Creative Feel May 2016

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EDITOR’S NOTE People Are Actually Living There

A selection of chairs at the Sitting Pretty auction Bonhams

W

Ismail Mahomed

e here at Creative Feel are having a wonderful

to young directors, writers and actors. We shared so many

time right now. Not only is our monthly

diverse memories and it has been amazing how passionately

issue filled to the brim with news, reviews

everyone has responded, for each and every one the Market

and special features all reflecting the current

Theatre has a special place in their heart. I think everyone

dynamic energetic state of the arts in South Africa. There

who has worked in South African theatre has at some stage

are never enough pages, there is always something new

been involved with the Market Theatre.

happening, African artists at NIROX in time for Africa Day,

This passion, this love was also so very evident when I

music like Kevin Volans’ violin:piano, to Carlo Mombelli’s

had a chance to talk to Ismail Mahomed who had just sent

I Press my Spine to the Ground, Guy Buttery’s eponymous

shockwaves through the arts fraternity by announcing his

new album and Albert Frost’s The Wake Up; exciting visual

‘retirement’ as artistic director of the National Arts Festival

arts by young gifted artists and of course there is theatre.

in Grahamstown. The news was still under embargo that

Congratulations to all the well-deserved Naledi Award

Ismail will be the new CEO of the Market Theatre – after still

winners who again show how this award has grown from

looking after this year’s festival.

strength to strength.

Theatre definitely has to be spelt with capital letters

Hearing about Ismail’s vision of what the Market Theatre is going to be like in the next 40 years (or so), it is evident

for us at the moment. It is our beloved Market Theatre’s

that there is going to be somebody who will bring an

40th celebration in June and the Creative Feel team has

enormous amount of energy and a vast network of friends

been collecting stories for an exciting coffee table book to

who all will support him and the Market Theatre. Ismail did

celebrate ‘40 Years of Storytelling’. We are producing this

it to the NAF, he managed to persuade foreign embassies

book in conjunction with the Market Theatre Foundation

and cultural institutions to collaborate and participate. New

and it will explore the Theatre’s role in the cultural scene of

partners from other international festivals joined and he

the city and the country as a whole. Since art is often a by-

gave a platform to the French/South African and to the SA-

product of the general mood of the country, the publication

UK Seasons.

will put the Theatre into the context of South African history – memories are made of this.

Personally, it has been a very emotional, reflective project and I feel like I am living in a time warp. The stories

His vision includes these collaborations for the Market Theatre and with all the hard work already in place at the Theatre and more ahead, the team will have to Actually Live There, otherwise there are just not enough hours in the day...

just flow in and every one is different, from the stalwarts Lore 4 / Creative Feel / May 2016

Jacob Hendrik Pierneef, Winter Bosveld R800 000 – 1 200 000

Auction of Important South African & International Art Monday 23 May 2016, The Wanderers Club, Ballroom, 21 North Street, Illovo, Johannesburg Preview 20 - 22 May, 10am - 5pm

Walkabout 22 May, 11am

011 728 8246 | 079 407 5140 | jhb@straussart.co.za | www.straussart.co.za

The global leader in the South African art market

T

We loved this!

E

A

M

PUBLISHER & EDITOR-IN-CHIEF Lore Watterson; lore@desklink.co.za COPUBLISHER & PRODUCTION DIRECTOR Chris Watterson; chris@desklink.co.za DEPUTY EDITOR Tamaryn Greer; tammy@desklink.co.za INTERNS Abigail Phiri Francesca Matthys ADDITIONAL EDITORIAL CONTENT: Natalie Watermeyer Nondumiso Msimanga Ismail Mahomed Michelle Constant Indra Wussow SALES & MARKETING sales@desklink.co.za sales@creativefeel.co.za SALES & MARKETING COORDINATOR Oupa Sibeko; oupa@desklink.co.za DESIGN Leigh Forrest; leigh@desklink.co.za FINANCIAL DIRECTOR Debbi Smith; debbi@desklink.co.za DISPATCH Khumbulani Dube

The March issue of Creative Feel featured an incredible photograph of Hugh Masekela, which was captured by Brett Rubin, with art direction by Nicole Van Heerden and production by the duo’s company, Vatic Studio. The images that we used alongside the editorial were also courtesy of Vatic Studio and really made those spreads come to life. Judging from multiple responses we’ve had, our readers fell in love with this cover just

SUBSCRIPTION & CIRCULATION Debbi Smith; debbi@desklink.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

as much as we did. So we’ve continued this relationship with our May cover, a delightfully captivating photograph taken for Marianne Fassler’s ‘Print-à-Porter’ collection, with additional art direction from Lezanne Viviers and creative direction by Marianne Fassler, Lezanne Viviers and Vatic Studio. We hope you love this cover as much as we do, and thank you to this dynamic team for these inspired images.

6 / Creative Feel / May 2016

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

collection. Photography: Brett Rubin. Art Direction: Nicole Van

32

SOUTH AFRICA’S BEST THEATRE PERFORMERS ACKNOWLEDGED

Heerden, Lezanne Viviers. Creative Direction: Marianne Fassler,

The highlight of the South African theatre season

Lezanne Viviers, Vatic Studio

was the Naledi Theatre Awards, a glittering occasion

which took place at the Lyric Theatre, Gold Reef

City on 19 April, writes Peter Feldman.

36

THE MANY SHADES OF SOCIAL ENGAGEMENT

Heerden and versatile photographer Brett Rubin

‘I think it liberated South African theatre in a huge

fuse together their specialised skills in order to

way.’ Janice Honeyman looks back on her long and

create a fresh innovative approach to capturing

fruitful association with the Market Theatre.

Cover image by Vatic Studio for Marianne Fassler ‘Print-à-Porter’

cover story 22

VATIC STUDIO

Art director and fashion stylist Nicole Van

moments through the medium of photography

contents and film.

arts and culture

38

CRAIG HIGGINSON

For multiple-award winning novelist, playwright

and theatre director Craig Higginson, the Market

Theatre completely altered the course of his career.

26

A PLACE IN TIME

Sculptors from around Africa will shine at the

NIROX Foundation’s 2016 Winter Sculpture Fair:

A Place In Time, a collaboration with the Yorkshire

40

MAKING DREAMS A REALITY

Sculpture Park, which will open on 7 May.

The show must go on, is how the old saying goes,

and this is the mantra for the new CEO, Dr Mkhize

at the revived South African State Theatre.

30

RARE TRETCHI DISCOVERED

A large still life painting of sunflowers by Vladimir

Tretchikoff will be among the highlights at

Strauss & Co’s Johannesburg auction on

42

ARTISTIC FOUNDATION OF THE STATE THEATRE

23 May 2016.

Since his appointment as Artistic Director, Aubrey

Sekhabi has produced, directed and written an

exemplary number of plays and musicals.

8 / Creative Feel / May 2016

44

MENTORSHIP HIGHLIGHTED AT VUYANI DANCE

Mentorship plays an important role in the strategy of Vuyani Dance Theatre (VDT), with Gregory Maqoma actively ensuring his company members also learn the business side of dance.

46

LOCAL AND INTERNATIONAL JAZZ GREATS JOURNEY TO GRAHAMSTOWN

The world’s finest jazz pioneers from twelve different

countries will create the line-up for 2016’s

Standard Bank Jazz Festival in Grahamstown.

58

THE WAKE UP

Following a powerful sneak peek at Splashy Fen

in March 2016, legendary guitarist Albert Frost

officially launched his newest album The Wake Up

on 4 April.

lifestyle and entertainment 60 62 63

TIMES MEDIA CD REVIEWS BOOK REVIEWS

contents 50

JAZZ EMBODIED

Siya Makuzeni, Standard Bank Young Artist for Jazz

2016, explains the musical upbringing that set her on

the path to the inspiring career she has today.

52

SAMRO OVERSEAS SCHOLARSHIPS

This year’s SAMRO Overseas Scholarships

Competition is looking to unearth fresh, exciting Jazz

or Western Art Music instrumentalists with the

potential to compete in the global premier league.

54

BUTTERY’S SMOOTH GROOVE

Magnificent and mellow musician Guy Buttery has

just released Guy Buttery, a collaboration created

through a willingness to embrace differences.

contributors 16

ARTLOOKS & ARTLINES

In this second of a four-part series, Artistic Director of the National Arts Festival, Ismail Mahomed, reflects on John Kani’s impact on him when he was a youth.

18

LITERARY LANDSCAPES

Literary Landscapes is a monthly column written

by Indra Wussow, a writer, translator and director

of the Sylt Foundation.

20

BUSINESS & ARTS

Business & Arts is a monthly column by

Michelle Constant, CEO of Business and Arts

South Africa (BASA).

Creative Feel / May 2016 / 9

FLAME IN THE SNOW:

The Love Letters of André Brink & Ingrid Jonker In a telegram sent on 29 April 1963, Ingrid Jonker thanks André Brink for his letter and flowers. They had met a few days before. He was almost 28; she 30. This was the beginning of a correspondence between two writers that lasted up until three months before Jonker drowned herself at Three Anchor Bay. Half a century later, their love letters are published here for the first time. In more than two hundred letters that have never been seen before, a gripping love affair unfolds.

This landmark publication provides new insights into the minds, writing and legendary love affair of two of South Africa’s most well-known writers. In addition, the book includes previously unseen photographs from André Brink’s private collection.

Flame in the Snow is edited by Francis Galloway, with translation by Leon de Kock and Karin Schimke.

Francis Galloway is a researcher who works in the field of book history, and she is the humanities editor of the online academic journal LitNet Akademies. During her career she has lectured Afrikaans literature and publishing studies, compiled surveys on the South African literary system, worked as an academic publisher and written or coauthored various articles and other publications on aspects of the South African book landscape.

Leon de Kock is a writer, translator and critic who has been active in South African literature since the 1970s.

He has won several awards, including the South African Translators’ Institute’s inaugural prize for outstanding translation for his rendition of Marlene van Niekerk’s novel Triomf. Formerly a professor at the universities of Stellenbosch and the Witwatersrand, he now teaches at Johns Hopkins University in Baltimore.

Karin Schimke is a journalist and poet. She is also an editor, translator and writing coach. Her poetry has been published in South Africa, England and Germany, and has been translated into Xhosa, German, Dutch and Afrikaans.

She writes predominantly in English, but also occasionally in Afrikaans and German. Her debut collection of poetry, Bare & Breaking, won the 2014 Ingrid Jonker Prize for Poetry.

Umuzi will be publishing a limited, numbered edition in Afrikaans and in English to coincide with the publication of this collection. CF

A Truly Unique Experience Casta Diva Boutique Hotel, a truly unique place nestled on the northern slopes of the Magaliesberg, is like no other hotel. The guests are met with a warm, welcoming smile. The property, just less than two hectares of lush green garden is breathtakingly beautiful. All the rooms are individually decorated without any clutter and the on-site restaurant guarantees a culinary adventure. Ask your host about the Special of the Day, or order one of the signature dishes from the á la carte menu, such as the Dutch-style Beef Fillet.

Due to the change of season their kitchen is preparing some delicious winter food recipes.

Did you know that, at the time of writing this, their TripAdvisor score ranked them at 4 out of 330 Guesthouses?!

There is an intimate theatre and art gallery located on the property where guests can enjoy a performance by local talent. Casta Diva’s Vissi d’Arte prides itself on art and cultural development by hosting artists on an almost-forfree basis, simply to provide a platform for up-and-coming talent as often as possible. Vissi d’Arte is busy finalising some spectacular events. A simple like on the Facebook page is all that is needed to stay updated, or email info@castadiva.co.za to join the mailing list.

They also regularly host classical performances by musical artists in the Charisma restaurant, where the guests are entertained by some very talented people either singing or playing instruments such as the french horn, guitar, trumpet, clarinet and piano, to mention but a few.

Often during the intermission guests are treated to a snack from the kitchen, which is always delicious, thus providing entertainment for the taste buds as well as for the ear.

Future concerts will be advertised on the Facebook pages, Casta Diva’s Charisma and Casta Diva, The Place To… So if you like these pages you will be regularly updated. (Be sure to book your tickets, as seats are limited.)

Spoil yourself with a weekend away in a magical environment, or simply enjoy a delicious dinner with someone under the Fig Tree. Enjoy the amazing view of the mountain slopes from the deck of their most exclusive room, The Dam. Relax in the tranquil setting of The Village – five guest rooms joined by a quaint courtyard decorated with lemon trees and a water fountain.

You are guaranteed to be amazed and made to feel special at Casta Diva Boutique Hotel. It truly is the place to just… be.

For booking information visit www.castadiva.co.za and like their Facebook pages for updates on events. CF

World-Renowned

coming to Joburg Theatre soon!

Joburg Theatre, in partnership with MDN Classics, will be

Opera, the Portuguese National Opera Lisbon and the

presenting Mozart’s The Magic Flute on the Mandela stage at

Opera Festival Berlin. Costume and lighting design is done

Joburg Theatre, for four shows only, opening on Wednesday

by Sybille Pfeiffe and Wolfgang Stärke. This production is

18 May to Tuesday 24 May.

accompanied by the German Rhine Philharmonic Orchestra

Mozart’s opera, The Magic Flute, is one of the most

under the baton of Desar Sulejmani, a young Albanian-

beautiful pieces of music ever written. Composed and

German conductor whose conducting takes him to some of

premiered in Vienna, Austria in 1791, The Magic Flute has

Europe’s most important opera houses and concert halls.

remained the most performed opera in the world for the

The Magic Flute is a work of art that continues to bewitch

past 200 years. Loved by young and old, opera enthusiasts

artists and audiences alike. The opera is sometimes seen as

and the curious, The Magic Flute has the most beautiful and

a statement on the superiority of reason over superstition.

unforgettable melodies one can ever imagine. This opera is

Noted for its prominent masonic elements, the love story

definitely a highlight in any given opera season, at any opera

written by Schikaneder promises to be a highlight for South

house or theatre anywhere in the world.

African theatregoers this May.

The Magic Flute is in the form of a German Singspiel, a

Performances for Mozart’s The Magic Flute are on

form which includes singing and spoken dialogues. For this

Wednesday 18 May, Thursday 19 May, Saturday 21 May and

production, the texts will be sung in German and the spoken

Tuesday 24 May. All performances are at 20:00.

dialogues have been adapted to a mixture of South African

Tickets range between R200 to R500, and are available by

languages to activate the light-hearted side of this opera and

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

to be as close as possible to the audiences. What better way

well as through Webtickets. For group bookings of 10 or more,

than to do it with Mozart’s masterpiece, The Magic Flute.

please contact the theatre directly on (011) 877 6853/6815.

An international cast has been assembled for this production, which will surely be a highlight at Joburg Theatre this May. The cast will include Germany-based South African tenor Musa Nkuna as Tamino; South African classical singer

Classics in the Gardens

Aubrey Lodewyk as Papageno; Germany-based South African

The German Rhine Philharmonic Orchestra will be

soprano Caroline Nkwe as Pamina; Polish coloratura soprano

performing classical music at the Walter Sisulu National

Aleksandra Olczyk as the Queen of the Night; the Three

Botanical Gardens on Sunday 22 May, from 14:30 to 17:00.

Ladies are Viola Zimmermann, Christine Dammann and Anna

Tickets are R250 and Family Packages are available.

Nesyba; Polish bass Marek Gastecki as Sarastro; German tenor

There is no charge for children under the age of 6 years.

Henning Jendritza as Monostatos; and the award-winning

Tickets are available by calling 0861 670 670 or visiting

Gauteng Choristers will be the chorus.

www.joburgtheatre.com, as well as through Webtickets.

The stage director is Dr Christoph Dammann, who has

Become immersed in the rich sounds of popular

long been an internationally active theatre director and

classical music pieces in a beautiful, garden setting under

cultural manager, including as director of the Cologne

an African sky. CF

12 / Creative Feel / May 2016

WORLD SYMPHONY SERIES WINTER SEASON 2016

Making music together.

031 369 9438 • www.kznphil.org.za WITH OUTSTANDING SOLOISTS AND STAR CONDUCTORS, THE KZN PHILHARMONIC ORCHESTRA WILL PRESENT THE WINTER SEASON OF ITS RENOWNED WORLD SYMPHONY SERIES FROM 19TH MAY TO 23RD JUNE 2016.

SUBSCRIBERS ENJOY A 25% DISCOUNT AND THERE ARE FURTHER DISCOUNTS FOR PENSIONERS AND STUDENTS

THURSDAY 19TH MAY 2016, 7:30PM, DURBAN CITY HALL Conductor: Daniel Boico Soloist: Melvyn Tan (piano) Choirs: Durban Symphonic Choir * Clermont Community Choir Haydn The Creation: The Heavens are Telling the Glory of God Mozart Ave verum corpus Mozart Piano Concerto No. 23 Berlioz Symphony Fantastique * Celebrating 50 years of the Durban Symphonic Choir

THURSDAY 26TH MAY 2016, 7:30PM, DURBAN CITY HALL Conductor: Daniel Boico Soloist: Jeff Nelsen (horn) Adams The Chairman Dances Strauss Horn Concerto No. 2 Schumann Symphony No. 4

THURSDAY 2ND JUNE 2016, 7:30PM, DURBAN CITY HALL “CELEBRATING YOUTH” Conductor: Lykele Temmingh Soloist: Clayton Penrose-Whitmore (violin) Guest Ensembles: Bochabela String Orchestra KZN Youth Wind Band Shostakovich Festive Overture Wieniawski Violin Concerto No. 2 Lutosławski Concerto for Orchestra

THURSDAY 9TH JUNE 2016, 7:30PM, DURBAN CITY HALL Conductor: Michael Morgan Soloist: Kristóf Baráti (violin) Paganini Violin Concerto No. 1 Dvorák Nocturne for Strings Mendelssohn Symphony No. 4

Bongani Tembe, Artistic Director “The KZN Philharmonic is committed to enriching the cultural life of South Africa’s diverse audiences by presenting world-class concerts and implementing education and community engagement programmes.”

Single tickets priced from R65 – R230 are available at Computicket.

All concerts commence at 7:30pm.

Pre-concert talks are held in the Durban City Hall from 6pm - 6:40pm.

The City Hall precinct, including surrounding parking garages, is patrolled by a dedicated security team.

14 / Creative Feel / May 2016

THURSDAY 16TH JUNE 2016, 7:30PM, DURBAN CITY HALL Conductor: Arjan Tien Soloists: Maciej Grzybowski (piano) Noluvuyiso Mpofu (soprano) Humperdinck Overture to Hansel and Gretel Schumann Piano Concerto in A minor *A selection of overtures and arias from Verdi’s La Traviata and Rigoletto, and Donizetti’s Linda di Chamounix, sung by Ms. Mpofu.

THURSDAY 23RD JUNE 2016, 7:30PM, DURBAN CITY HALL Conductor: Carlos Izcaray Soloist: Nokuthula Ngwenyama (viola) Mozart Symphony No. 35 J.C. Bach Concerto for Viola Ngwenyama Concerto for Viola Beethoven Symphony No. 8

Subscription bookings are available telephonically from the KZN Philharmonic Orchestra offices on 031 369 9438

Nokuthula Ngwenyama

Arjan Tien

Clayton Penrose-Whitmore

Jeff Nelsen

Michael Morgan

Melvyn Tan

Noluvuyiso Mpofu

SOME OF THE ARTISTS FEATURED IN THE KWAZULU-NATAL PHILHARMONIC’S WINTER SEASON 2016

Kristóf Baráti

The KwaZulu-Natal Philharmonic Orchestra

Daniel Boico

Creative Feel / May 2016 / 15

PRESENTS

NEW STAGES:

a season of cutting-edge theatre in May Africa Celebrates – a weekend of visual and performing arts to celebrate Africa Month | 6 and 7 May

I

n celebration of Africa Month, social cohesion and unity in diversity, The Playhouse Company is staging Africa Celebrates, a weekend of visual and performing arts from the diaspora on 6 and 7 May.

Some of the events on the programme include The Social

Exchange, an opportunity for various groups to show others in the industry what goes into making their medium, be it music, dance, arts education or acting.

Led by Dr Gcina Mhlophe, arguably South Africa’s foremost storyteller, The Art of African Storytelling Explained will see expert storytellers from various different cultures demonstrate their storytelling abilities and explain what it is that makes their brand of storytelling unique.

Also on the programme is a live poetry/graffiti performance led by Ewok in which poets will perform some of the great African poetry, while graffiti artists put visuals to the words.

The Durban Art Gallery will curate an exhibition of Africa-themed pieces from its vast collections.

Some of South Africa’s foremost performers will feature in a spectacular Africa Celebrates Concert on Saturday 7 May, in the majestic Playhouse Opera Theatre. This production will feature top-notch performers such as Simphiwe Dana, Tresor Riziki, Mi Casa, DJ Happy Gal, the Burundian Drummers, and will be directed by Aubrey Sekhabi, with musical direction by Victor Masondo. Tickets are R80 and R100 via Computicket.

16 / Creative Feel / May 2016

THE CENOTAPH OF DAN WA MORIRI Playhouse Loft Theatre | 5 – 7 May An original Wits Theatre production first performed at the

Sean Bovim’s Romeo’s Kiss is set in the modern era,

So Solo Festival, The Cenotaph of Dan Wa Moriri is a unique,

with Romeo as a banker, and Juliet from the ‘wrong side of

collaborative journey about loss, memory and intimacy that

the tracks’. Dancers will wear costumes designed by Craig

unfolds a personal narrative about a father-son relationship

Port (male dancers), KLÛK CGDT and Gavin Rajah (female

cut too short. When Tony Miyambo, who stars in this one-

dancers).

hander, lost his father, he struggled to come to terms with

Public performances: 12 and 14 May at 19:30.

the void that was left in his life:

Schools performances: 13 May at 09:00 and 12:00.

‘Dealing with my personal biography to create The Cenotaph of Dan Wa Moriri has been one of the most difficult

A VOICE I CANNOT SILENCE

yet rewarding processes that I have ever had to go through...

Playhouse Loft Theatre | 12 – 20 May

My father was a hairstylist; he used to touch people’s heads and make them look beautiful. That had to count for something,

In A Voice I Cannot Silence, South African theatre giant

and I always believed in it. My father never got to see me on

Ralph Lawson plays celebrated South African author,

stage and every time I perform the piece I feel as though I am

Alan Paton in a play that movingly and empathetically

having a conversation with the audience, myself and my Dad.’

examines the life of Paton through his own words, stories,

The sincerity of this highly personal narrative explores

poems and autobiographies.

themes of relationships, loss and longing. Written by Tony

Presented by The Playhouse Company, in association

Miyambo and Gerard Bester, in collaboration with William

with The National Arts Festival and the South African State

Harding, directed by Gerard Bester and produced by Gita

Theatre, this multi-award winning play explores weighty

Pather, this powerful autobiographical piece leaves audiences

and often controversial issues such as Paton’s position

reflecting on their own lives and individual histories.

within the Liberal Party, his years as principal of the

Public performances: 6 and 7 May at 19:30

Diepkloof Reformatory, his belief in and struggle for human

Schools performances: 5 and 6 May at 09:00 and 11:30

rights and the complexities of his personal relationships.

A Voice I Cannot Silence is written by Lawson and Greg

SEAN BOVIM’S ROMEO’S KISS

Homann, directed by Homann, co-produced by Sue Clarence

Playhouse Drama Theatre | 12 – 14 May

and stars Lawson; Clare Mortimer as Paton’s second wife, Anne; and Menzi Mkhwane as Sponono, a former Reformatory

Choreographed by acclaimed choreographer, Sean Bovim,

inmate. Set design is by Nadya Cohen, ‘soundscape’ by Evan

and featuring dancers from both the Playhouse Dance

Roberts and lighting design by Michael Broderick.

Residency and Bovim Ballet, Sean Bovim’s Romeo’s Kiss is

Public performances: 12 May (preview); 14 May at 19:00;

based on Shakespeare’s age-old story of star-crossed lovers

15 May at 15:00

and family feuds in a fast-paced, fresh and innovative dance

Schools performances: 16 – 20 May at 10h00

work guaranteed to delight!

Audiences can expect an unusual and exciting fusion of

Discounted block bookings for groups of 50 or more for

classical ballet and contemporary dance, for which Bovim

the latter three productions and bookings for schools’

is well known, as well as a mixture of neoclassical music

performances, at R30 per learner, can be booked by

and well-known cover versions of Beatles hits from Gwen

calling Dawn on (031) 369 9407. Booking for the public

Stefani, Wet Wet Wet and many more.

performances is via Computicket.

Artlooks & Artlines In this second of a four-part series, Artistic Director of the National Arts Festival, Ismail Mahomed, reflects on John Kani’s impact on him when he was a youth.

G

rowing up as a high-school student in

Poitier’s roles in some of the most important and

Lenasia, a suburb across the railway tracks

controversial movies of the time addressed issues of racial

from Soweto, it was virtually impossible not

inequality and racial prejudice in the US. As youngsters we

to be affected by the political struggles that

cheered his roles in To Sir, with Love (1967) and Guess Who’s

were being waged in Soweto. Lenasia itself was a hotbed

Coming To Dinner (1967). Hardly a school year would go by

of political activism. It had to be! Its residents were

without To Sir, with Love being screened in the make-shift

resettled there after the Group Areas Act had evicted

school hall. We followed Poitier’s career with enthusiasm but

them from Vrededop and Sophiatown.

we were ecstatic when we found a South African idol whose

Driving Miss Daisy – Annebel Linde and John Kani

There was no shortage of political activists in

John Kani in Nothing But The Truth – Courtesy of The Market Theatre Foundation

performances on stage could hold us in equal awe. More

Lenasia. Some of these activists were artists, writers and

than just his presence on stage, John Kani’s political gravitas

community-based actors. As soon as the government of

resonated even more strongly with us.

the day had arrested one of them, another committed and

Here was a man who was more than just an actor. When

ethical activist would step in to fill the vacuum. There

he was on stage it was clearly evident that his roles were

was, however, one actor who was not from our community

being performed with deep conviction. This was a man who

but who inspired many of us. We saw his struggles as

was portraying the political realities that people in our

being similar to ours. In the 70s, Sidney Poitier became

communities lived every day. We were in search of our own

our idol!

Sidney Poitier and to our impressionable minds, John Kani

18 / Creative Feel / May 2016

stood out as an articulate thinker, an honest critic and a caring humanitarian. His presence on stage was huge whether he played in an improvised play or a classical text. We saw him as more than just an actor. We saw him as a revolutionary on the stage. His strongest weapon was the way in which he used character and language to build bridges.

In the early 70s, when I first saw John Kani and Winston Ntshona perform Sizwe Bansi Is Dead (1972) in a community hall I knew immediately that someday this

“John Kani stood out as an articulate thinker, an honest critic and a caring humanitarian”

play was going to become a classic. I applauded their courage to use theatre to address the apartheid regime’s restrictive pass laws. Again seated in a community hall,

read about the controversial kiss in the media bought tickets to

when I saw John Kani and Winston Ntshona in The Island

the show only to stand up to walk out of the theatre at that very

(1973), I signed an unwritten manifesto with my school

moment. We were a schizophrenic society. The Market Theatre

mates – ‘John Kani is our man. We will see anything in

became our therapist couch. Its plays reflected the madness of

which he performs.’ So, when the Market Theatre opened

our society. It gave us moments of catharsis. It allowed us to

its doors in 1976, we watched the play bills at the Market

find pathways to challenge the madness of our political times.

Theatre with eagerness to find our man on its stages. And we did!

While John Kani’s passion for theatre is reflected through the roles that he plays, his greatest passion will be the legacy that he has endowed to a successor generation. When Kani attained fame and recognition, he used the attention that he was receiving to sharpen the spotlight on black aspiring actors who longed for a place to study the craft of theatre. Together with Barney Simon, a founding member of the Market Theatre, John Kani launched the Market Theatre Laboratory.

Today, a large number of actors can testify that they cut their professional teeth at the Market Theatre Laboratory.

John Kani is now a multi-award winning actor, both nationally and internationally. From the determined man who started his career in the dustbowls of the Eastern Cape, he has carved a career that places him as one of the most respectable and iconic theatre personalities of our time. He has been awarded honorary doctorates and various other accolades that celebrate the actor and the humanitarian for his leadership role. In 2005, he was awarded the Order of Ikhamanga by the South African Government for ‘Excellent contributions to theatre and, through this, the struggle for a non-racial, non-sexist and democratic South Africa’.

A year ago, the main auditorium at the Market Theatre was named after him. The John Kani Theatre is more than just

There are many memorable moments of seeing John Kani

a way of saying thank you to a man whose performances and

on the Market Theatre’s stage. Perhaps, the one that I would

contributions gave the Market Theatre much of its glory. In

like to forget is walking past Security Police whose presence

the same way that as young high school students who were in

in the Mary Fitzgerald Square outside the Market Theatre was

search of an icon that spoke our voices and dreamt our dreams,

so obvious when John Kani performed in Miss Julie (1985). As

John Kani still continues to be the icon for the generation that

much as the Security Police were there to harass the Market

follows us. Reflecting on the 40 years of the Market Theatre,

Theatre they were also there to harass the audiences who

it’s more than just its stories that we can celebrate. We can be

flocked to see Kani kiss a white woman on stage. It was a

grateful that it took a bold step forward in building legends like

different time in South Africa. Several white audiences who

John Kani that we can call our own! CF

Creative Feel / May 2016 / 19

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

T

he times we are living in are rough and the ongoing

It was only after independence that the descendants of

refugee crisis shows us that history tends to repeat

the victims of this first genocide of the 20th century were

itself again and again.

able to articulate freely and self-determine their view on

War and destruction, followed be rebuilding

and peacekeeping, followed by war and destruction again.

In a plethora of literature about Namibia and its colonial history, one book and film project stands out for its new approach to understanding how war and destruction did

the cruel past and therewith start the important process of historical revision. This also implies the demand of restorative justice, which encompasses both a symbolical and a material compensation.

It is common belief that reconciliation requires sincere

not only relate to the crimes of colonialism but also had an

apologies and compensation and both are of crucial

ongoing effect in history.

significance in Namibia today. On the one hand, it is

Namibia gained full independence from South Africa in

important for the process of reconciliation between the

1994 and since then the former German colony has moved

different groups of people, including the descendants of

back into the vision of modern-day Germany again – not

Germans and other white settlers. On the other hand, this

only as a destination for tourists but also as a place closely

topic is very much related to the still-pending land reform

related to the ugly aspects of German history and a place

in Namibia. Many of the descendants of the victims of

where descendants of the former colonialists still live.

the genocide still live in bitter poverty because land and

The book The Kaiser’s Holocaust by Danish writer Casper Erichsen and Nigerian filmmaker David Olusoga about the German war crimes in colonial South West Africa has definitely changed our perceptions.

It was on 12 May 1883 that the German flag was raised on the coast of South-West Africa, which is now Namibia, and marked the beginnings of Germany’s African Empire.

cattle were stolen and given to white settlers during the colonial times.

The Federal Government, as the legal successor of the

As colonial forces moved in, their ruthless punitive raids

German Kaiserreich, needed until July 2015, which marked

became an open war of extermination between 1904 and

the 100th anniversary of the end of the colonial German

1908. Thousands of the indigenous people were killed or

South West, to finally agree to call the war a genocide and

driven out into the desert to die. By 1905, the survivors were

the guiding principle became: ‘The war of extermination in

interned in concentration camps and systematically starved

Namibia from 1904 to 1908 was a war crime and a genocide.’

and worked to death. Years later, the people and ideas that

However, this is only the beginning and it is not yet

drove the ethnic cleansing of German South West Africa

clear how seriously the German government is about

would influence the formation of the Nazi party. An aspect

reparations, not just apologies and how to involve the local

that many Germans (especially those still living in Namibia)

population. The German historian Jürgen Zimmerer wrote:

tend to forget.

‘Talks between the German and the Namibian government

20 / Creative Feel / May 2016

for so many decades by the colonial victors. A Herculean task as a lot of knowledge has been communicated only orally over generations; the victims of history seldom have a voice.

This book is an eye-opener when it comes to understanding what the victims and their descendants have suffered and how it still influences Namibian society today.

A very important point is the other major angle the book takes: to compare both the genocide of the Kaiser and the Holocaust of Nazi Germany. The Kaiser’s Holocaust uncovers extraordinary links between the two regimes: their ideologies, personnel, even symbols and uniform.

The Schutztruppe confiscated Herero and Nama tribal lands and Berlin sanctioned the use of concentration camps.

The most notorious of these, set up in 1905, was situated on Shark Island near the town of Lüderitz. By the time the Konzentrationslager was closed in 1907, thousands had died there due to beatings and forced labour.

Today, as the graves of the victims are uncovered, its re-emergence challenges the belief that Nazism was an aberration in European history. According to the authors, the ‘killing fields’ of Namibia presaged not only Hitler’s genocidal madness, but served as inspiration for the dictator’s hoped-for empire in the European east, where Jews and Slavs were seen as ‘subhuman’.

The Kaiser’s racial policies in Africa, motivated chiefly by a desire to rival Britain as an imperial power, were horrific, but they were not the assembly-line gassing of human are insufficient. The entire society and especially all parties

beings. There was an unprecedented moral horror to what

concerned must be included. Now it is crucial to aim for

the Nazis did.

a broad civic implementation. It is crucial to anchor this process in the culture of memory.’

As so often is the case, there are writers to offer an important contribution to change our understanding of historical and social parameters. The book The Kaiser’s

Hitler’s murder of Jews and Slavs was, the authors concede, ‘unique’ in its scale and industry, yet they manage to find many connections between the Nazis’ murderous Social Darwinism and the Kaiser’s barbarism in Namibia.

Impressively researched, The Kaiser’s Holocaust

Holocaust by Danish writer Casper Erichsen and Nigerian

unflinchingly catalogues the abuse of human life in a

filmmaker David Olusoga about the German war crimes

continent the Kaiser never even visited. Olusoga and

in colonial South West Africa has definitely changed our

Erichsen, with their novelist’s flair for narrative, provide

perceptions.

a grimly readable history. It tells a bitter story about how

The two authors did such vast research and also focused

history repeats itself and also offers a new angle of the

greatly on exploring the narratives of the victims, to search

history of colonialism and exploitation and its continuation

for sources that were not part of the historical concept told

in the 20th and 21st centuries. CF

Creative Feel / May 2016 / 21

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

A

t the recent Cultural Policy, Entrepreneurship and

contend they are not necessarily entrepreneurs and should

the Creative Industries conference in Pretoria,

not be forced or framed as such.

one of the speakers spoke tellingly of how culture is ‘smuggled’ into the broader economy. It was

What we have found to be valuable in the skills development process and programme are the forces

a significant point and highlights one of the many current

of passion, resilience and agility in communities of

challenges our sector addresses.

young people who feel, and are correct in their feeling,

With the title of the conference in mind, I thought of

disadvantaged and excluded from the urban mainstream.

our BASA Education Programme, supported by the NAC and

Workshops, which focus effort on discovering the

RMB. The Programme has been running in all nine provinces

resources that are already present in a community,

over the last two years and some of the key challenges we

recognising that people best learn from community

have experienced include limited access to the internet,

partnerships that work, learning from their own

computers and even smartphones; the lack of transport and

experience by having clear principles of practice and

huge geographic distances; the implementation of strategy

by learning from the experience of other community

and plans with extremely limited resources and budgets; and

builders, have thus far proved positive. The workshops

the change in personal commitment over lengthy periods

are targeted at social innovators actively working to build

of time owing to financial difficulties. Access to basic skills

stronger, vibrant, inclusive and healthy communities.

on which to build further skills, with financial competence in specific, prove extremely challenging, raising questions as to how we teach and mentor in the sector. How we build on those basic skills talks a lot about access to selfconfidence, to positive self, to greater personal resilience.

What it also raises is questions around this sudden focus on entrepreneurship in the arts sector. Goetz, Fleming and Han in their article What Makes One Economy More Resilient Than Another, talk of self-employment as a proxy for

Entrepreneurship requires an extremely specific approach – flexibility, one that can influence, is creative, and even opportunistic

innovation and entrepreneurship. It is this conflation of selfemployment and entrepreneurship that we are concerned about at BASA.

It is with this in mind that we need to address how Goetz,

Entrepreneurship requires an extremely specific

Fleming and Han also argue that self-employed workers

approach – flexibility, one that can influence, is creative

are unambiguously associated with higher resilience in

and even opportunistic. These are risk-takers – they take

times of economic crisis, that more work experience and

the ‘fail often, fail fast’ approach as author Donna de

a higher level of self-employment is resilient to economic

Carolis states, highlighting entrepreneurship as a mindset

shocks. This is something to be considered in the current

less than a learning.

cultural environment as we shift closer to the realities of

What has become quite clear in our programme is that

a downgrade. Whilst the cultural space may, or may not,

whilst some artists do present many of the skills required

always provide fertile ground for entrepreneurs, the onus is

to run a business – immense discipline, the ability to work

on all programming to support job strengthening, job-hour

under pressure, resilience, agility and the ability to deliver

experience and expansion, and a resilient sector in a time of

at short notice, as noted by Seifter and Stockil – we would

economic difficulty. CF

22 / Creative Feel / May 2016

Hermanus FynArts 2016 From 10 to 19 June, the beautiful

coastal town of Hermanus will be alive with a carefully curated festival of exhibitions, sculpture, talks and workshops, performances, food and wine, demonstrations and children’s activities.

B

est described as an eclectic mix, Hermanus FynArts

working with reclaimed wood, the ever-popular jewellery

is a ten-day fusion of ArtsFest and Winter School.

making workshop (with emphasis on silversmithing and

The line-up is tailor-made for those who value a

design), creative writing and poetry, photography and of

range of arts, intellectual stimulation, great wine

course, an abundance of workshops on drawing and painting.

and fine dining packaged in a programme that is varied, top class and entertaining.

As always, sculpture will be an important feature of

The Hermanus FynArts Festival will open with a dramatic Mozart concert featuring Junnan Sun, an amazing Chinese clarinetist and recent winner of the 2015 ATKV Muziq

the Festival with the ever popular Sculpture on the Cliffs,

Award. Sun will play the all-time favourite clarinet concerto,

now in its third year. The spectacular clifftops in the centre

with the famous slow movement used to such great effect in

of Hermanus will feature award-winning artists in an

Out of Africa, and then the orchestra will play Symphony No.

exhibition that will evoke memories, images and emotions.

40, one of the greatest of Mozart’s hits.

In a break from tradition, four sculptors who have

The Cape Town Philharmonic Youth Orchestra, under the

previously exhibited their work during the FynArts Festival

baton of Brandon Phillips, returns to Hermanus FynArts with

– Guy du Toit, Gordon Froud, Jaco Sieberhagen and Strijdom

a special concert for Youth Day. The programme will include

van der Merwe – have been invited to each nominate a

the favourite musical story for children and adults, Peter and

sculptor who they would like to take part in this exhibition

the Wolf. A full programme of music will be presented by

with them. The four ‘new’ sculptors are: Wilma Cruise,

young musicians to celebrate Youth Day.

George Holloway, Lionel Smit and Gavin Younge.

Excitingly for 2016, the Festival’s featured artist, Louis Jansen Van Vuuren will conduct a painting workshop. This sought-after artist is well known for his holiday experiences

By popular request, the Delft Big Band, under the direction of Ian Smith, will once again perform a rousing, fun-filled closing concert to the 2016 Hermanus FynArts festival.

With a programme filled with all of the best things that

and painting workshops offered at la Creuzette chateau in

life has to offer, Hermanus FynArts is definitely something

the French countryside. Other workshops on offer include

to diarise. To get booking, visit www.webtickets.co.za

the opportunity to learn more about the art of ceramics,

(tickets are purchased per event/workshop). CF

Creative Feel / May 2016 / 23

Art director and fashion stylist Nicole Van Heerden and versatile photographer Brett Rubin fuse together their specialised skills in order to create a fresh, innovative approach to capturing moments through the medium of photography and film.

Fashion label: Anmari Honiball Photographer: Brett Rubin Art Director: Nicole Van Heerden Production by: Vatic Studio

M

odern, chic and absolutely sensational, the

focus on unique design, uncompromising quality, ethics,

word ‘vatic’ refers to a prediction on what is

upliftment and sustainability.

to come in the future. Rubin says that this plays a fundamental component of the work

Vatic Studio recently collaborated with the Marianne Fassler brand to produce their SS15/16 lookbook. This

they do. This artistic duo is certainly on their way towards

collaboration seemed rather apt as the brand has not

something bright.

produced a lookbook in a long period of time and have

Van Heerden received her Bachelor of Arts in Creative

relied solely on fashion week runway exposure. The

Brand Communications from Vega, specialising in art

lookbook exudes contemporary style, combining Fassler’s

direction. Upon visiting the United Kingdom, she also

distinct aesthetic and Rubin’s psychedelic backdrops of

completed a course in personal styling and editorial styling

Johannesburg’s iconic architecture.

at the London College of Fashion while working for fashion

Other areas that Vatic Studio specialise in include

label Twenty8twelve, engaging with various influential A-list

collaborations within fine art and the documentation of works

clientele through this experience. As well as art direction

for prominent artists. Vatic has also started self-publishing a

and styling, Van Heerden consults on creative brand

regular ‘zine’ named Post-Print (www.postprint.co) based on

strategy, sales and distribution and other forms of brand

artist collaborations and limited to 50 copies of each edition.

communication solutions.

Upon Van Heerden’s return to South Africa, the duo

Acclaimed South African photographer Brett Rubin continues to push the limits of his creativity with his

crossed paths and soon after cofounded Vatic studios. Since

breathtakingly graphic eye. Rubin continues to use his

their launch in 2011, Vatic Studio has been involved in

enlightened perspective to photograph South African life

multiple innovative projects within the media, visual arts

and this team have definitely discovered what makes a

and cultural industries. Some of their clientele include Hugh

good collaboration.

Masekela, who is frequently styled by Van Heerden; fashion

Vatic Studio’s online profiles are enticing, occupied by

designers Marianne Fassler, Sindiso Khumalo, Missshape and

vivid images of romantic landscapes, contemporary city

Anmari Honnibal; furniture designers Doktor and Misses;

skylines, edgy fashion and fascinating faces. One of Vatic

luxury hand-woven Swaziland based handbag company

Studio’s crowning attractions is a music video for legendary

KHOKO and local SA knitwear label Maxhosa by Laduma.

South African jazz musician Hugh Masekela’s cover of the

Van Heerden says that Vatic Studio places an emphasis on working with brands in the luxury African sector that

Bob Dylan song ‘It’s All Over Now, Baby Blue’ as well as artwork for his most recent album titled Playing At Work. CF

Fashion label: KHOKHO handbags, Swaziland Photographer: Brett Rubin Art Director: Nicole Van Heerden Production by: Vatic Studio

Minotaurus, Nandipha Mntambo, 2015.

Courtesy of NIROX.

Minotaurus, Nandipha Mntambo, 2015. Bronze and sandstone base, 253 x 140 x 95cm. © Nandipha Mntambo, courtesy Stevenson Cape Town & Johannesburg

Sculptors from around Africa will shine at the NIROX Foundation’s 2016 Winter Sculpture Fair: A Place In Time, a collaboration with the Yorkshire Sculpture Park,

TIME which will open on 7 May and continue until the end of July 2016.

A PLACE IN

Nandipha Mntambo was born in 1982 in

Mbabane, Swaziland and graduated with a Masters in Fine Art from the Michaelis

School of Fine Art, University of Cape Town in 2007. In 2011, Mntambo was announced

A

Place in Time will celebrate, encourage and share with the world the highest standard of creative practice, informed by and focusing attention on the exceptionally important context of

South Africa, as a centre of global heritage and an exciting contemporary art destination.

A Place in Time presents over 40 new sculptures by

as the Standard Bank Young Artist for Visual

artists from Africa, Europe and the USA – including

Art and produced the critically acclaimed

Tom Price, Moataz Nasr, Rachael Champion, Anton

travelling exhibition Faena. Her work has been exhibited worldwide and will be included in the International Exhibition of the 12th edition of Dak’Art 2016 in Dakar (3 May to 2 June).

Richard Long, Willem Boshoff, Nandipha Mntambo, Burdakov, Serge Nitegeka, Angus Taylor and Marco Cianfanelli– created in response to this highly significant environment.

This unique exhibition will take place in the UNESCO Cradle of Humankind World Heritage Site, some five kilometres from the recent extraordinary discovery of

Creative Feel / May 2016 / 29

Hannelie Coetzee juggles social documentary photography, visual arts, and collaborative art projects as she feels the one feeds the other.

Coetzee specialises in social documentary photography and had become known for her works made out of discarded/processed stone. As well as various site specific works around South Africa, Coetzee has done several works in Johannesburg to reconnect with her roots in the city.

what is arguably a previously unknown hominin species, Homo Naledi.

The exhibition considers contemporary sculpture practice within a human tradition to make and appreciate objects that is seemingly as old as we are, underpinned by an exceptional display of artefacts on loan from the University of the Witwatersrand Origins Centre Museum collection, curated by Lara Mallen.

The NIROX Foundation Trust was established and run for the benefit of the arts. NIROX comprises artists’ residency; studios and workshops; a sculpture park; outdoor concert venues and related function facilities. It is located within an extensive private nature reserve in the heart of the Cradle of Humankind World Heritage Site, 45 minutes from the centres of Johannesburg and Tshwane. NIROX is committed to excellence in all disciplines of contemporary arts.

Hannelie Coetzee, work under construction. Courtesy of NIROX

The sculpture park comprises 15 hectares of cultivated landscape and water-ways designed to showcase sculpture and give comfort to private and public visitors.

The beauty and tranquillity of the park are tributes to its sensitive design and fastidious upkeep.

It is located within the Khatlhampi Private Reserve, a privately owned nature reserve which has more than

sculpture. It is an independent charitable trust and registered museum situated in the 500-acre, 18th-century Bretton Hall estate in West Yorkshire.

Founded in 1977 by Executive Director Peter Murray,

40 kilometres of walking, cycling and game driving trails

YSP was the first sculpture park in the UK, and is the largest

through unspoiled grasslands, ancient dolomitic valleys,

of its kind in Europe, providing the only place in the world

natural fountains, discovered and yet to be discovered caves,

to see Barbara Hepworth’s The Family of Man in its entirety

indigenous forests, ridges and kopjes. It is a bio-diverse

alongside a significant collection of sculpture, including

environment, populated with indigenous game, moving

bronzes by Henry Moore, and site-specific works by Andy

freely in their natural habitat.

Goldsworthy, David Nash and James Turrell.

A Place in Time, is curated by Helen Pheby PhD, Senior

YSP also mounts a world-class, year-round temporary

Curator at Yorkshire Sculpture Park, in collaboration with

exhibitions programme including some of the world’s

Mary-Jane Darroll, assisted by interns Naudia Yorke and

leading artists across five indoor galleries and the open air.

Danika Bester.

Yorkshire Sculpture Park (YSP) is the leading international centre for modern and contemporary

30 / Creative Feel / May 2016

A Place in Time has been supported by the SA-UK Seasons 2014 & 2015, a partnership between the Department of Arts and Culture, South Africa and the British Council. CF

Marco Cianfanelli is an artist who works across the public and private realms, engaging the world in terms of systems rather than discrete objects or fenced-off territories. He is constantly looking to realise art where one doesn’t expect to find it and testing the possibilities for artistic intervention in the public realm. In so doing, he has been involved in a wide range of projects involving art, architecture and public space. Cianfanelli’s work embodies a vast variety of media and materials, from laser cut materials, masked glass and digital imaging and branding to burnt mielie skins and sculpted sea sand. Although he uses computer-aided design and technology in the production of his work, he often engages with the more visceral organic aspects of the material he works with. Marrying the application of data to more expressive gestural acts, he aims to set up a tension or dialogue between the controlled accuracies of the digital realm and the uncontrollable realities of being human.

Creative Feel / May 2016 / 31

RARE

TRETCHI DISCOVERED A large still life painting of sunflowers by Vladimir Tretchikoff will be among the highlights at Strauss & Co’s Johannesburg auction on 23 May 2016.

T

he Sunflowers was uncovered last month in

By 1959, Tretchikoff was already world famous, and had

Pietermaritzburg at a public valuation day.

become the richest living artist in the world after Picasso.

Members of the public were invited to bring

Tretchikoff prints feature among the best-selling prints of

works for valuation by Strauss & Co specialists

the 21st century, with his Chinese Girl becoming the most

and the current owner, a 75-year-old pensioner, arrived

bought print in history. Gorelik records that from 1958

with this remarkable Tretchikoff. Along with it, she had

to 1966 (before which no data exists), Tretchikoff prints

press clippings and correspondence between the original

‘appeared in the Top Ten of new best-selling prints in Britain

owner and the artist. In one letter, the flamboyant Russian

nine times’. Yet, he notes, ‘For all the success of his prints,

immigrant writes, ‘[I]t is my sincere wish that this picture

Tretchikoff continued to go on tours, meet his fans, and test

will bring pleasure to you and graciously harmonise with the

his new works.’

character of your home.’

The Natal Mercury on 26 September 1959 records

More than 8 000 people came to the opening day of the 1959 exhibition in Cape Town. ‘[U]shers in dark suits clocked

that The Sunflowers was bought on the fourth day after

attendance with hand clickers,’ Gorelik writes. The Natal

Tretchikoff’s exhibition tour opened. It notes that it was ‘[t]

Mercury records a similar turnout in Durban, where the works

he first canvas which the artist has sold during his present

were exhibited at the Pabros Theatre. In a single day, ‘more

visit to Durban’. It cost 500 guineas and ‘was bought by Mr

than 6 000 people saw the exhibition,’ and after four days, ‘total

and Mrs D Bunn of Durban Road, Maritzburg’. The work is

attendance at the Durban exhibition [was] more than 21 000’.

now expected to fetch between R400 000 and R600 000.

Tretchikoff’s 1959 exhibition caused a huge sensation wherever it toured. The artist’s biographer Boris Gorelik notes in Incredible Tretchikoff: Life of an Artist and

The present owner recalls that Tretchikoff visited the Bunns at their tearoom on Durban Road when the exhibition travelled to Johannesburg, its last stop.

While most of the works Tretchikoff sold went to private

Adventurer, ‘In 1959, he began his first South African tour

collections, The Sunflowers continued to gather some modest

in seven years from Garlicks, Cape Town’s fashion hub. He

local fame. The Bunns exhibited it at their tearoom as part of

presented works in many different genres – portraits, still

what a Sunday Tribune correspondent at the time called ‘£1

lifes, animal studies.’

500 worth of modern paintings’. The Tretchikoff had pride of

32 / Creative Feel / May 2016

Vladimir Tretchikoff,

Sunflowers R400 000 – 600 000

place and was the most expensive work in their collection.

It is often noted how, as late as the end of the last

The Tribune also noted, ‘Mr Bunn says it attracts a lot of

century, not one national museum had purchased any of

interest – it’s so lifelike that many customers want to touch

Tretchikoff’s work. The Sunflowers would have been a rare

the flowers, painted with a raised technique, to see if they

example of a work that was exhibited to the public, albeit

are real’.

in a tearoom. Coincidentally, one of the only Tretchikoff

The Natal Mercury article also noted: ‘The painting,

paintings in a corporate or public collection in South

executed with pallet knife and oils, has a three dimensional

Africa is also of sunflowers, and was part of the exhibition

quality; the petals give the impression of having been

entitled Old and New at the Sanlam Art Gallery in Cape

individually “chiselled” out.’ Strauss & Co specialist Alastair

Town in 2003.

Meredith says, ‘The Sunflowers is somewhat unusual in that

‘It is a privilege to handle such rare and exciting works,’

Tretchikoff’s paintings typically had very flat surfaces and

says Susie Goodman, general manager of Strauss & Co’s

very little texture.’ In his foreword to Tretchikoff by Howard

Johannesburg office. ‘The Sunflowers is bound to capture the

Timmins, Stuart Cloete makes reference to the way in which

interest and imaginations of art lovers at our May auction.’

Tretchikoff, particularly in his still lifes of flowers, ‘combined

At Strauss & Co’s March auction in Cape Town last

two extreme techniques; those of brush and impasto. This

year, Tretchikoff’s Zulu Maiden sold for R3 183 040. Last

particular technique – half painting, half modelling – is

year, Strauss & Co handled six Tretchikoffs, all of which

Tretchikoff’s own.’

were sold. CF

Creative Feel / May 2016 / 33

Ph Ra ot lph og L ra aw ph o by n a An s A th lan on P y ato St n on ie r

os om a M nd id a

BEST THEATRE PERFORMERS

F Ja ion in nn a R Do a R am ub am sa t os y a Vi nd ol an te

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South Africa’s

acknowledged for their art

The highlight of the South African theatre season was the Naledi Theatre Awards, a glittering occasion which took place at the Lyric Theatre, Gold Reef City on 19 April, writes Peter Feldman.

34 / Creative Feel / May 2016

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he twelfth annual Naledi Theatre Awards certainly bore witness to a star-studded affair where performers and presenters helped honour both the established names and exciting newcomers to the

South African theatrical firmament.

The event was bigger and better than ever before.

The entertainment line-up was special and included GRAMMY Award winners Wouter Kellerman and Ladysmith Black Mambazo, who delighted the packed audience with their craft.

Kellerman, an internationally famous flautist and composer, said he felt that in music there is an underlying sense of theatre – and the awards proved a great opportunity to share common themes, such as storytelling, passion and emotive expression.

For the first time, Naledi presented the full Johannesburg

An esteemed cast of presenters also joined the award winners beneath the spotlight. Comedian Mark Banks, with his special

Youth Orchestra Company, conducted by Eddie Clayton. The

take on the world, was MC for the event, sharing the

music was especially arranged for the event and the singers

honours with radio and TV star Bridget Masinga.

performed to live music.

Other all-star entertainers included the stunning

Thirty awards were made and presented by local celebrities such as Nataniël, Tobie Cronjé, Maps Maponyane,

Candida Mosoma from Sister Act; Sharon Spiegel Wagner

Tema Sebopedi, Motlatsi Mafatshe, Atandwa Kani, Naledi’s

from I’m Playing Your Song; Somizi Mhlongo of Idols

Chairman Dali Tambo and a number of other luminaries

fame; Jonathan Roxmouth and Charon Williams-Ros, who

from the stage and screen.

performed a humorous piece from Sweeney Todd together;

Since its inception twelve years ago, the same actress has

and Timothy Moloi who performed the highly emotive

won the Best Lead Performance in a Play (Female) for the

evergreen, ‘The Impossible Dream’.

first time for two different plays.

Creative Feel / May 2016 / 35

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Th em bi

Fiona Ramsay, one of South Africa’s most prominent performers, received her award for her roles in Miss Dietrich Regrets and Doubt. Her co-star in Doubt, Janna RamosViolante, won the Best Supporting Actress award.

Another exciting ‘first’ for Naledi was the overwhelming success of Moagi Modise’s Lepatata. It won the Best Ensemble category and making South African theatrical history in the process as the first Setswana play to win a major theatre award. The play was directed by Makhaola Ndebele.

Another innovation this year by Naledi’s Executive Director, Dawn Lindberg, was the Lesedi Spirit of Courage Award which went to Gaynor Young, who was seriously

Production of a Play. The dark musical Sweeney Todd

injured during a production of the musical, Camelot at the

won three awards, and Nataniël’s innovative musical

SA State Theatre some years ago.

After Animals took home five awards. Janice Honeyman’s

On winning the award, Young said: ‘I am overwhelmed! I

effervescent musical Sister Act garnered three awards, and

am humbled at being awarded the very first Lesedi Spirit of

Greg Homann’s thought-provoking Alan Paton drama, A

Courage Award. Courage! That is such a noble and powerful

Voice I Cannot Silence, three awards.

word suggesting bravery and fearlessness. I possess neither!

Ralph Lawson, who portrayed controversial author and

I am simply taking part in this wonderful thing called life.

poet Alan Paton (Cry the Beloved Country), took the top

Like everyone, I have experienced downs as well as ups. I am

acting accolade for Best Lead Performance in a Play (Male).

unbelievably fortunate in that my life is surrounded by love.

Bright new face, Menzi Mkhwane, won The Brett Goldin

And that has made all the difference.’

Award for Best Newcomer/Breakthrough Award for this

Top honours this year went to Lara Foot’s magnificent staging of Fishers of Hope (four awards), including Best

36 / Creative Feel / May 2016

production. Greg Homann and Lawson also won the award for Best New SA Script.

Pe te rs en ie p Ta l zo am ba M k ac Bl m ith La dy s

The award for Best Production for Children (supported

by ASSITEJ SA (0-12)) went to Shrek The Musical JR, which was staged by Jill Girard and Keith Smith’s People’s Theatre, while Making Mandela took the honours in the Best Production for Young Audiences (Supported by ASSITEJ SA (13-17)) category.

Gamelihle Bovana was recognised for his performance in James and the Giant Peach and received an award for Best Performance in a Children’s Theatre Production.

Johnny Boskak is Feeling Funny received the Best

Apart from winning the Best Production of a Play category, Fishers of Hope also provided other winners: Phillip Tipo Tindasa (Best Supporting Actor), Patrick

Production: Cutting Edge nod for writer and co-director Craig Morris.

At this year’s glittering ceremony, Lifetime Achievement

Curtis (Best Set Design) and Grant van Ster (Best

Awards were given posthumously to the late Taliep Petersen

Original Choreographer).

and to Cape Town’s illustrious entertainer Alvon Collison,

Khayelihle Dom Gumede was named Best Director of a Play for his vivid interpretation of the evergreen Crepuscule about love across the colour line.

The versatile Jonathan Roxmouth once again shone on Naledi night by walking away with the Best Performance in a Musical award for his captivating lead role in Sweeney Todd.

while the World Impact Award went to the internationally renowned a cappella group, Ladysmith Black Mambazo.

Thembi Mtshali, who has made a vast contribution to the arts over the years, and in particular to the empowerment of women, was given the Executive Director’s Award.

Executive Director, Dawn Lindberg, said of this year’s

Director Steven Stead was voted Best Director of a Musical/

awards: ‘The standard of excellence gets higher and higher

Revue for his production, which also received The Joan

each year, making the judges’ job of selecting winners almost

Brickhill Award for Best Production of a Musical.

tautological; ALL the nominees are winners in our eyes!...

Veteran musical maestro Nataniël once again stunned audiences with his out-of-the-box production of After Animals, which received an award in the Best Score/

‘The panel sees over 70 productions each year, with over 300 nominees on the list of excellence.

‘Judging takes place over several days with everyone

Arrangement/Adaptation category and a host of technical

on the panel allowed space to debate and discuss each and

awards. These were for Best Lighting Design (Kevin Stannet),

every of the 27 categories.

Best Sound Design (Larry Pullen) and Best AV/Animation (Jan Hendrik Burger), while the award for Best Costume Designer went to Floris Louw.

Sister Act allowed singer and actress Candida Mosoma to show her true mettle as she danced off with Best Performance in a Musical award, while Rowan Bakker,

‘The final votes are by secret ballot and verified

by Zeridium.

‘The process of seeing, analysing and assessing all professional productions staged in Gauteng during each year is a full-time job, which is not always acknowledged.

‘Lack of sufficient financial support from government

no stranger to award ceremonies, won for Best Musical

and commercial sponsors is a constant battle, but Naledi is

Director. Phumi Mncayi was named Best Support/Featured

proud to be internationally recognised as the bench mark of

Performance in Sister Act.

excellence in SA live theatre.’ CF

Creative Feel / May 2016 / 37

Double Thick Dreams (1990) – Tobie Conje, Janice Honeyman, Gaby Lomberg, Lana Green, Tonia Selly and Dorrit Rothschild

THE MANY SHADES OF

Social Engagement ‘I think it liberated South African theatre in a huge way.’ Janice Honeyman looks back on her long and fruitful association with the Market Theatre.

J

anice Honeyman’s involvement with the Market Theatre grew out of her work as a core member of Mannie Manim and Barney Simon’s avant garde theatre group The Company. She performed in the

opening show Marat/Sade (1976), but later left to spend ‘a year and a bit’ working overseas.

‘The first night that I arrived back in the country, I walked into the main theatre of the Market and Sizwe Bansi (1978) was on, with a completely mixed audience. It was just such a thrill, to see that we were achieving what we set out do... theatre for everyone, by everyone, with everyone...

Mannie and Barney were definitely taking it there.’

38 / Creative Feel / May 2016

“It really was a creative and productive time, with a great team making a new kind of impactful theatre in South Africa” Honeyman returned to the Market as both an actress and eventually as associate director, appearing in productions such as Simon’s Night Mother (1983), and directing everything from children’s matinees to young, alternative takes on Shakespeare and numerous hit plays from the West End and Broadway. ‘Mannie would see shows overseas and think “that’s suitable for the Market”,’ she recalls, ‘plays like Driving Miss Daisy (1988), Torch Song Trilogy (1984), As Is (1986), and I’m not Rappaport (1986)...

Gertrude Stein (1985) – Janice Honeyman

The cultural boycott was on at the time, so it was great when I was able to do those – to make us not feel as though we were at the very tip of Africa, which we really were.’

Some of her more creative moments got Honeyman into

please make it 100 candles,” because somebody else had died

hot water. She remembers one occasion when Manim had

of AIDs that day,’ remembers Honeyman. ‘It was right at the

managed ‘to score a backcloth from somebody, which we

very beginning of the epidemic.

had painted… I had an idea and said, “let’s get a whole lot of ladders, and just cut holes in the windows there” – and I cut holes in the backcloth, the only backcloth that we’d got.

‘I think [the play] was before its time, because people didn’t know what we were talking about.’

In 2001, Honeyman left the Market Theatre to work on a

Mannie nearly slaughtered me! He walked in and couldn’t

freelance basis in Cape Town, but she continues to maintain

believe his eyes.’

strong ties with the Theatre. ‘A lot of the work I’ve done,

Honeyman mainly recalls ‘how fantastic it was, and just

like John Kani’s Nothing but the Truth (2002), Missing (2014),

how hard we worked – hours and hours. I started a cabaret,

Shirley Goodness and Mercy (2007) and Vatmaar (2002)...

which was great fun, and then once the restaurant had

went up and played at the Market... Certainly if I have ideas I

started we went over the road and started the Warehouse...

feel very free to take them to the Market and talk about them

It was great working with people like Vanessa Cooke and

and say “can we do a production?”’

Danny Keogh, Sue Kiel was there at the time, and Aletta

The Market Theatre, says Honeyman, made the world

Bezuidenhout showed in my Merchant of Venice (1992).’

aware of South African theatre. ‘People used to come out and

Honeyman also staged gay cabaret (the prospect of

do overseas hits in all-white theatres. Suddenly the Market

which incensed at least one of the Market’s patrons) and

was spreading its wings and taking the political message out

workshopped This is For Keeps (1983) with Cooke and Keogh,

internationally, and certainly showing people that the standard

before performing it at the Laager. This tackled wife battery

of South African theatre was very good, particularly... things

and stirred up its fair share of controversy: ‘People used

like Woza Albert (1981) and Sizwe Bansi (1978), The Island

to have fights in the bar after the show, about whether the

(1986). The Market toured those a lot, all over the place.

woman deserved it and the guy should have been beaten up, or whether she should have been beaten up,’ she recalls.

She directed As Is (1986), one of the first plays to draw

‘Mannie and Barney were brilliant about giving young people a chance. Many, many people got their initial experience at the Market Theatre,’ says Honeyman. ‘It

attention to the growing HIV/AIDS crisis. The cast were asked

really was a creative and productive time, with a great team

to light 99 candles on the opening night, commemorating the

making a new kind of impactful theatre in South Africa.

99 people who had died of AIDS in the country at that time.

‘That afternoon we got another call, and they said “will you

‘Mannie and Barney should have been honoured over and over and over again for the work that they did.’ CF

Creative Feel / May 2016 / 39

CRAIG HIGGINSON For multiple-award winning novelist, playwright and theatre director Craig Higginson, the Market Theatre completely altered the course of his career.

C

raig Higginson’s first job at the Market Theatre

‘There were quite a lot of people that we nurtured at that

was as assistant to Barney Simon, around the

time who have done really well,’ he says.

end of 1994. Higginson had no plans to pursue a career in theatre, but it seemed like ‘an interesting

Higginson ran the Writer’s Forum at the Market Laboratory and set up a script reading session on

way of spending a year, and deciding what I was going

Thursday afternoons. ‘Anybody who wanted their

to do,’ he remembers. ‘I spent about eight months as his

play read could come, we’d read a play and give them

assistant... we rehearsed The Suit (1993) and Jozi Jozi (1994),

feedback. We would take it through drafts and I would

did a production of East (1994) and were involved with the

visit rehearsals.’ He directed several plays, including

production of Titus Andronicus (1995) with Anthony Sher

Grimm Tales (2007) and The Jungle Book (2008), and

and Greg Doran.’

adapted Brer Rabbit (2009) and Lord of the Flies (2006) for

This would ultimately change the course of Higginson’s career completely. Following Barney Simon’s death in 1995,

younger audiences.

During this time, Higginson also wrote several very

Higginson went to England, where his association and

successful new plays, including Dream of the Dog (2007), The

friendship with the acclaimed director led him to roles as

Girl in the Yellow Dress (2007) – which earned glowing reviews

writer, director and dramaturge at institutions such as the

and played to sold-out audiences internationally – Little Foot

Royal Shakespeare Company. Ten years later, Higginson

(2012) and Ten Bush (2008), which he co-wrote with Mncedisi

returned to the Market Theatre to develop the role of

Shabangu. ‘I learnt how to be a playwright while I was at the

Literary Manager.

Market. I was helping other writers – but I was also becoming

His return coincided with the appointment of Malcolm Purkey. ‘I think that during the eight years [that followed]

a playwright.

And we had great plays passing through. In that eight

we quadrupled the audience. We re-established new writing

to nine years, the best plays that were on in the country – if

as a kind of central focus,’ he says. ‘We wanted to give space

they didn’t come from our theatre, they would pass through

to a range of perspectives, hoping that that would start a

it,’ he says. ‘I got to work with the best theatre practitioners

dialogue. We were all about dialogue and diversity.’

in the country. It was a great privilege to have that job.

Higginson helped to develop many of the plays and new

‘For me, the Market was always about socially

writing that emerged from the Market Theatre during this

engaged theatre... It doesn’t have to be political in the

time, including Mike van Graan’s Brothers in Blood (2009),

narrow sense... but it has to be about us. I think that

and Paul Grootboom’s Relativity and Township Stories

has historically been its function, trying to reflect and

(2006). The Market Theatre also cultivated younger writers

understand the world we live in, and to kind of find ways of

and directors, such as Omphile Molusi and Prince Lamla.

being that are forward looking.’ CF

40 / Creative Feel / May 2016

Either Creative Feel print Creative Feel + UK Gramophone Print Bundle Creative Feel Digital subs@creativefeel.co.za 011 787 0252

Making dreams a

REALITY

The show must go on, is how the old saying goes, and this is the mantra for the new CEO, Dr Mkhize at the revived South African State Theatre.

D

r Sibongiseni Mkhize arrived at the State Theatre

make sure that people realise their dreams.’ And, this is his

five months ago when the Theatre was in a

mandate as the new CEO: he wants to secure the dream of

celebratory mood, having won six Naledi Awards

the national policy as was outlined in the White Paper on

for its original musical Marikana. It’s as the fresh

Arts, Culture and Heritage; as launched in July 1996 in the

CEO, he has no complaints. ‘So far, so good,’ he says.

Dr Mkhize is an historian by training and has worked

fresh democracy.

His is a mountainous task. It is no secret that the funds

mostly, and profitably to boot, in the heritage industry;

of even a government subsidised institution like the State

notably having run the Robben Island Museum and turned it

Theatre are not sufficient to make dreams a reality. The

into a tourism success.

Department of Arts and Culture (DAC) does a significant

He says that he finds it thrilling to work in the

amount of work to keep the Theatre functioning. The DAC

theatre environment because what happens at work

even launched an incubator programme with the State

during the course of the day has a profound effect on a

Theatre’s development department last year and so helped

person. He adds that even if perhaps the day had started

to actually implement one of the integral objectives of the

with an argument at home that ‘by the time you go home

1996 White Paper: to make the arts valuable as entities unto

in the evening you are fine’ again. ‘It is nice to be in this

themselves using the principles of freedom outlined in the

environment. You also see yourself changing people’s

Constitution. The programme helped to give young artists

lives,’ he says, smiling.

in the music, film and dance arenas an opportunity to stage

The earnest man sits at his desk with his eyelids

full productions and helped them to educate themselves

contracted in concentration as he leans forward. On

on the effective running of their companies or touring of

occasion he leans back to consider his surroundings at

productions so that the work that they produced would

the large theatre complex and says, ‘all I want to do is to

sustain them.

42 / Creative Feel / May 2016

Sophiatown, produced by the State

Directed by:

Malcolm Purkey

Theatre in association with the Market Theatre and Windybrow Theatre

THEATRE

18 APR - 21 MAY ‘16

It is an important example because Dr Mkhize believes in grooming a culture of excellence in the arts. One of the key aspects that he has identified in the need to continue

Dr Sibongiseni Mkize. Photograph by Sanmari Marais

“The variety of things that are on offer. The mix is beautiful”

to grow the State Theatre is the ‘need to strengthen relationships with other theatres’ so that the work of artists has the potential to develop. In March the State Theatre,

‘The variety of things that are on offer. The mix is beautiful.’

in partnership with the Market and Windybrow Theatres

And that is what he would like to focus on; the continued

presented the hit South African musical, Sophiatown as a

work of transforming the space.

stepping stone toward this growing need for collaboration across the nation.

All the theatre CEOs joined in a meeting with the DAC

What attracted Dr Mkhize to the State Theatre, after having been the CEO of the Market Theatre for half a decade, was that the ‘State went through difficult times when it

to discuss the hindrances to the implementation of White

closed and it re-opened with a new identity.’ The show

Paper policy. They discussed that the funds received from

went on. He wants the Theatre to lead the conversation of

government only enable ‘the doors to be open but not the

transformation and ‘actually setting the agenda’. They are

core business’ to run. He bemoans the fact that he and the

on track, he says. His job entails looking after the entire

artistic director and chief financial officer, the two people

organism and being accountable for human and financial

that the CEO most closely liaises with, have to spend much

resources, to the DAC and to ‘the people that make it alive.’

of their time sourcing funds for productions to be staged.

He’s hoping to make the State Theatre a tourist destination;

The core business of the Theatre’s multifaceted work

telling the story of the country in a more dynamic fashion

requires their fuller attention. ‘It is a huge building,’ he says.

than museums do. CF

2016-03-23 02:16:34 PM

Creative Feel / May 2016 / 43

Artistic Foundation of the State Theatre Since his appointment as Artistic Director in 2002, Aubrey Sekhabi has produced, directed and written an exemplary number of plays and musicals.

Aubrey Sekhabi. Photograph by Sanmari Marais

T

he State Theatre was teeming on a Friday morning

Theatre was solidifying its place in the national landscape.

when Aubrey Sekhabi sat down with a cup of coffee

‘Theatre has got to be a living breathing organism,’ he says.

on a leather couch to discuss the state of theatre.

Sekhabi calmly walks out to check on something and returns

The Artistic Director was a focused ball of excited

to pour coffee from the machine.

energy when he announced that this was what South Africa’s

He pours his coffee and milk simultaneously and plops

national theatre was always like on a Friday; that they are in

a spoonful of sugar into the mix and sits at the edge of his

touch with their community and the community is involved

seat. He only needs a brief prompt and he puts his coffee

in dialogues on policy-making and re-structuring, that the

down because, when it comes to the subject of theatre, he

44 / Creative Feel / May 2016

this theatre – he wants to tell the nation’s narrative and he wants to groom the new voices that will sound these stories at the country’s State Theatre. The Theatre is taking hold of its place as the largest national theatre complex on the continent. The goal is to create state-of-the-art theatre that will become the canon of democracy.

‘We have a mission: to serve the community of artists,’ exclaims Sekhabi as he leans further forward on his couch.

He is speaking about his vision for 10 to 20 years down the line. ‘We are not just talk,’ he states. The Theatre runs three separate festivals during the course of the year, including a women’s festival and a community festival called Mzansi Fela. The Festivals are also geared towards longevity. The best work that comes out of Mzansi Fela is put on the main stage and given the support of a budget and technical backing. This Festival has the theatre buzzing during December so that those who aren’t on the coast for the holidays are entertained and engaged, but it is not charity; the storytellers compete for the top spot. ‘We don’t talk a lot,’ says the Artistic Director as he sips his coffee, ‘we do the actual work.’ The Theatre hosts 33 jazz shows and 20 comedy shows a year.

They are producing the award-winning, multiracial Broadway musical Memphis for the first time anywhere since its Broadway run, as well as a number of other musicals throughout the year. They are also working on producing an original South African musical soon. The musicals The Rivonia Trial and Marikana won multiple awards, each, at previous Naledi Theatre Awards ceremonies. As he lists the Theatre’s immense achievements since reopening in democratic South Africa a few years ago, Sekhabi adds, ‘We’ve always churned out quality work. In the past eight years we’ve produced Best Director four times. We care about developing young people!’

With a budget of only several million rand it is a triumph that the Theatre is able to keep its doors open, and then actually stage any work at all. Instead, the State Theatre is doing even more. Last year they launched the platform for independent producers, the Indie Spotlight, on top of their expansive development department. ‘The budget that we use is for one big musical,’ says Sekhabi.

He does not side-step the issue of dwindling sponsorship in the arts in general. He says, ‘We are not saying it’s okay!’

But in the same breath he recognises the tenacity of artists gives his full attention. He says that working for the State

to fight both the struggle for good storytelling and the

Theatre is a ‘blessing and a challenge’ because they often

transformation of the stories that take precedence on the

have five to six theatres busy at the same time, with diverse

country’s stages, as well as the struggle to feed themselves

productions. They are working on bringing opera back to

and their families. He states with emphasis and care that

the stage as South Africa’s young talent has a renewed

‘we’re not ignorant of the challenges that face black artists’

interest in the classical form and how it can be used to tell

and the current economic crisis. He wants an inclusive theatre

the country’s tale in a whole new way. And this is the main

that tells all South Africans’ stories and feeds their souls. The

tenet of Sekhabi’s exhilaration for the artistic direction of

aim is ‘to create a new South African theatre identity.’ CF

Creative Feel / May 2016 / 45

Phumlani Nyanga, Phumlani Mndebele, Peter Lenso, Julia Burnham, Roseline Wilkens and Keaoleboga Seodigeng in Page 27.

Photograph by Ruphin Coudyzer

Mentorship Highlighted at

VUYANI DANCE Mentorship plays an important role in the strategy of Vuyani Dance Theatre (VDT), with Gregory Maqoma actively ensuring his company members also learn the business side of dance. Creative Feel’s

artistic department of the company. He started as an artistic assistant and worked himself up to artistic director.’

Maqoma played a very hands-on role in the mentorship of Sidiya. ‘He’s someone I have worked very closely with,’ says Maqoma.

‘In terms of Lulu, we’ve been very conscious of the

Tamaryn Greer spoke to Maqoma about

role of women in a very male dominated space in terms of

two of his recent mentees: Lulu Mlangeni

wanted to bring a woman who could take on that leadership

and Luyanda Sidiya.

‘L

choreography and leadership in dance,’ says Maqoma. ‘We as a choreographer to an elevated position of great leadership within the organisation itself.’

The mentorship is ‘not only about the choreography

uyanda joined Vuyani in 2010 and Lulu has been

or just being in the studio, but for them to understand the

with us since 2007,’ says Vuyani Dance Theatre

business model of the organisation in terms of creating

Founder and Director, Gregory Maqoma. ‘When

relationships with other organisations,’ explains Maqoma.

we recruited Luyanda it was with a very clear

‘They would go with me to meetings, I would prepare a pitch

intention of taking him into a leadership role. We are very aware, according to our strategy, that we are moving towards

with them, it is very holistic.’

At the beginning of the year, it was announced that

building a very strong artistic team, so it was about me

Sidiya would be leaving his role as artistic director to pursue

mentoring him into a position of taking leadership within the

a career as an independent choreographer and director.

46 / Creative Feel / May 2016

Lulu Mlangeni in Page 27.

‘That’s great,’ says Maqoma talking about Sidiya taking the next

Photograph by Ruphin Coudyzer

step in his career. ‘The mentorship is about that, about people being given the right support for them to grow and be leaders. I strongly believe that if you have created a leader who can move out of an organisation and start innovating by themselves and creating other organisations that can do similar work to Vuyani Dance Theatre and to be able to contribute to the artistic landscape of the country, then it’s fantastic. Then I believe that we have done the job we put forward to do.’

The position of artistic director, however, will not just simply be filled by someone new, says Maqoma. ‘We have created spaces and positions once we feel that a person is ready. Like with Luyanda, the position was created for him at that time. He was the right person to fill that position and we needed that position because I was incredibly busy formulating business strategies for the company. What we have done now is put Lulu in a position of creative assistant, where she will be working very closely with me on the creative side of the organisation.’

While mentorship at VDT is about moving people into roles where they can excel, it is not only available to a chosen few. ‘All the dancers have an opportunity to be mentored in different aspects of their abilities,’ says Maqoma. ‘We have one dancer who is gifted in terms of writing music, so he is starting to write compositions for our productions. At VDT we capitalise on the strengths of our people and we ensure those strengths are realised. We only have to give them support and allow them to grow within their disciplines.’

The role of mentor does not just belong to Maqoma.

‘Lulu is already mentoring other young dancers,’ he says.

‘Even the dancers that are learning, they go into our outreach programme and mentor other young people, so it’s a continuous cycle and it’s important for them to understand that we do need to continue to mentor each other within the organisation, as much as I continue to be mentored by my board in terms of the business of the organisation itself.’

Standard Bank Young Artist for Dance 2015, Luyanda Sidiya’s choreographed piece Siva will be performed by VDT at the State Theatre from 5 to 14 May. Sidiya’s works have toured to the USA, Canada, China and have been performed at AfroVibes in the Netherlands.

Lulu Mlangeni’s first work, Page 27 will show at the SANAA Africa Arts Festival in Johannesburg from 26 to 28 May. Mlangeni won the inaugural Sophie Mgcina Best Emerging Voice Award at the Naledi Theatre Awards in 2014.

Most importantly, says Maqoma, ‘we want everyone to be great leaders when they come out of VDT.’ CF

Creative Feel / May 2016 / 47

Local and International

JAZZ GREATS JOURNEY to Grahamstown

The world’s finest jazz pioneers from twelve different countries will create the line-up for 2016’s Standard Bank Jazz Festival, which takes place from 30 June until 9 July as part of the National Arts Festival in Grahamstown.

B

razil’s award-winning Trio Corrente; Norwegian

as Quincy Jones’ album Back on the Block, which received

saxophonist Petter Wettre; Dutch saxophonist

a GRAMMY Award for Album of the Year in 1995. This

Toon Roos; Austrian singer, composer and

previously self-exiled South African has also worked on

trumpeter Michaela Rabitsch and her partner

musical scores such as Disney’s The Lion King.

guitarist Robert Pawlick; Sweden’s David Kontra Trio and

2016’s Standard Bank Young Artist for Jazz winner,

powerhouse tenor sax duo made up of Dave O’Higgins from

Siya Makuzeni started playing trombone in 1997 at

the UK and Per Thornberg from Sweden, all contribute to

Stirling High School in East London where she attended

this outstanding listing.

school. She went on to peruse her love for music by

Renowned South African musicians also part of

studying a BMUS/BMUS Jazz at Rhodes University and

the programme include Caiphus Semenya, Simphiwe

the Pretoria Technikon Music School. This promising

Dana, the Afrika Mkhize Big Band, Swing City, Ringo

musician has enjoyed international exposure and

Madlingozi and Standard Bank Young Artist for Jazz 2016

performed with brilliant South African artists such as

winner, Siya Makuzeni.

Sibongile Khumalo, Khaya Mahlangu and Marcus Wyatt.

Oscar nominated artist Caiphus Semenya has worked abroad composing for Spielberg’s The Colour Purple as well

48 / Creative Feel / May 2016

In this year’s festival, Makuzeni will lead an ensemble of young South African musicians.

Siya Makuzeni, images courtesy of Total Exposure

Creative Feel / May 2016 / 49

With Fabio Torres on piano, Paulo Paulelli commanding bass and Edu Ribeiro smashing the drums, Trio Corrente has savored two GRAMMY Awards and has worked with the likes of Mike Stern, Stacey Kent and Paquito d’ Rivera throughout their distinguished career.

Petter Wettre has made his mark as one of the most important musicians operating in the Norwegian jazz sphere. This musician boasts two GRAMMY Awards and is considered a virtuoso saxophonist by the media.

Top female Austrian jazz singer, composer and trumpeter, Michaela Rabitsch has been called the modern day female Chet Baker by US magazine Jazzscene. Through studying standard jazz and other jazz related genre repertoire, Rabitsch and her partner, guitarist Robert

The South African Jazz Festival in Grahamstown has become a platform to showcase South Africa’s world-class jazz future.

Pawlick have created a fresh audio experience that should not be missed.

Dutch musician Toon Roos is considered to be one of the finest tenor and soprano saxophonists in Europe.

With his lyrical, instinctive and harmonious style he won,

world-class jazz future. Young talent is constantly

amongst many other awards, the prestigious Bird Award, an

encouraged and this year will be no different. Young

international jazz prize at the North Sea Jazz Festival.

Guns comprises Sisonke Xonti, Justin Bellairs, Thandi

Creating opportunities for South African and

Ntuli, Romy Brauteseth and Claude Cozens. Cape Town’s

international artists to network and collaborate is an

The Kiffness has rapidly become one of South Africa’s

important goal for the Standard Bank Jazz Festival. A feature

funkiest electronic acts, producing jazzy, groovy house

collaboration between Afrika Mkhize’s Big Band, paying

music. Founder member David Scott first attended the

tribute to Bheki Mseleku, and both local and international

jazz festival as a 13-year-old trumpeter and his musical

musicians is one illustration of how the Festival aims to

partner, Clem Carr partook in the Standard Bank National

bridge creative connections. In the theme of collaboration,

Schools Jazz Band in 2003.

Carlo Mombelli teams up with three young Swiss musicians,

Soul Housing Project is the contemporary project of

led by trombonist Andreas Tschopp, who studied trombone

former standard Bank Young Artist for Jazz 2012, Bokani

at the Music Academy in Basel under Mombelli’s long-time

Dyer and vocalist Sakhile Moleshe, the voice behind Goldfish

collaborator, Adrian Mears. Cape to Calais is an anticipated

Other artists performing at the Standard Bank

collaboration between the established French duo Daniel

Jazz Festival include American pianist Justin Binek;

Millie (accordion) and Stéphanie Chausse (clarinet), joined

Mozambique’s Frank Paco; Kyle Shepherd; Loyiso Cele;

by Dutch master bassist Hein van de Geyn and South African

Graeme Watkins and Nokukhanya Dlamini.

guitarist Dave Ledbetter.

His South African upbringing as well as Italy’s Vittorio

The Standard Bank Jazz Festival in Grahamstown has certainly surpassed itself over the years and has become

have influenced prominent Australian jazz musician, Mark

an established festival both nationally and internationally.

Ginsburg. The Ginsburg/Mezza Convergence Band plays

Indulging in the latest melodic trends budding around the

alongside Romy Brauteseth (bass), Kevin Gibson (drums)

continent and globe as well as the electrifying collaborations

as well as a group of stirring young South African vocalists

between local artists and our international guests, this

led by Australian vocal coach, Judy Campbell. Other

festival offers audiences a satisfying taste of what our

collaborations include jazz pianist Paul Hanmer and South

country is cooking up in the jazz scene.

African indie/rock/world singer and songwriter, Wendy

‘We are delighted with the 2016 line-up, which features

Oldfield. The pair team up to create an invigorating fusion

more than 100 top musicians. We are delighted that the

of jazz, folk, African styles that bridges the gap between

festival continues to draw jazz lovers from around the

conventional genres.

country, as well as being a tool to grow young jazz musicians

The South African Jazz Festival in Grahamstown has become a platform to showcase South Africa’s

50 / Creative Feel / May 2016

in South Africa,’ commented Hazel Chimhandamba, Head of Group Sponsorships at Standard Bank. CF

Caiphus Semenya

Creative Feel / May 2016 / 51

Siya Makuzeni, Standard Bank Young Artist for Jazz 2016, explains the musical upbringing that set her on the path to the inspiring career she has today.

I

n the memories that Siyavuya Makuzeni has of her childhood, the sun was always shining over the red sandy hills of Mdantsane in the Eastern Cape.

The woman now known as just Siya Makuzeni was a girl who was always dressed in a frilly dress. Her mother loved dressing her up, she recalls with

a nostalgic smile. She was also always dirty because ‘no matter my mother’s efforts,’ Makuzeni laughs, she would always end up dirty in those idyllic barefooted days. Her recollection of home is at the heart of her jazz philosophy.

The Standard Bank Young Artist (SBYA) for Jazz 2016 remembers a constant score as the backdrop to her life. Her mother was a choir master and her father had a vinyl collection that she believes is responsible for her styledefying sound. ‘The music: everything from the Beatles; the Rolling Stones to Miriam Makeba to country and even the classical in there. It was a melting pot’ and that’s why she believes she doesn’t have a ‘problem with genre’.

She is trained as a trombonist, sings and also writes music. She leads a rock band and is a lyricist who performs with a number of jazz bands. The SBYA

52 / Creative Feel / May 2016

describes herself as someone who has ‘always been kind of an odd-ball’. Her philosophy is simple: ‘I’m a human being as much as I am a musician. I think everything intertwines.’

The SBYA Award means recognition for her. It gives her a sense of pride in being part of a larger narrative; it is a journey of experimentation – a story of excellence. She has

“It’s not a concept. It’s not a style. It’s not a sound. It’s a life: you have to live it”

had a difficult passage to success in her career. In her morethan-13-year-long career, whose trajectory may seem clear to the outside eye, she has had to fight to make sure that she could pay the rent and eat while pursuing her dream. She worked multiple jobs when she first moved to Johannesburg after studying at Rhodes University and the then Pretoria Technikon. But she believes that ‘even with the worst kind of scenario… it helps to inform the next time.’

As Makuzeni muses at the new audiences that the SBYA Award brings her, she says that her pride rises out of being part of incredible projects with fellow musicians that she has the utmost respect for and the consistent strand of trying out different things in music. ‘I’m really a fan of the strange or the unknown,’ she says. This is how she characterises today’s South African jazz sound. Just as with her atypical rock band IppyFuze she says, ‘I hear it as music! That could possibly be a good space to be in.’

The music first spoke to her when she was at Stirling High School. It discovered her, she says, as though being reminded of the first time she met the love of her life. She had neither known that Stirling had a big band nor that she would end up in it. Her recorder teacher recommended she try another instrument and when she went to the big band leader he asked her to pick up an instrument and play. She did not know how but she picked up a trombone and says, ‘I made a sound which was a B-flat. It was awesome!’ It is an uncontainable love of her instrument that beams across her face as the memory plays out in her mind. The 33-year-old woman looks like a young, high school girl when she reminisces that she was given two weeks to learn a song and she did. ‘It chose me.

It’s a fantastic instrument and I fell in love with it,’ she smiles.

It was at the school that she saw some of the jazz masters who she would later play with in her career.

In her philosophy of life and music, it all intersects. She says, ‘I would have to say that in a way, jazz for me, it has taught me that you have to kind of live it. I’m not trying to come up with something metaphorical here: You really have to live it and it kind of requires you to be in touch with yourself.’ She is not the little girl in frilly dresses anymore. She is the SBYA who will be presenting tastes of her upcoming album in Grahamstown this July. She is jazz embodied: ‘It’s not a concept. It’s not a style. It’s not a sound. It’s a life: you have to live it.’ CF

Creative Feel / May 2016 / 53

MUSICIANS: Make your dreams take flight and enter the SAMRO Overseas Scholarships Competition

This year’s SAMRO Overseas Scholarships Competition is looking to unearth fresh, exciting Jazz or Western Art Music instrumentalists with the potential to compete in the global premier league.

T

he closing date of 16 May 2016 is fast approaching for music students and early-career professionals (younger than 32) to apply for one of the country’s most sought-after postgraduate music study awards.

Every year, rotating on a four-yearly cycle between

composers, singers, keyboard players and instrumentalists, the SAMRO Foundation awards two scholarships worth R200 000 each – for Western Art music and jazz music, respectively. The grant enables the recipients to enroll for

54 / Creative Feel / May 2016

the youngest artist to be signed to leading Atlanta jazz label Hot Shoe Records (hotshoerecords.com).

On the website Allaboutjazz.com, music reviewer Dan Bilawsky gave the album four stars, hailing English as ‘a bright new voice and a force to be reckoned with… clearly destined for big things’ Expressing his appreciation for the launch-pad that the SAMRO Foundation gave his career, English penned a special note of appreciation in his album’s liner notes: ‘Your support has been the most beneficial and influential!

I am forever grateful.’

After winning the SAMRO scholarship and carving out a strong name for herself on the international performance circuit, Germany-based Bushakevitz was named the 2016 Standard Bank Young Artist for Music – joining an elite club of past winners.

She will perform with the Eastern Cape Philharmonic Orchestra under the baton of Richard Cock at the popular Gala Concert during this year’s National Arts Festival in Grahamstown. She is currently a member of the first violin section of the Konzerthausorchester in Berlin.

This is the pivot around which the SAMRO Foundation’s Overseas Scholarships Competition revolves: it offers a platform for gifted rising musicians to achieve their potential and pursue excellence in their craft.

To be eligible to compete in the 2016 SAMRO Overseas Scholarships Competition, candidates must be a music student or professional instrumentalist between the ages of 20 and 32, and a citizen of South Africa, Botswana, Lesotho or Swaziland.

The competition takes place over three rounds: a Darren English, Jazz winner 2012 © Suzy Bernstein

preliminary round (in which a panel of adjudicators select the top candidates from the applications received), an intermediate round (in which the shortlisted Western Art

career-furthering postgraduate studies or master classes at

and jazz music candidates compete) and a final round, which

international institutions.

will take the form of a public concert at Johannesburg’s

The previous winners of the instrumentalists round in 2012, Darren English (jazz trumpeter) and Avigail Bushakevitz (Western Art violinist), have been making significant waves locally and internationally.

English’s career is firmly on the rise. Now based in

Linder Auditorium on 20 August 2016, featuring performances by the top two candidates in each category.

To enter, aspiring candidates must download the regulations and the application form from the SAMRO Foundation website (www.samrofoundation.org.za). For

Georgia in the United States, the young jazz trumpeter’s

more information, contact samrofoundation@samro.org.za

debut album, Imagine Nation, is doing extremely well. He is

or 011 712 8417. CF

Creative Feel / May 2016 / 55

Magnificent and mellow musician Guy Buttery has just released Guy Buttery, a collaboration created through a willingness to embrace differences.

‘T

o a different South Africa, to individualism and finding a new voice.’ Much-admired musician Guy Buttery believes that his latest release Guy Buttery is perhaps a reflection of a new South Africa,

one that embraces tradition but one that is also fascinated by the expression of the eccentric being; the maverick. This is apparent, as one glances upon the intriguing album cover, concealed by a photograph by Greg Lomas, of arbitrary yet warmly sentimental objects belonging to Buttery, such as an African mbira or kalimba, an old baby picture of his wife and a tress of hair from a dear friend who passed in 2006.

In an interview with Buttery, he mentioned that the idea behind the album cover was that it would be a collection of stories, and indeed it is. In the inner cover, Buttery shares the unconventional journey of each musician recording in a different location, some across the globe in their home in Modena, Italy and others in the effervescent farmlands of KwaZulu-Natal. This note to listeners is so off-the-cuff, using expressions such as ‘what-not’, ‘to make it sound less kak’ and ‘you did good my bra’, as if this gifted guitarist is sitting right in front of them.

In a small coastal town towards the north of Durban,

nominated for the South African Music Award for Best

Guy Buttery: the artist was born. In this mesmerising, fertile

Newcomer in 2002; Best Instrumental Album in 2005 and

land, a mixture of genres inspired the budding musician. His

savouring invitations to perform across the world.

many teachers, ranging from the local Zulu tribesman known

On his latest album: Guy Buttery he collaborates with a

for their Maskanda music; the tabla and sitar players at the

multitude of like-minded artists who support this eclectic

local Hindu temple and Ravi Shankar and other international

vision. Longtime friend, fellow musician and former teacher

musicians like Led Zeppelin and Bob Marley incited Buttery’s

to Buttery, Nibs Van Der Spuy is one of many artists who

passion and contributed to his amalgamated music style.

feature on the album. After over a decade of recording

The fervent musician also had formal teachers at institutions

together, the in-sync duo released In the shade of the wild

such as the KwaZulu-Natal Technikon and the Durban

fig (2012), an expression of their common passion for

School of Music, where he reunited with his childhood piano

New Age music. Van Der Spuy, like Buttery has also been

teacher; Leandros Stavrou.

honoured with a Standard Bank Ovation Award and has

Buttery’s innate way of creating music has earned him both national and international success, winning awards such as a Standard Bank Golden Ovation Award at the National Arts Festival in Grahamstown in 2010, being

58 / Creative Feel / May 2016

been nominated for a South African Music Award for Best Instrumental Album.

Gareth Gale, jazz trained drummer and frequent Buttery collaborator plays an important role as the backbone and

arranger of the album, says Buttery and keeps the rhythm,

are musicians who he truly admires and considers not only

playing drums alongside Buttery on almost all of the tracks

colleagues, but good friends.

on the album. Both Gale and Buttery believe that any good

Buttery’s newest progeny is so delicately crafted and

collaboration requires respect and awareness for the other

each artist seamlessly adds to the magic. The album is

artist’s work. Both artists believe that a collaboration process is

truly an organic expression of the self and Buttery’s strong

an amalgamation of different artists coming together to create

connection with nature during the creation of this work,

a completely new creation. The pair have worked together for

could only have enhanced the free and human nature of the

over a decade and continue to inspire and encourage each other

work. Listening to the album is such a soothing experience

through their affable working relationship.

and each track drifts into one another so fluidly as if it is one

Other featured artists on the album include Dan Patlansky; Shane Cooper; Vusi Mahlasela, who Buttery

generous and gratifying journey.

Buttery’s sound stays naturally breaking the boundaries

mentioned working with was one of the highlights of his

of conventional music genres and continues to inspire

career; Derek Gripper; and Chris Letcher. French based artist

people all around the world with his distinctly African yet

Piers Faccini and GRAMMY award winner, Will Ackerman

striking acoustics. This ingenious artist is truly an African

also make up this talented collective. In an interview with

gem and continues to exceed our wildest expectations of

Buttery he proudly states that all the artists on the album

what the South African sound should entail. CF

Creative Feel / April 2016 / 59

Following a powerful sneak peek at Splashy Fen in March 2016, legendary guitarist Albert Frost officially launched his newest album The Wake Up on 4 April.

Creative Feel’s Tamaryn Greer spoke to this respected musician about the new release and the origins of his music.

60 / Creative Feel / May 2016

A

t just 39, Albert Frost has spent over two decades in the music industry and has built an admirable career founded on incredible talent, hard work, dedication and passion. The energy and charisma that keeps audiences enthralled on stage is just as apparent in his affable back-stage manner and quick, unreserved laugh.

Frost joined his drummer father Frank Frost in the Blues Broers at age 17, having already been

playing in The Fauves (which then became the famous band Dorp) since 1991. Frost co-formed the Fauves as ‘a way of getting out of Cadettes,’ remembers Frost. ‘If you didn’t want to do cadettes you could join the school band; it was like a no-brainer.’ The decision to leave The Fauves for the Blues Broers was a hard one, but a necessary step, says Frost. ‘I was a total Hendrix nut and I also got into Eric Clapton and Stevie Ray Vaughan at the time and so I leaned towards a band that I could be an instrumentalist in more than being part of a group that’s trying to stomp something out.’ Frost continued to make a name for himself in the South African blues scene, playing with the Blues Broers, co-founding Frosted Orange with fellow Blues Broer Simon Orange in 1996, and establishing a respected solo career.

Last year, Frost left the Blues Broers after 21 years and five albums, ‘my solo career is keeping me so busy and I felt like I needed to go in a new direction, I needed to untether myself from certain things and one of them was the Blues Broers,’ he says. ‘But it’s totally cool,’ he adds, ‘we’ll never not play together again, I just need space to do my own things.’

Taking to the stage at Splashy Fen for two performances, first accompanying Arno Carstens and then with his trio, Frost displayed his ability to deftly alternate between styles, showing both a talented collaborator and a fine songwriter absorbing the crowd with technical skill and a unique sound. Frost and Carstens’ collaboration goes back to the band New Porn (formed in 2003) and Carstens’ 2004 SAMA winning album Another Universe, although, Frost says, they don’t get to work together quite as frequently as they used to. The energetic, fast-paced performance included ‘some old moody [songs] and [work] that we did together on Another Universe as well, and it’s two acoustics and vocals, something we like to think of as “acoustic metal”,’ laughs Frost.

Performing with his trio (whose make up is ever fluid, adapting to where Frost is performing and musician availability), with Chris van der Walt on bass and Jason Hinch on drums, Frost gave the crowd a taste of his latest solo album, The Wake Up. Although the talented musicians joined him on stage at Splashy Fen, they didn’t record the album with Frost, who instead collaborated with bassist Schalk Joubert and drummer Jonno Sweetman. Joubert and Sweetman make up Frost’s ‘core band’ and performed the electric The Wake Up tour with him in April.

This much-anticipated third solo album displays a sound unique to Frost, showing his background as a blues guitarist but taking the music beyond; melding stylistic elements of the blues, rock, psychedelic and African genres. The album, says Frost, signals the ‘start of a new journey’ for him. ‘It’s an album that I’ve been thinking about for 20 years; all the experiences I’ve been gathering put into music of my own. It’s something I can be proud of.’

The Wake Up is an exploration both lyrically and musically. The songs range from exploring emotions such as fear, confusion and heartbreak to notions of family, companionship, acceptance and unconditional love. Most of the lyrical content on the album is co-written with various artists, including Hunter Kennedy, Robin Auld, Simon Orange and Albert Meintjes, who also co-produced.

Frost explores all aspects of the guitar, across rhythm and leads on the album. ‘I’ve used over ten different guitars, acoustic and electric, to create my own musical soundscape of sorts,’ he says.

Recording The Wake Up was a pure labour of love for Frost, who spent 18 months tirelessly crafting his soundscape at VH Studios in Cape Town. ‘I managed to make an album in my own time instead of rushing it,’ says Frost. ‘It took me a year of preproduction to find my formula, which I can now use as a basis from here on.’

‘The Wake Up is all about bringing something fresh to the show as well as incorporating the concept throughout the performance… My sound is changing with this album so I hope people like it as much as I do.’ CF

Creative Feel / May 2016 / 61

“It tells such a good story, it’s hard to resist” - Allan Hunter, Screendaily

AT SELECT CINEMAS 20 MAY 2016

THE MAN WHO KNEW

INFINITY

Colonial India, 1913. Srinavasa Ramanujan (Dev Patel) is a 25-year-old shipping clerk and self-taught genius, who failed out of college due to his near-obsessive, solitary study of mathematics. Determined to pursue his passion despite rejection and derision from his peers, Ramanujan writes a letter to G. H. Hardy (Jeremy Irons), an eminent British mathematics professor at Trinity College, Cambridge. Hardy recognizes the originality and brilliance of Ramanujan’s raw talent and despite the scepticism of his colleagues, undertakes bringing him to Cambridge so that his theories can be explored.

Ramanujan leaves his family, his community, and his beloved young bride, Janaki (Devika Bhisé), to travel across the world to England. There, he finds understanding and a deep connection with his sophisticated and eccentric mentor. Under Hardy’s guidance, Ramanujan’s work evolves in ways that will revolutionize mathematics and transform how scientists explain the world. Hardy fights tirelessly to get Ramanujan the recognition and respect that he deserves but in reality he is as much an outcast in the traditional culture of Cambridge as he was among his peers in India. But Ramanujan fights illness and intense homesickness to formally prove his theorems so that his work will finally be seen and believed by a mathematical establishment that is not prepared for his unconventional methods.

The Man Who Knew Infinity is the improbable true story of a unique genius whose pivotal theories propelled him from obscurity into a world in the midst of war, and how he fought tirelessly to show the world the genius of his mind.

The film is distributed by Times Media Films and releases at cinemas 20 May.

Times Media Films

To book:

Times Media Films

CDs & DVDs The latest releases to suit all tastes

Kevin Volans’ violin:piano The South African launch of Kevin Volans’ violin:piano took place in Johannesburg with pianist Jill Richards and violinist/violist Waldo Alexander performing music from this beautiful album.

In reviews, violin:piano was described as an ‘absorbing release’, with the comment that violin:piano shows a composer ‘too flexible to be locked into expectations’. ‘Immediately

Carlo Mombelli’s I Press my Spine to the Ground

obvious in Kevin Volans’ hypnotic new chamber compendium

South African bassist/composer Carlo Mombelli started

is the conflicting tug and tumult of deep, dislocating emotional

his professional playing career in the band of one of South

currents,’ wrote Michael Quinn for Classical Ear. ‘Performances

Africa’s most important jazz guitarists, the late Johnny Fourie.

by long-time Volans collaborators Waldo Alexander (violin/

Mombelli has since recorded and performed at many festivals around the world, including the Rome International

viola) and Jill Richards (piano) are beautifully modulated and full of glistening details. Excellent recorded sound.’

Villa Celimontana Jazz Festival, the Stockholm Jazz Festival, the Moers and the Leipziger Jazztage festivals in Germany, as well as Festival Banlieues Bleues in Paris, with amongst others, Egberto Gismonti, Lee Konitz, Mick Goodrick, Charlie Mariano, and the Ethel String Quartet.

Back home he can be heard as a bassist on many South African recordings with, amongst others, Tony Cox, Johnny Fourie, Tlale Makhene, Zim Ngqawana, Marcus Wyatt, Simphiwe Dana, Sibongile Khumalo and Miriam Makeba.

Besides the many ballets that have been choreographed to his music, he has also recorded several CDs and DVDs of his own works and has been nominated for a SAMA three times.

I Press My Spine to the Ground is a beautifully crafted

The album features the premiere recordings of duos

meditation. It delivers its message through layers of

‘violin:piano’ and ‘viola:piano’, ‘Etude 9 (Eight Bells for Mary)’

experimental sounds by a selection of respected musicians.

for piano with ring modulation, along with the solo violin work

It is a true testament of the legacy Carlo Mombelli has created over his many years as an active innovator in South African music.

The stellar group of musicians on this album create intensely emotive pieces of music, layered with what

‘Passi leggieri’.

This music is all about the contour of moment; from its first sumptuous gesture, each piece absorbs completely, promising an adventure of luminous beauty. violin:piano received its premiere launch in October 2015

feels like free-form improvisations and haunting

in Dublin, Ireland. The performances on the album have been

soundscapes. The band assembled for this release consists

described as ‘…otherworldly…’ and the album has already

of long time collaborators Mbuso Khoza, Kyle Shepherd and

topped the composer’s ‘Bestsellers’ list on iTunes.

Kesivan Naidoo. Brenda Sisane also contributes a beautiful spoken-word piece.

The unique cover artwork was distinctly created by renowned artist Norman Catherine.

64 / Creative Feel / May 2016

Two of the works featured on this album, ‘violin:piano’ and ‘Etude 9’, were written for Richards and Alexander. ‘viola:piano’ was also the recipient of the Royal Philharmonic Prize in 2009. violin:piano is released under the Ergodos label.

Book Reviews Recently published

Church Tourism in South Africa | A Travel Odyssey

By Philippe Menache & Darryl Earl David Publisher: Self Published by Philippe Menache & Darryl Earl David ISBN: 9780620677998 If you are passionate about South African visible built heritage, turn your enthusiasm to the churches found in country towns, villages, dorps and rural mission stations. Give yourself the opportunity to explore the country with a new focus, ‘church tourism’ may become your mission. Accompanied by the three books of Menache and David you will be off on an unusual enriching adventure. Church Tourism is the third book that has come out of this partnership. The authors have combined their talents for research, writing, photography and publishing to document the church architecture across all Christian denominations.

Collectively, their books now form a superb record of over 300 churches, mostly pre-1940, and serve as a rich photographic catalogue of interiors as well as exteriors. There are no examples of modernist architecture. Their churches are traditional and historical in design and origin, regardless of denomination. The details of pulpits, pews, organs, stained-glass windows, bells and belfries, foundation stones, lych-gates, memorials, roofs and rafters remind us that church craftsmanship in stone and wood, brick and metal was of a high standard throughout the country. We are reminded that the church was the core of a vibrant country community or represented ardent missionary endeavour. Many of the churches are Dutch Reformed Churches, the NG Kerke.

Collected lyrics

M Train

By Patti Smith

By Patti Smith

Publisher: Bloomsbury

Publisher: Bloomsbury

ISBN: 9781408863015

ISBN: 9781408867686

An American original,

M Train begins in the tiny

Patti Smith is a

Greenwich Village café

multidisciplinary artist

where Smith goes every

and performer. Her

morning for black coffee,

work is rooted in poetry,

ruminates on the world

which infused her 1975

as it is and the world as it

landmark album, Horses. A declaration of existence, Horses

was, and writes in her notebook. Through prose that shifts

was described as ‘three chords merged with the power of the

fluidly between dreams and reality, past and present, and

word’; it was graced with the now iconic portrait by Robert

across a landscape of creative aspirations and inspirations,

Mapplethorpe, the subject of her award-winning memoir

we travel to Frida Kahlo’s Casa Azul in Mexico, to a meeting

Just Kids.

of an Arctic explorer’s society in Berlin, to a ramshackle

Initially published in 1998, Patti Smith’s Complete Lyrics

seaside bungalow in New York’s Far Rockaway that Smith

was a testimony to her uncompromising poetic power.

acquires just before Hurricane Sandy hits; and to the graves

Now, on the 40th anniversary of the release of Smith’s

of Genet, Plath, Rimbaud and Mishima.

groundbreaking album, Collected Lyrics has been revised and

Woven throughout are reflections on the writer’s craft

expanded with more than 35 additional songs, including her

and on artistic creation. Here, too, are singular memories

first, ‘Work Song’, written for Janis Joplin in 1970, and her

of Smith’s life in Michigan and the irremediable loss of her

most current, ‘Writer’s Song’, recorded in 2015.

husband, Fred Sonic Smith.

Creative Feel / May 2016 / 65

encore Dr Sibongiseni Mkhize is the Chief Executive Officer of

the South African State Theatre. His main responsibility is to provide strategic direction to the organisation, mainly by ensuring that the strategy, structure and budget are properly aligned. Dr Mkhize is also responsible for the

implementation of the resolutions of Council (Board) and to strengthen the pillars of good corporate governance.

Dr Sibongiseni Mkhize, photograph by Sanmari Marais

Name three artworks that you love and why.

What is your most treasured possession?

Jacob Dlamini’s book Askari because he is an excellent writer and

None at the moment because I have learned not to be attached to

deals with uncomfortable subjects.

material things. I once had a dog when I was eight years old and the

Raoul Peck’s film Sometimes in April – I wish every South African could take time to watch it.

John Kani’s Nothing But the Truth because it’s an outstanding

day it died was the day I first experienced loss. Since then I have always left room for disappointment in any attachment I might have to a human being, animal or material object.

piece of South African theatre that deals with the challenges of the new South Africa.

What do you regard as the lowest depth of misery?

Living in state of fear and hopelessness

Name one artist you would love to meet.

Chiwetel Ejiofor.

What is it that makes you happy?

Seeing people around me succeed and achieve their goals.

What are you reading at the moment?

Anjan Sundaram’s Bad News: Last Journalists in a Dictatorship.

Describe a defining moment in your life.

In 1991 I disappointed my mother, who was a single parent after

What is in your car’s CD player?

the passing of my father, by deciding not to look for a job but

The following artists’ CDs: R. Kelly, Aretha Franklin, Busi

instead took a taxi from Impendle to Pietermaritzburg. From

Mhlongo, Mfazomyama and Phuzekhemisi.

Pietermaritzburg I walked to the then University of Natal Campus to tell an official at Student Support Services that I did not have a

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

cent in my pocket but I wanted to study. The official gave me the

Always putting myself under pressure and working at a fast pace

prospectus and I never looked back. By the way, that was the first

non-stop.

time I set foot in a university.

How have the arts industries in South Africa changed over

What projects will you be busy with during 2016 and into 2017?

the last ten years?

I will preoccupy myself with my new job at the State Theatre. It’s

Although there are new artists who interpret the new South

a challenging job and requires my full attention, particularly in

African experience in a revolutionary manner, the challenge is

implementing the new Business Improvement Strategy. However,

that funding has dwindled substantially.

I am hoping to find time to convert my doctoral thesis into a book.

I am also planning to publish at least one research article in a

Name one thing you think would improve the arts and

scholarly journal.

culture industry in South Africa.

Audience development is a big challenge and I would like to see

Name one goal you would like to achieve in the next

more investment in developing audiences and in ensuring that the

twelve months.

private sector supports the arts. Of particular significance is the

To find a corporate sponsor for the South African State Theatre’s

legislation which relates to tax exemptions for those who donate

brilliant and dynamic artistic programme. CF

to the arts.

66 / Creative Feel / May 2016

e

FUNDED BY THE National Lotteries Commission (NLC), the Dramatic, Artistic and Literary Rights Organisation (DALRO) and Nedbank Arts Affinity, the 2016 Scholarships Programme presented by the Arts & Culture Trust (ACT) is aimed at young performers in their final year of secondary education who wish to pursue undergraduate studies in the performing arts as well as students in their first and second year dramatic arts, singing, dance and musical theatre studies.

ELIGIBLE PARTICIPANTS GRADE 12 LEARNERS AND FIRST AND SECOND YEAR STUDENTS REGISTER ONLINE AT WWW.ACT.ORG.ZA REGISTRATION CLOSE 31 MAY AUDITIONS DURBAN 22–25 JUNE CAPE TOWN 27- 30 JUNE PORT ELIZABETH 1–2 JULY POTCHEFSTROOM 11 JULY

BLOEMFONTEIN 12 JULY KIMBERLEY 13 JULY WITBANK 22 JULY POLOKWANE 23 JULY PRETORIA 5–7 AUGUST JOHANNESBURG 8–10 AUGUST FOR MORE INFO CALL 011 712 8403 MAIL scholarships@act.org.za VISIT www.act.org.za FOR UPDATES FOLLOW US The Arts & Culture Trust @actorgza