturier, and past master of the immaculately tailored cut with a keen feel for the unique look, weight, feel and fall of the textiles he employs. But he is less an artist, than a designer juggling with layout, headlines, baselines, typefaces, illustrations, logos, brand names and attention-grabbing retail flashes. Although every object on display regales one with humour and wit, many major works appear far too overcongested, inflated and formulaic. Ever since Paulsen first started producing banners, the format has remained invariable consisting of large symmetrical blocks divided into a series of horizontal strips of image or text that read from top to bottom from left to right. Another weakness is

Jody Paulsen, Love Comes, 2016. Felt Collage 169 x 180 cm

that often the words cannibalise the images which become mere decorative adjuncts with little organic relationship to the overall theme. The logocentric emphasis evident in Love Algorithm and Emotional Ninja leads to confusion, as

However, there are some promising deviations from

Paulsen has no gift for words, and the clumsy language lacks

Paulsen’s all-too-familiar stock style. The maddening,

any continuity, and breaks down into non-sequiturs in Bad

cranked-up freneticism yields to renewed creative energies

Homosexual before dissolving, as so often happens, into

in works based on the armorial bearings of various

an array of logos of costly fashion and lifestyle magazines,

homophobic African states. Instead of exploiting these as a

a consumerist litany also echoed in Highbrow Gay Plan.

vehicle of protest, Paulsen constructs a soothing Utopia of

The illustration is relegated to the margins which contain

Uranian love and camaraderie in which handsome dreamy

bodybuilders lifting weights, a pursuit that seems entirely

heraldic figures support coats of arms which, as they still

innocuous, so that what form of homosexuality the artist

derive from medieval sources, are permeated by enchanting

deems reprehensible remains undefined.

Gothic fairy-tale and fantasy – quaint chivalric armour,

Something went awry, and as a result, the exhibition

cartouches blossoming into luxurious laurel scrolls and

like a disappointing Xmas stocking, bulges with fillers

whole menageries and herbaria of exotic animals, flowers

and stuffers that occupy space, but hardly qualify as art

and fruits – so that like the banderole above the Jamaican

of any consequence, and sadly the indiscriminate mass

flag proclaiming Out of Many, One People it invokes that

of heterogeneous elements proves far too disjointed and

biblical paradise where the lion snuggles down peaceably

scrappy to cohere into a meaningful whole.

with the lamb. CF This article was first published on www.artthrob.co.za Creative Feel / April 2017 / 61

In May 2017, Design Joburg, featuring Rooms on View, will be transforming the Sandton Convention Centre.

COLLABORATIVE

ROOMSETS

ollaboration is an integral part of Design Joburg,

This pioneering approach results in innovative spaces

and they’re underscoring this with curated feature

that turn the traditional notion of the exhibition space

exhibits that will bring together leading architects

on its head. Under the direction of leading architects and

and interior designers with top drawer brands,

designers, each stand will showcase the latest trends with

local artisans and suppliers. Design Joburg creates the rare opportunity for South

creativity and originality at their core. These spaces, however, will not just be about recognised

Africa’s prominent brands to access some of the country’s

designers and brands. Design Joburg is running a mentorship

leading lights in design.

programme alongside this Collaborative Exhibit showcase by

With almost 20 interior designers, design studios and

identifying ‘undiscovered’ talents and pairing them up with

architects hand-picked by the show’s Creative Directors,

our established designers as mentors. The results of this

Andrea Kleinloog and Megan Hesse, co-owners of Anatomy

mentorship will then be featured in the designers’ exhibits,

Design and HK Studio, these design stalwarts will each

creating a much larger stage for these emerging crafters and

curate an inspired space.

artisans to showcase their skills and wares.

62 / Creative Feel / April 2017

Designers, design studios and architects participating in this revolutionary concept and their corresponding briefs/themes are:

STUDIO NAME/S

THEME

Atelier

Adri van Zyl & Vincent Clery

‘SANCTUARY’

Copperleaf

Kelly Adami

‘A DINNER PARTY’

David Muirhead

‘A (WO)MAN CAVE

Ditau Home

Ntabi Taukobong

‘A MAN CAVE’

GASS Architecture Studios

Georg van Gass & Piet Boer

‘INSIDE OUTSIDE PAVILION’

HK Studio

Andrea Kleinloog & Megan Hesse‘

‘BUSINESS/PRESS LOUNGE’

JVR Architects

Joe van Rooyen

‘A SAMPLE LIBRARY’

Kimmy & Bear

Cheska Stark, Bailey Bezuidenhout & Alex Royston

‘GROWING UP’

Mash.T Design Studio

Thabisa Mjo

‘FORTUNE FAVOURS THE BRAVE’

Master Studio

Janiv Chen

‘SMART SOLUTIONS’

Studio A

Tristan du Plessis

‘BEACH COTTAGE’

Studium Design Office

Georgina Cox, Korine Krüger & Sanet Stegmann

‘THE HERITAGE APARTMENT’

‘Our collaborative approach will combine interesting and resourceful exhibits, cuttingedge technology and the best craftsmanship. We want to create a refreshing and rousing show where visitors, the public and industry alike, can find inspiration, suppliers and solutions all in one space,’ says Andrea Kleinloog, adding, ‘We want to break the mould of a traditional expo and create a live Pinterest board.’ CF Designers in Collaborative Roomsets

Creative Feel / April 2017 / 63

Five minutes with… Andrea Kleinloog, Creative Director of Design Joburg… SA’s newest décor and design show.

What is your role in Design Joburg? My title is Creative Director, but a better way of describing my role might be, ‘jack of all trades, master of none’! Tell us about your vision for the show. My goal for this project is to work together with the team to create a new platform – one that will be led by the industry and be exciting (and financially viable) for both exhibitors and visitors. We want Design Joburg to change the way the design industry and the public see shows. It should be fun to visit while highlighting the remarkable developments going on in the industry. What excites you about local design? We are very lucky to be working in this field in South Africa. We have an inextricable ability to link to manufacturing and production, which has been filtered out in some of the more developed fields. How do you think Joburg design differs from Cape Town design? I have always loved this question. I think Joburg is based on industry and production, while Cape Town has a more craftspecific focus. What local design item are you coveting right now? The HERR UELER coffee table by Douglas & Company.

64 / Creative Feel / April 2017

Andrea Kleinloog

Issey Miyake homeware for Iitalla What international piece is on your birthday wishlist? Strangely, for someone who works a lot with things, I covet very few. That said, right now, probably Issey Miyake homeware for Iittala. What fabric are you using in your latest interior design project? We use a lot of Philip Pikus fabrics (who will collaborate with T&Co at the show). I love the incredible handle and quality of his collection and the fact that it’s locally manufactured, which is very important to us as a studio. What are you most looking forward to on the Design Joburg journey? I think the most intriguing part for me, right now, is how the entire show will come together. From the experience, to the product, to the food, I am excited to see all the plans come to life. CF

DESIGN JOBURG, featuring Rooms on View, runs from 12 to 14 May 2017. Visit www.designjoburg.com for more details and to purchase tickets. HERR UELER coffee table by Douglas & Company Creative Feel / April 2017 / 65

Thanda Safari Gathers International Artists for an Exceptional Fundraising Initiative

The arists and writers – Art Project Thanda @ Thanda Safari PHOTO Christian Sperka

A Star For Life primary school class looking forward to the artists’ visit

Thanda Safari, the private game reserve in KwaZulu-Natal, recently hosted 20 artists from around the world for a week long, first-of-its-kind art project titled Art Project Thanda – Star for Life 2016. Invited by Christin and Dan Olofsson, Thanda Safari’s owners and founders of Star for Life, an awareness, education and AIDS prevention programme for school children, the international group of artists created pieces of art inspired by their safari surrounds and the people they met. Renowned for their use of varying art, their work will go on to benefit Star for Life’s programme, raising funds through a unique exhibition and auction that will be held at Stockholm’s Auktionsverk in Autumn 2017.

66 / Creative Feel / April 2017

Johan Falkman with some of his models

Ben Wolf Noam and Omar Rodriguez Graham working at the Grand Atelier

Andreas Olofsson working close to nature

aloma Porraz, former Director of The San Ildefonso

for Life empowers youth with information and motivation to

Museum in Mexico City; the art-historian, Leticia

take decisions that will reduce the risk of them contracting

Lopez Orozco, UNAM-University Mexico City;

HIV. It is also committed to building positive attitudes and

the Director of Stockholm’s Auktionsverk, Niclas

changing risky behaviours in ways that empower young

Forsman; and the author and World President of PEN

people to realise their dreams of a better future.

International, Jennifer Clement, were all part of this creative

After an assessment at the end of 2005, funding was

group. Included too were photographers, a filmmaker, fashion

raised in Sweden to expand the project to 40 schools in the

designers and painters.

uMkhanyakude District, at a cost of R32m. The project now

Christin and Dan Olofsson who founded the Star for Life

reaches over 100 000 children with its message of ‘AIDS-free,

project in 2005 invited renowned sculptor and artist Johan

that’s me’ using ‘mental vaccination’ to help learners to

Falkman from Sweden to help bring together this group of

make informed choices about sexuality.

international artists, to visit Thanda Safari and to see the

There are currently 62 staff members led by Executive

dedicated community work the Star for Life project does.

Director Thandeka Mabaso, all of whom are qualified and

In doing so they hope the artists found the passion and

skilled coaches, counsellors and trainers. The project’s head

inspiration to create multiple works of art that will be sold to

office is in Richards Bay with other offices in Hluhluwe,

benefit the Star for Life project in South Africa.

Johannesburg and Windhoek, Namibia.

The Star for Life Project is an awareness, education and

The artists were together for a week, during which time

prevention programme that began at the Siphosabadletshe

they created unique pieces of art inspired by the energy that

High School, near Hluhluwe in Zululand, in 2005. Launched

surrounds Thanda Safari, the communities and the quality

as a school-based HIV and AIDS prevention programme, Star

time they spent with the children. CF Visit www.thanda.com Creative Feel / April 2017 / 67

Yellow: The Novel Zoe Modiga’s fans have been begging and she’s answered – this jazz and soul princess launched her eagerly awaited album Yellow: The Novel on 24 March at The Fringe @ Joburg Theatre.

he music industry sat up and took notice of the

Over the past few years, with some experience behind

name Zoe Modiga when she won the 2015 SAMRO

her, this singer-songwriter’s talent has opened a number

Overseas Scholarship Competition for singing

of doors in the music industry. Modiga has been fortunate

(Jazz Music).

enough to be part of celebrated festivals such as the

But it was last year when Modiga became a household

Aardklop Festival, Artscape Youth Jazz Festival, UCT Jazz

name as one of the popular contestants in the first season of

Festival, Joy of Jazz and The Cape Town International Jazz

The Voice SA, reaching the Top 8. Her voice is also instantly

Festival and the winner of the Jazz Category of the SAMRO

recognisable on ‘Amazing Grace’ under the film scoring of Kyle

Overseas Scholarship Competition 2015.

Shepherd in the Oscar nominated movie Noem My Skollie. On Yellow: The Novel, Zoe Modiga writes a body of work

On these respected platforms, she has had the privilege of sharing stages with the likes of Lira, Ladysmith Black

inspired by self-realisation and the human experience,

Mambazo, Louis Maholo, Gloria Bosman, Matthew Gold, The

much like a novel, inviting the audience to themselves.

Kiffness, Breakfast Included, the Frank Paco Art Ensemble,

This 23-track album has a soul, jazzy, African feel. This is a

Mark Fransman, Sibusiso Dhlamini, Marcus Wyatt, Benjamin

compositional work with stage presence presentation.

Jephta, Tshepo Tsotetsi and many more.

Zoe Modiga was born, Palesa Nomthandazo Phumelele

Despite sharing the stage with a number of performers,

Modiga in Pietermaritzburg. Her love for music at a very

Modiga’s pursuit for her own identity became a strong force

young age encouraged her to attend the National School of

in these collaborations. She aspires to pursue a multifaceted

the Arts in Braamfontein, where she studied classical piano,

career where her singing, songwriting and performing is

clarinet and vocals. Her time at the school provided an

challenged, revered, inspired and influential.

excellent platform to pursue music as a passion and career in her later years.

68 / Creative Feel / April 2017

Yellow: The Novel is available for purchase on all digital platforms. CF

Moreira Chonguiça and Manu Dibango M&M After five years of discussion, the long awaited album collaboration is here between talented Mozambican saxophonist, Moreira Chonguiça and the ‘Lion of Africa’, Cameroonian, Manu Dibango. The album was released on 31 March 2017 at the 18th edition of the Cape Town International Jazz Festival.

n February 2015, the two African saxophonists began

Moreira Chonguiça has produced the album, he performs

discussing a list of songs. In March 2015, Moreira flew to

on alto and soprano saxophone and the arrangements, with

Paris to rehearse with Manu Dibango’s band comprising

the exception of Track 1 and 10, are by Manu Dibango who

Cameroonians, Jacques Conti Bilong on drums, Guy

performs on the vibraphone and saxophones.

Nwongang on percussion, Justin Bowen on piano-keyboards,

For Manu, it was an opportunity to give African meaning

Guy Nsangué Akwa on bass guitar and Valérie Belinga on

to established American jazz standards and to ‘return the

vocals. From France, Patrick Marie-Magdelaine on guitar,

boat to African soil’. For Moreira, the privilege of working

Isabel Gonzalez on vocals and two-time GRAMMY award-

with Manu at this level was an extraordinary experience that

winner – for his work with The Zawinul Syndicate – Paco Séry

only comes along once in a lifetime.

on sanza (more commonly known as the mbira). ‘I am honoured and humbled by the opportunity

Moreira and Manu first collaborated on Moreira’s second album The Moreira Project Vol 2: Citizen of the World on the

and circumstance created by “Papa Manu” to express,

track ‘West South Side’, which has been included as a bonus

experiment, sometimes in a very disruptive manner, the

track. Manu Dibango has released over 40 albums to date

rhythms and grooves that I have never heard; the chords

with nearly 800 songs including collaborations and duets.

and melodies that I never thought I would record; and the

‘The idea and perseverance for this album came from

meals, talks and jokes that we shared whilst building this

Moreira! We have been friends and collaborating for about 15

historical storm.

years. It is a very nice album, for which I took great pleasure in

‘M&M is a celebration of similarities and differences, diversity and pluralism, love and hate, empathy and passion. M&M mirrors once more that in a creative world the best

writing the arrangements, an African re-reading of the music made in the USA: the return of the “boat” on African soil. ‘I hope that those who listen to it will take as much

form of evolution is the collaboration. M&M is the true

pleasure as we did when it was recorded in Paris. We had

reflection that as Africans we can live together, love each

sought, Moreira and myself, an atmosphere of peace and

other and break all negative boundaries related to our

serenity where only music is the Master. So we invite you to

wellbeing,’ says Moreira.

listen, dance and vibrate body and soul,’ says the legendary

The album was recorded at Ferber Studios in Paris,

Manu Dibango.’ CF

France under engineer Guillaume DuJardin and was mastered at Milestone Studios in Cape Town, South Africa by

The CD will be available at all good music stores and online

Murray Anderson.

from www.CDBaby.com.

Creative Feel / April 2017 / 69

Book Reviews Recently published

George Lucas: A Life | By Brian Jay Jones | Publisher: Headline Publishing Group | ISBN: 9781472224330 On May 25, 1977, a problem-plagued, budget-straining, independent science-fiction film opened in a mere 32 American movie theatres. Conceived, written, and directed by a little-known filmmaker named George Lucas, Star Wars reinvented the cinematic landscape, ushering in a new way for movies to be made, marketed, and merchandised. And if that wasn’t game-changing enough, Lucas went on to create another blockbuster series with Indiana Jones, and completely revolutionised the world of special effects, not to mention sound systems. His work and legacy have led to a rash of innovation and democratisation in film and television. Simply put, George Lucas is one of the most influential filmmakers of the past fifty years. He is an icon, and his fans will be eager to read a biography as impressive as his achievements – especially in the midst of J. J. Abrams’ reboot of the Star Wars franchise.

Bolshoi Confidential | By Simon

A Secret Garden | By Katie Fforde |

Delicious Low Carb | By Sally-

Morrison | Publisher: 4th Estate | ISBN:

Publisher: Penguin Random House UK |

Ann Creed | Publisher: Human

9780007576616

ISBN: 9781780890883

& Rousseau, an imprint of NB

From its disreputable beginnings in

Lorna is a talented gardener and Philly

Publishers | ISBN 9780798172349

1776, the Bolshoi became a point of

is a plantswoman. Together they work in

Respected dietician Sally-Ann

pride for the tsarist empire after the

the grounds of a beautiful manor house

Creed explains how to minimise

defeat of Napoleon in 1812. After the

in the Cotswolds. They enjoy their jobs

grains, carbohydrates and sugar.

revolution, Moscow was transformed

and are surrounded by family and friends.

She also discusses issues like fibre

into a global capital; meetings of the

But for them both the door to true love

and why women battle with food

Communist Party were hosted at the

remains resolutely closed. So when Lorna

high in fat. It is evident from the

Bolshoi, and the Soviet Union was

is introduced to Jack at a dinner party and

recipes for breakfast, lunchbox

signed into existence on its stage.

Lucien catches Philly’s eye at the local

ideas for kids, finger foods, soup,

The Theatre has been bombed, rigged

farmers’ market, it seems that dreams really

baking and even pizzas, mains

with explosives and reinforced with

can come true and happy endings lie just

and sides, sauces, snacks, cake and

cement. Its dancers have suffered

around the corner. But do they? Troublesome

cookies, puddings and beverages

unimaginable physical torment to

parents, the unexpected arrival of someone

that it is indeed possible to make

climb the ranks. But, as Morrison

from Lorna’s past, and the discovery of an old

a homemade meal for your family

reveals, the Bolshoi has transcended

and secret garden mean their lives are about

every night. The writing is also

its own fraught history.

to become a lot more complicated...

highly readable and accessible.

70 / Creative Feel / April 2017

THE KEISKAMMA ART PROJECT Restoring Hope and Livelihoods

Director of the Imbali Visual Literacy Project, Justine Watterson reviews Brenda Schmahmann’s The Keiskamma Art Project – Restoring Hope and Livelihoods for Creative Feel.

The Keiskamma Art Project – Restoring Hope and Livelihoods | By Brenda Schmahmann | Publisher: Print Matters Heritage |

Jan van Eyck’s Ghent Altarpiece. Using these well-known

ISBN 9780992240349

works as inspiration, the Keiskamma Art Project reworks and reinvents them by bringing local content and context

The Keiskamma Art Project – Restoring Hope and Livelihoods

to the fore. In the Keiskamma Guernica, the suffering and

by Brenda Schmahmann is engaging from the first page.

devastation brought about by HIV and AIDS are the focus. In

Beautifully designed and meticulously researched, it tells the

the Keiskamma Altarpiece, although the devastation caused

story of the Keiskamma Art Project from inception through

by the AIDS pandemic is ever present, hope for renewed

to maturity and insightfully discusses the major artworks

health and a better future is conveyed. Another theme

produced by the project.

central to the concerns of the Keiskamma Art Project is

In addition to the history and development of the

the natural environment and the importance of preserving

project, Schmahmann discusses the motivations and ideas

and caring for it. This is conveyed through the Creation

that underpin the making of its works. Bringing to bear her

Altarpiece, based on the Ghent Altarpiece. These and many

extensive experience as a researcher and writer on women

other major works are discussed in depth by Schmahmann

artists and community projects as well as contemporary

shedding light on the original pieces used as inspiration as

South African Art, she writes with deep insight and conveys

well as the Keiskamma Art Project’s interpretations.

an understanding of the complexities and often unstated

Working mainly in embroidery, felt and applique,

beliefs behind the visual works. Carol Hofmeyr, founder of

participants of the Keiskamma Art Project work

the Keiskamma Art Project, in her acknowledgements at the

collaboratively to create the large pieces. The end

rear of the book says, ‘we are privileged and exceptionally

results are works of exceptional beauty and resonance

lucky to have such an authoritative and accurate

that explore issues of relevance to all South Africans. A

interpretation of our work in print.’

testament to Keiskamma’s founder, Carol Hofmeyr, and

The Keiskamma Art Project is best known for its large-

its 130 members, this book demonstrates that creativity

scale works referring to Western art masterpieces such as

and imagination can contribute substantially to poverty

Grünewald’s Isenheim Altarpiece, Picasso’s Guernica and

alleviation and empowerment. CF

Creative Feel / April 2017 / 71

20TH CENTURY WOMEN DIRECTOR: Mike Mills STARRING: Annette Bening, Elle Fanning, Greta Gerwig, Lucas Jade Zumman and Billy Crudup With 20th Century Women, acclaimed filmmaker Mike Mills (the Academy Award®-winning Beginners) brings us a richly multi-layered, funny, heart-stirring celebration of the complexities of women, family, time and the connections we search for our whole lives. It is a film that keeps redefining itself as it goes along, shifting with its characters as they navigate the pivotal summer of 1979. Set in Santa Barbara, the film follows Dorothea Fields (Annette Bening), a determined single mother in her mid-50s who is raising her adolescent son, Jamie (newcomer Lucas Jade Zumann, in a breakout performance) at a moment brimming with cultural change and rebellion. Dorothea enlists the help of two younger women in Jamie’s upbringing – via Abbie (Greta Gerwig), a free-spirited punk artist living as a boarder in the Fields’ home, and Julie (Elle Fanning), a savvy and provocative teenage neighbour. Mills expertly recreates the warmth and passion of a great memory – but also the urgency and energy of three generations in the throes of momentous transition. Bening gives one of her very best performances as Dorothea, conveying with subtle yet tremendous emotional power both her unconditional love for her son and her increasing bewilderment about the world she is watching him enter. Gerwig, Fanning and Billy Crudup all do outstanding work, creating complex, unique characters who each contribute in crucial ways to Jamie’s upbringing. 20th Century Women is a poignant love letter to the people who raise us – and the times that form us – as this makeshift family forges fragile connections that will mystify, haunt and inspire them through their lives.

13DLS

AT CINEMAS 12 MAY

encore Teresa Lizamore is the owner and curator of Lizamore and Associates

Gallery. The gallery first opened in Fairland in 2001 and then moved to a

100m² space in Jan Smuts Avenue, Parkwood, in 2008. In 2013, Lizamore and Associates moved to their current 400m² space at 155 Jan Smuts Avenue. From 1982 to 2009, Lizamore worked as the curator of the Sasol art collection and is presently curator of the Rand Merchant Bank collection, a position she has held since 2004.

Name three artworks that you love and why.

Name one thing you think would improve the arts and

Three works from the Pinky Pinky series of works by Penny

culture industry in South Africa.

Siopis. Although bizarre and outrageous, these works,

Developing visual literacy amongst the general public.

donated to me by Sasol as a parting gift, are significant to her oeuvre. Penny is one of the most prestigious and sought-

What is your most treasured possession?

after artists in South Africa.

My daughter Jaime-Lee.

Name one artist you would love to meet.

What do you regard as the lowest depth of misery?

Marlene Dumas – I love how she creates something unique

Poverty.

from nothing and how much sensitivity she brings to her works. What is it that makes you happy? What are you reading at the moment?

Being surrounded and interacting with art on a daily basis.

Art 101 (A Crash Course in the Science of Creation) by Eric Grzymkowski.

Describe a defining moment in your life. My 35th anniversary in the industry this year.

What is in your car’s CD player? I listen to Classic FM.

What projects will you be busy with during 2017 and into 2018?

If you could change one thing about yourself, what

Celebrating my 35th anniversary; national and international

would it be?

art fairs; pop up art exhibitions in Cape Town; the SA Taxi

I am very happy with the way I am put together.

Foundation Art Award; 35 artists to watch group exhibition as part of my anniversary; and monthly ongoing exhibitions

How have the arts industries in South Africa changed

with young, contemporary and established artists.

over the last ten years? With galleries mushrooming up everywhere, there is a much

Name one goal you would like to achieve in the next

greater awareness of the variety of art, especially amongst

twelve months.

younger audiences. It is the flavour of the moment!

To receive international recognition. CF

For more information please contact Project Managers Lizamore & Associates T +27 (0)11 880 8802 | www.lizamore.co.za 155 Jan Smuts Avenue Parkwood 219 3

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Creative Feel / April 2017 / 75