Creative Feel November 2015

ARTIST PROOF STUDIO

9 771607 519004

11015

SA R36,90 (incl. VAT) - November 2015

10 years of unique work from the archives

AWARDS 2015

Celebrating the winners Standard Bank of the 2016 Young Artist Awards

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

Standard Bank has sponsored these awards since 1984.

Let the arts move you forward.

Authorised financial services and registered credit provider (NCRCP15).

The Standard Bank of South Africa Limited (Reg. No. 1962/000738/06). Moving Forward is a trademark of The Standard Bank of South Africa Limited. SBSA 222410/15

Left to right Dance: Themba Mbuli, Jazz: Siya Makuzeni, Visual Art: Mohau Modisakeng, Theatre: Jade Bowers, Music: Avigail Bushakowitz

EDITOR’S NOTE

If only

H

aving worked quite some years in the arts

art auction to raise money for their Education Endowment

environment, it is unavoidable to experience

Fund on 19 November at the Absa Gallery. The auction

the ‘if only’ moment. ‘If only’ I had purchased

includes an online auction on 12 to 19 November where lots

that artwork when I could just about afford it,

with lower reserves will be available for bidding.

I really loved it, I liked the artist and with a little push I

Our cover feature this month tells the background of

could have bought it. Now years later, the same artists are

Artist Proof Studio, their work and their art. ‘Browsing

selling on the international market and there will perhaps

through some of the work set aside for the auction is

never be a time when I can afford their work.

particularly thrilling: the pieces are beautiful, and the list of artists reads like a who’s who of the local art world. There is a print by Phillemon Hlungwani – himself a graduate of APS and now rapidly establishing himself as one of the country’s leading artists – along with work by other leading APS alumni and luminaries such as Walter Oltmann, Norman Catherine, Diane Victor, Gerhard Marx, Willem Boshoff, Colbert Mashile, Rosemary Marriott, David Koloane, Helen Mmakgabo Sebidi, Chris Diedericks, Paul Edmunds, Cameroonian artist Joel Mpah Doo, and Sandile Goje (and many others).’

Also a very real remedy to cure the ‘if only’ moment are the number of high-end original drawings that will go under the hammer, donated by William Kentridge, Norman Catherine, Phillimon Hlungwani, Diane Victor, Nelson Makamo, Lehlogonolo Mashaba, Colbert Mashile, Bambo Sibiya, Mongezi Ncaphayi and Samson Mnisi.

And then there is THE William Kentridge piece

The full cover image: Phillemon Hlungwani, N’wana a hi wa un’we (detail), 2010. Intaglio, Workshop Proof

entitled 8 Figures from his Procession series. A piece that is extraordinary because Kentridge hand-carved everything. The edition had sold out immediately, so the

A ceramic artist once told me how he and fellow art student William Kentridge sold their work at a market stall.

When they packed up at the end of the day, he had sold all

appearance of this work on auction is a rare opportunity for art collectors.

No excuse to suffer another ‘if only’ moment,

his decorative plates and Kentridge had not sold a single

between the online auction and the live auction there are

work. Years later the ceramic artist lamented, ‘if only I had

extraordinary pieces of art on sale and at the same time the

bought all the Kentridge work that day with the proceeds of

money goes to a very special Education Endowment Fund

my plates, I would not have to work any more and the worst

to secure the future of a highly successful training place for

thing was that I really always loved his work.’

talented artists.

But there is good news! There is a way of avoiding the ‘if only’ moment when Strauss & Co holds Artist Proof Studio’s

Lore

HAS THE PLEASURE IN INVITING YOU AND YOUR PARTNER TO PURCHASE TICKETS

A

CHRISTMAS CONCERT

27

Starring:

Nov 2015

20:00

ENQUIRIES: 011 026 8118 Web: www.gautengopera.org

Khumbuzile Dhlamini Kagiso Boroko Phenye Modiane & Guest Artists

LINDER AUDITORIUM, - PARKTOWN -

T

We love thi&s creation and you can win

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 FEATURES EDITOR Natalie Watermeyer; natalie@desklink.co.za SALES AND MARKETING EXECUTIVES sales@desklink.co.za sales@creativefeel.co.za SPECIAL PROJECTS Noelene Strauss Kotzé; noelene@desklink.co.za MARKETING INTERN Oupa Sibeko; oupa@desklink.co.za DESIGN Mxolisi Gumbi; mxolisi@desklink.co.za FINANCIAL DIRECTOR Debbi Gregory; debbi@desklink.co.za RECEPTION Angelina Ramano DISPATCH Khumbulani Dube SUBSCRIPTION & CIRCULATION Debbi Gregory; debbi@desklink.co.za Published by DeskLink™ Media PO Box 3670, Randburg, 2125 Tel: 011 787 0252 Fax: 011 787 8204 www.creativefeel.co.za www.desklink.co.za PRINTING ColorPress (Pty) Ltd © Copyright DeskLink™ Media The opinions expressed in this publication do not necessarily represent the views of the publisher.

WIN! Sir Terry Pratchett’s final Discworld novel...

Deep in the chalk something is stirring. The owls and foxes can sense it, and Tiffany Aching feels it in her boots. An old enemy is gathering strength.

This is a time of endings and beginnings, old friends and new, a blurring of edges and a shifting of power. Now Tiffany must summon all the witches to stand with her. To protect the land. Her land.

To stand a chance of winning The Shepherd’s Crown, email or fax the answer of the question below to competitions@creativefeel.co.za or 011 787 8204.

Name the series that The Shepherd’s Crown forms part of.

8 / Creative Feel / November 2015

CONTRIBUTORS: Nondumiso Msimanga; nondumiso.msimanga@yahoo.com Ismail Mahomed; ismail@nationalartsfestival.co.za Michelle Constant; michelle@basa.co.za Indra Wussow; indra@syltfoundation.com

Cover image:

38

COMING OF AGE

Phillemon Hlungwani, N’wana a hi wa un’we (detail), 2010. Intaglio,

Pieter Jacobs wishes a heartfelt congratulations to

Workshop Proof

this year’s Arts & Culture Trust (ACT) Lifetime

cover story

Achievement Awards and ImpACT Awards winners.

24

AUCTIONS AND EXHIBITIONS

To raise money for Artist Proof Studio’s Education

Endowment Fund, an art auction organised by

Strauss & Co is set to take place on 19 November.

arts and culture 30

THE ‘ART OF PRINTMAKING’ MEETS THE ‘ART OF WINE’

Artist Proof Studio selected eight talented and

for RMB WineX 2015.

32

WINE MADE ART

In introducing the use of wine as an artistic

42 ACT LIFETIME ACHIEVEMENT AWARDS

The 2015 Arts & Culture Trust Lifetime Achievement

Award winners are Omar Badsha (Visual Arts),

Johnny Mekoa (Arts Advocacy), Alfred Hinkel

(Dance), Thembi Mtshali-Jones (Theatre), Don

Mattera (Literature) and Caiphus Semenya (Music).

contents 56

2015 IMPACT AWARDS

The Arts & Culture Trust’s ImpACT Awards for Young

Professionals are given annually to honour young

passionate printmakers to create a limited edition

artists or businesses that have reached a notable level

series of detailed wine label artworks, exclusively

in their career.

58

ALL FROM ONE

It is time to embrace our shared African origins to

secure the future of humankind, writes Andrea

medium, TOKARA has brought a literal twist to the

Leenen, CEO of the Palaeontological Scientific

age old communion between fine art and fine wine.

Trust (PAST).

36

THE 27TH ANNUAL SAMRO HUBERT VAN DER SPUY COMPETITION

62

STANDARD BANK YOUNG ARTIST AWARDS 2016

Young musicians from Cape Town sweep all medals

The winners of South Africa’s most prestigious art

and South African compositions feature.

award, the Standard Bank Young Artist Award.

10 / Creative Feel / November 2015

66

MENTORS & PROTÉGÉS

intricate sculptures from outdated materials like

The Rolex Mentor and Protégé Arts Initiative is a

encyclopaedias, textbooks, maps and cassette tapes.

philanthropic programme that has featured three

South African artists since its inception.

70

SA JAZZ ARTISTS TAKE TO LONDON STAGES

lifestyle and entertainment

Three performances at the EFG London Jazz Festival

form part of the South African Season in the UK

72

BLACK PASSAGE

Serge Alain Nitegeka will present a new series of

free-standing sculptures, painted wall panels and a

major intervention for his exhibition at STEVENSON.

74

MATTHEW PARTRIDGE APPOINTED FAIR DIRECTOR FOR CTAF 2016

82

84 85 86

A PLACE CALLED WINTER: AN INTERVIEW WITH PATRICK GALE BOOK REVIEWS CD REVIEWS CINEMA NOUVEAU

contributors

contents 16

ARTLOOKS & ARTLINES

Artlooks & Artlines is a monthly column

Matthew Partridge was recently appointed as Fair

by Ismail Mahomed, Artistic Director of the

Director of the Cape Town Art Fair for 2016, which

National Arts Festival.

will take place from 19 to 21 February 2016 at the

Cape Town International Convention Centre.

18

BUSINESS & ARTS

Business & Arts is a monthly column by

Michelle Constant, CEO of Business and Arts

South Africa (BASA).

20

LITERARY LANDSCAPES

Literary Landscapes is a monthly column written

by Indra Wussow, a writer, translator and director of

the Sylt Foundation.

76

SIMON MAX BANNISTER

Mercantile Bank commissioned sculptor Simon Max

Bannister to create a new work symbolising the

bank and its core target market.

78

HOW WE SEE OLD INFORMATION IN A MODERN WORLD

New York-based artist Brian Dettmer carves

Creative Feel / November 2015 / 11

Redefine wins BASA Award for their support of Buskaid The ten-day UK tour included performances to full houses at Cheltenham Town Hall, St Georges in Bristol, Boughton House in Kettering, and Queen Elizabeth Hall in London, as well as a fund-raising concert at the home of Sir Vernon Ellis, Chair of the British Council. The musicians also took part in a ‘flash mob’ on Trafalgar Square that attracted significant media attention. At the concert at London’s Southbank Centre, the eminent Welsh composer Karl Jenkins guest-conducted his own Soweto Suite for Strings, written especially for Buskaid. Internationallyrenowned conductor Sir John Eliot Gardiner was also a guest-conductor at a private fundraising concert.

‘Throughout the tour, audiences commented on the extraordinary and inspiring impact of these young South African musicians,’ said Rosemary Nalden, Founder and Andrew Konig (CEO of Redefine), Nicolé Smit (Marketing Assistant at Redefine), Marijke Coetzee (Head of Marketing and Communications at Redefine) and Rosemary Nalden (founder and director of Buskaid) at the BASA Awards

R

Director of Buskaid.

‘The relationship between Buskaid and Redefine is unique; a partnership in the true sense of the word that goes beyond just a financial contribution,’ said Konig. Redefine not only contributes to the daily running of Buskaid, it is

edefine Properties has partnered with the

also helping the Buskaid Trust to attract other corporate

Buskaid Soweto String Project since 2013 and

donors to ensure the sustainability of the Buskaid Music

has, for the second consecutive year, been

School. Of the 115 students enrolled at the school, 35 have

honoured at the annual Business Day Business

full or part-time employment as teachers and performers

and Arts South Africa (BASA) Awards for its support of

in the Ensemble. Nalden, who was recently awarded the

the arts. Redefine was recently awarded the International

2015 Art Award from the Turquoise Harmony Institute for

Sponsorship Award for its contribution to Buskaid’s 2014

her contribution to ‘uplifting South African society’ and

tour of the United Kingdom.

‘breaking down barriers to create diversity’ with music,

Andrew Konig, Chief Executive of Redefine, said

said: ‘Buskaid gives its young members a brighter future

Redefine supported Buskaid because of the well-

with the opportunity to follow a career in music.’ She said

documented, all-encompassing benefits of music

Redefine’s interest in Buskaid goes beyond its support of

education. Buskaid provides an opportunity for children

the school’s music events. ‘Redefine has an ongoing interest

in Diepkloof to learn and play classical music as part of

in developing a community with young people who will

a comprehensive after-care community service. Children

become consumers and take up their place in civil society.

benefit from string tuition of the highest quality. ‘An

The company understands that Buskaid is not just a music

exceptional music education is only the beginning

school – it has a much broader reach because of its social

of the value Buskaid brings into the lives of children.

impact on the community.’

Buskaid shares life skills and provides opportunities to

The Buskaid Ensemble performs around the country, with

disadvantaged children to become tomorrow’s leaders,’

an annual concert at the Linder Auditorium of the University

said Konig.

of the Witwatersrand. CF

12 / Creative Feel / November 2015

Romantic, splendid, tranquil

A

s Christmas creeps closer and the shops fill up with decorations and festive music, why not escape the madness and take a breather before

the Festive Season?

Break away to an oasis in the north of Pretoria and spoil yourself with a luxurious stay at Casta Diva Boutique Hotel – a home away from home, but with four stars. Nestled on the northern slopes of the Magaliesberg, and with 27 guest rooms to choose from, you are spoilt for choice.

Perhaps one of The Village rooms where you can enjoy a quiet afternoon in the courtyard, or maybe one of the five newest additions, Las Terrazzas, where Mexico meets Africa in a very chic manner. There is also The Dam where you and your partner can enjoy a sundowner on the deck, while watching the breathtaking African sunset and enjoying the peace pulsing from the neighbouring nature reserve.

For dinner, or lunch, you need not travel far as Casta Diva’s Charisma Restaurant offers á la carte menus for breakfast, lunch and dinner. Simply reserve your table and enjoy the elegant ambiance, attentive service and delicious cuisine. If the menu holds nothing for your mood, allow the host to inform you of the daily specials and perhaps that will tickle your fancy.

Have a look at the Facebook pages [Casta Diva, The Place To/Casta Diva’s Charisma/Casta Diva’s Vissi d’Arte] and stay updated with the events they host. The intimate 70-seater theatre, Casta Diva’s Vissi d’Arte, offers a platform for up-and-coming artists to showcase their talents. For the more classically inclined, there are often also classical performances in the elegant Charisma Restaurant, where the grand piano can actually play itself.

All in all, Casta Diva Boutique Hotel aims to create a peaceful environment where her guests can simply enjoy their time in a peaceful and tranquil environment. With hidden spots in the vast garden you can easily find a quiet place to take in the beauty of nature.

Visit the Casta Diva profile on Tripadvisor.com and see what some of her other guests experienced during their stay at this one-of-a-kind boutique hotel. Book your room and enjoy a break like no other at Casta Diva Boutique Hotel, the place to simply just… be. CF

Creative Feel / November 2015 / 13

Conductor Lykele Temmingh.

Photographs by Val Adamson

Tenors Siphiwe Mkhatshwa (left) and Thami Mqaba (right) alternate in the narrative role of Ubuntu

Director, designer & choreographer David Krugel

Ubuntu – The Opera: A world premiere D

urban’s Playhouse will be the scene of a major

Temmingh. With Burgers as its creative and artistic director,

landmark on the South African arts calendar

vocal coach and repetiteur and Raphael Vilakazi as its

this month with the world premiere season

executive producer, Ubuntu – The Opera is directed, designed

of Ubuntu – The Opera by Juan Burgers. Funded by the National Lotteries Commission and presented under the

and choreographed by David Krugel.

Principal casting includes the rising young soprano

auspices of Esayidi FET College in collaboration with Bravo

Charlotte Mhlongo as Gaia, with tenors Thamsanqa Mqaba

Africa Entertainment, the production will be given five

and Simphiwe Mkhatshwa alternating in the pivotal role

performances in the Playhouse Opera Theatre between 17

of Ubuntu, who remains on stage throughout the opera.

and 22 November 2015.

Baritones Monde Masimini and Njabulo Mthimkhulu share

Burgers’ creation is presented as a 21st anniversary salute to South Africa’s democracy, offering a magnificent showcase

the role of Nelson Mandela.

Sopranos Khumbuzile Dlamini and Nomsa Mpofu alternate

of some of the country’s finest operatic talent. Set to a score

in the role of Winnie Mandela; baritones Musa Ndadane and

underpinned by the composer’s strong melodic drive and his

Thamsanqa Khaba share the role of Albert Luthuli, Richard

bent for richly conceived vocal and orchestral writing, the

Salmon plays Judge Quartus de Wet; Raimondo van Staden

heroic work is written in two acts with a prologue.

appears as Bram Fischer, and tenor Cobus Venter sings the role

Burgers’ stirring libretto focuses on key events in the years of struggle against apartheid, with the iconic roles of Nelson

of the public prosecutor, Percy Yutar.

Tickets range from R120 to R230 (pensioners, students and

Rolihlahla Mandela and Winnie Madikizela-Mandela as its

scholars pay R90). Block bookings of 10 or more qualify for a

inspiring figureheads. Their marriage as seen in the context of

10% discount, block booking of 20 or more benefit from a 20%

the opera proves to be the catalyst against which the broader

discount off ticket prices. Tickets are available at Computicket

backdrop of the struggle is depicted. They share the stage

at Shoprite Checkers outlets, telephonically on 0861 915 8000

with other great struggle icons such as Inkosi Albert Luthuli,

or online at www.computicket.com. Alternatively, call the

Walter Sisulu and Govan Mbeki, among others.

Playhouse box office on 031 369 9540 (office hours).

Aside from the principal cast, the production features

Ubuntu – The Opera has an age restriction of 13 years due

a powerhouse chorus of some 60 singers performing with

to graphic scenes depicted on stage. For updates about the

the KZN Philharmonic Orchestra under the baton of Lykele

production and its team, visit www.ubuntutheopera.net. CF

14 / Creative Feel / November 2015

Creative Feel / November 2015 / 15

5 2 Years

Celebrating ason e S e v i t s e F s i h t ic

of Maqoma Mag

An explosion of dance, music and entertainment will lift the roof of Gold Reef City’s Lyric Theatre on 3 and 4 December 2015, when Greg Maqoma and Friends take to the stage to toast Maqoma’s 25 remarkable years as a professional dancer.

I

n honour of this milestone, Gregory Maqoma will be

As the head of a thriving contemporary dance company,

joined by members of the Vuyani Dance Theatre company,

he continues to grace the world’s stages with impressive

as well as songbird Sibongile Khumalo, vocal-harmony

works rooted in his personal experiences of South Africa and

group the Complete Quartet and fashion designer David Tlale

the world, including high-profile international collaborations.

– in a show brimming with surprises and unexpected delights.

During his distinguished career, Maqoma has collaborated

Conceived by Maqoma and directed by Vuyani Artistic

with numerous South African artists, including dancers,

Director Luyanda Sidiya, the 2015 Standard Bank Young

prominent musicians, actors, film directors, visual artists and

Artist for Dance, Greg Maqoma and Friends will pay homage

noted fashion designers. He will be joined by some of these

to Maqoma’s quarter-century in the arts – as dancer,

industry luminaries on stage during Greg Maqoma and Friends,

choreographer, industry shape-shifter, mentor, teacher and

in an evening toasting the power of partnerships and the

social entrepreneur.

influence of this dynamic creative force.

The founder and executive director of Vuyani Dance

In addition to the likes of Khumalo and Tlale, Maqoma

Theatre has travelled a long road, strewn with achievements

will be joined on stage by about 200 children who benefit

and accolades, since 1990.

from Vuyani’s outreach projects – a tangible embodiment of

Born in Soweto, Maqoma grew up near a hostel and was fascinated by the migrant labourers who would dance there

his company’s arts legacy.

Over two nights, Johannesburg audiences can expect a

over the weekends. It eventually dawned on him it was their

festive entertainment spectacle brimming with dance, live

way of dealing with their displacement as well as their dire

music and nostalgic highlights. They will witness how, at the

personal circumstances. Little did the teenager know that he

age of 42, Gregory Vuyani Maqoma’s dancing still pulsates

would later inspire others to lift themselves out of similarly

with strength and vitality, seasoned with a richness that

disadvantaged backgrounds through the arts.

comes through knowledge and experience, and will see just

At the age of 16, he enrolled for dance training at Moving Into Dance (today Moving Into Dance Mophatong), to which he would return in 2002 to serve a five-year stint as associate artistic director.

Today, Maqoma is an internationally renowned dancer, choreographer, teacher, director and scriptwriter who has

why this trailblazer continues to captivate audiences from Beijing to Barcelona.

Greg Maqoma and Friends can be seen at the Lyric at Gold Reef City on Thursday, 3 December and Friday, 4 December 2015. Booking is open at Computicket and tickets start at R140.

Vuyani Dance Theatre gratefully acknowledges the support

played a pivotal role in developing the arts on the continent,

of the National Arts Council, Rand Merchant Bank and

particularly dance.

Business & Arts South Africa. CF

16 / Creative Feel / November 2015

Greg Maqoma & Friends

Photography: Marijke Willems

25 Years of Extraordinary Dance

Featuring: Sibongile Khumalo, David Tlale, Complete Quartet & Vuyani Dance Company Directed by Luyanda Sidiya 3 & 4 December At Gold reef city Creative Feel / November 2015 Book at / 17

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

F

or festivals across the globe, street parades have

The theme for this year’s parade, Trans Formations/

become a dynamic way to either open or close

Trans Actions, celebrated the dual role that the arts play

a festival. A street parade brings an enormous

as a platform for social cohesion and also as a dynamic

amount of frivolity, colour and excitement to a

force that drives the creative economies. Drawing on the

festival. Parades are highly coordinated events. They often

participation of community groups, schools and local and

have rigidly choreographed moves. They are planned for

visiting artists, the street parade is a joyous celebration

months in advance. The real magic about street parades

with crowds lining the streets of Grahamstown.

lies in its openness to allow anyone to join the throng of performers in the street.

At the National Arts Festival in Grahamstown, the annual

Often, when I nostalgically think about how our first parade began, I have a good laugh about how a little dinner conversation could lead to an event that has now

street parade has established its reputation as the gong that

become so embraced by the Grahamstown community.

Business and Arts South Africa Chairman Kwalene Gumbi; Gareth Walwyn; Matthieu Maralack and Minister of the Department of Arts and Culture, Nathi Mthethwa at the 18th Annual Business Day BASA Awards, partnered by Hollard. Photograph by Gareth Jacobs

The Trans Formations / Trans Actions sixth annual Street Parade in Joza for the 2015 National Arts Festival in Grahamstown. Photograph by Sithasolwazi Kentane

signals the closing of one Festival and the possibilities that

With ten guests at my dinner table who were project

will inspire the next Festival. This year, the Street Parade

leaders of various community arts initiatives, the idea of

was presented for the sixth consecutive year.

the inaugural parade was born about two weeks before the

Filled with entrancing sounds, captivating sights, moving textures and an inspiring spectacle of different

actual start of the Festival.

It was environmental artist Dylan McGarry who

colours, the street parade is a broad-based community

suggested that we bring the various community projects

celebration. Giant puppets, stilt-walkers, marching bands

together in a parade. McGarry was working with a group

and street dancers form a long and colourful procession

of artists to recycle materials that they rescued from the

that winds through the streets of Grahamstown.

local dump-yard into colourful puppets. Mime artist and

18 / Creative Feel / November 2015

actor Richard Antrobus, who was also at the dinner, was

was born. On the last day of the Festival in 2009, the ten

teaching a group of six community-based artists how to

project leaders gathered their teams on the Drostdy Lawns

stilt-walk. Community arts facilitator Merran Marr was

at Rhodes University. From there they marched on the

working with a group of township artists, teaching them

pavement winding down several pavements to the public

how to make giant puppets.

park in African Street. The colourful pavement of giant

The three of them took the lead in persuading me that

puppets, stilt-walkers, clowns, mime artists and percussions

they would be able to pull off a successful street parade in

grabbed much attention. As the procession marched on

the fortnight leading to the Festival. From their bubbling

the pavement, cars stopped in the streets with onlookers

enthusiasm I needed little more convincing. We swopped

wanting to take photographs. It was all quite absurd!

our dinner plates for the drawing board.

The stumbling block came the next morning when

In the years to follow, the Street Parade has grown significantly in size and stature. It now takes place on

the local municipality declined permission for the Street

both days over the last weekend of the Festival. For

Parade. Their reasons for declining the parade were

international artists visiting the Festival, the Street

legitimate and fair. It was too little time to get city officials,

Parade is a wonderful opportunity to showcase their

particularly the traffic police, to close off the streets at such

traditional costumes and dance.

short notice.

More than just artists, we all at the dinner table were

Started as a small act of rebellion, the parade now enjoys full municipal support. Over the past three years

also community activists. We realised that a parade

the planning of the Street Parade has been entrusted to

was more than just a colourful event with floats, drum

the Arkworks Project, directed by Gareth Walwyn and

The Trans Formations / Trans Actions sixth annual Street Parade in Joza for the 2015 National Arts Festival in Grahamstown. Photograph by Ruan Scheepers

The Trans Formations / Trans Actions sixth annual Street Parade in Joza for the 2015 National Arts Festival in Grahamstown, Photograph by Ruan Scheepers

majorettes and giant puppets. For us, the Street Parade was

Shiloh Marsh. The Arkworks Project was recognised at the

going to be a dynamic way of democratising arts access

annual Business & Arts South Africa Awards for drawing

and for allowing locals in Grahamstown to take ownership

in the support of the local business, African Musical

of the streets in a festive mood. South Africa has a long

Instruments, from whom all the drums that are beaten at

history where streets are owned for protests and toyi-

the Parade are obtained.

toying. We wanted to change that.

Disappointed that we weren’t granted permission,

A small dinner conversation with a little act of rebellion that followed gave the city of Grahamstown a project that

we went back to the drawing board. The idea of a street

it can call home-grown. The accolade that African Musical

parade was abandoned. The notion of a pavement parade

Instruments received was a perfect homecoming too. CF

Creative Feel / November 2015 / 19

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

D

ays ago I read that many social sciences and

to business school education, noting, ‘Evidence suggests

humanities faculties in Japan’s universities

that business students are not only impaired in their moral

are to shut down. It follows a letter from the

judgments but that significant percentages of them have

Japanese education minister, which called on

severely impaired moral imaginations. By this I mean not

the institutions to take, quote ‘active steps to abolish social

only do they make bad ethical decisions, but they actually

science and humanities or to convert them to serve areas

are incapable of identifying an ethical situation when they

that better meet society’s needs’ unquote.

are presented with one.’

Whilst the arts and the humanities in general don’t

That the motor company could cheat on its customers,

serve all the needs of society (we would be arrogant to

undermining an historical brand, talks directly to how

think they did) they are a powerful reminder of whom we

some members of the private sector may still view their

are, and should not be discarded at any cost.

role in society, a view that may be impeded by a lack of

The humanities are called The Humanities because

imagination as to the role of business in 2015. Do Milton

that’s what they are able to teach us – what makes us

Friedman’s theories still ring loudly, decades on – most

human and active citizens in society. In fact, if you look up

likely they are still the holy grail in business schools world-

the synonym for ‘humanities’ – the word ‘society’ comes

wide – that the function of the corporate is the simple drive

up. That they are being discarded and disregarded, not just

towards a return on investment, and the growth of profit?

in Japan, but even here in South Africa, is something to be

(Within the law, of course. Of course). That the students

concerned about. (As I write this, I must admit to feeling

lack the imagination to even identify the ethical issue, as

a total frustration. I know that I am preaching to the

described by Queen, raises the burning question of how the

converted, singing to the choir. After all, the only reason

business world deals with (or could deal with) the ethical challenges that they are faced with on a daily basis. Do

Whilst the arts and the humanities in general, don’t serve all the needs of society (we would be arrogant to think they did) they are a powerful reminder of whom we are, and should not be discarded at any cost

they truly believe in the concept of Shared Value, as argued for by Kramer and Porter? Furthermore, how could they address these challenges differently? If the humanities, and the arts, were inserted across disciplines, we might see a growth in citizenship and sustainability across the private, public and third sectors.

Imagination, creative thinking, cultural intelligence, and emotional intelligence are all hard-wired into the

you are probably reading this column is because you have

teachings of the humanities and social sciences – and the

a passion for creativity and the arts, both of which are

opportunities they offer the private sector go way beyond

covered gallantly and beautifully in this magazine itself.)

simple marketing or CSI exercises. Even the sciences have

But there is a valid argument for the humanities that

started to engage overtly with the arts, as can been noted

has emerged in the wake of the VW scandal – where the

by the exciting interdisciplinary Symposium on Science and

company intentionally cheated its diesel-driving customers,

the Society that recently took place in Cape Town. Through

and society in general. The argument was highlighted by a

language, literature, visual arts, film, music and theatre

fascinating article by Edward Queen, Director of the Ethics

a powerful narrative is created, one which supports the

and Servant Leadership Program at Emory University in the

amplification of difficult concepts – ethically, scientifically

United States. In his article on the VW scandal, Queen talks

or otherwise. CF

20 / Creative Feel / November 2015

Creative Feel / November 2015 / 21

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

‘M

y thatched roof has been very honoured

Valeska Gert, the artist who revolutionised dancing in the

this afternoon as Thomas Mann was

1920s, died on the island in 1978.

spending his time here.’ This quote, from Siegfried Jacobsohn, editor of the

internationally renowned Berlin weekly cultural magazine, Weltbühne, is taken out of a letter he wrote to his friend

The poets Max Frisch and Carl Zuckmayer met their publisher Peter Suhrkamp on the island to discuss their ideas, projects and visions or to discuss their latest texts.

There was a time when all the stars of the German

Kurt Tucholsky, himself a famous writer, in 1922. ‘The old

cultural community were summer visitors on Sylt. ‘From

Waterkantler had not known the island before and fell so

now on I will rather tell you daily who has not been here,

much in love with it that he either wanted to buy a Frisian

as this is the minority,’ Jacobsohn wrote in the same letter

home or some land.’ In the end he did not buy any property

to his friend Tucholsky.

Quellenhaus

on the island of Sylt but became an enthusiastic summer

The Watt around the island of Sylt

No wonder that a lot of works and topics that had been

visitor, who often returned to Sylt in the following years

created in those years before World War II and had made

before the Nazis took over and the ‘magician’ went into

their noise in the world had their roots or were completed on

exile. ‘By this harrowing sea I deeply lived,’ Thomas Mann

this tiny island in the North Sea.

wrote in the guest book of his Sylt patron, actress Klara

This liberal-minded and creative tradition was cut

Tiedemann, in 1928. When he was looking for some urban

sharply with the advent of the Nazi regime, the war and

distraction, the famous writer and Nobel Prize winner did

leaden times following.

not need to travel far.

Regular visitors to the island were the composers

Of the artists that flocked to the island over the centuries, one of the most famous was the expressionist

Friedrich Hollaender and Otto Klemperer, the theatre expert

Emil Nolde, who built his home on the mainland not far

Herbert Ihering and the dancer Valeska Gert, who fell so

from the island. Sylt had always been famous for its light and

much in love with Sylt that she came back after the war and

horizon, its ever changing weather conditions, its stormy

exile. She stayed in the small village of Kampen, where she

sea and flowering salt marshes, but artists abandoned the

opened the ‘Ziegenstall’ (goat shed), a cabaret lounge and

island and discovered new places. Sylt became a holiday

bar, where intellectuals and celebrities met and partied.

destination for the rich and an altar for mass tourism.

22 / Creative Feel / November 2015

The island became famous for its parties and VIPs, the

get together to work on a common project, the results of

internationally renowned playboy Gunther Sachs was the

which might be shown in other art institutions around

leading figure of a crowd that came to enjoy themselves.

the world or in the gallery of the Sylt Foundation. It is an

Later on, the captains of industry, who became wealthy in

inspiring place – and a free place.

the German Wirtschaftswunder, bought big houses for their families and met on the island in summer.

Most of the works are only loosely connected with the island of Sylt, if at all; the guests are free to choose their

When the Sylt Foundation was founded in 2000, the idea of the artist island was long gone and Sylt’s reputation for

own themes.

But the island, with its extreme weather conditions,

the arts was shattered. So in 2000, when the first artists came

is a perfect foundation for artistic work as German

to live and work on the island, it was the continuation of a

playwright Falk Richter explains: ‘it takes a few moments

historically close and fruitful relationship between the arts

and then one comes close to one’s inner self again...

and the island.

only the essential things speak out and nothing distracts

The Sylt Foundation is located on the site of a natural

you from your work, while the completely unpredictable

water reservoir and bottling plant called the Sylt-Quelle. The

weather performs an entire drama itself – wind, rain, sun

German word Quelle means source; an appropriate word, as the

and hale all within a day.’

Sylt Quelle Foundation is intended as a place of beginnings:

The island as a playground for the arts has also found

of ideas, of creative projects. The Sylt Foundation consists of

its way into South African culture: be it in Strijdom van

a gallery, a large production hall, and three apartments for

der Merwe’s land art, Andrew Tshabangu’s photos, Jaco van

artists. The buildings are set in a wide, open space which is

Schalkwyk’s paintings or Berni Searle’s installations. Poet

used for installations and open-air events and which unifies

and cultural activist Raks Seakgwa shared his idea of the

Flood by Setlamorago ‘Mash’ Mashilo. Photographs by Rayka Kobiella

the modern architectural complex into an exciting meeting

island, Sylt being the first island he experienced after being

place. The gallery is located in the Quelle building: a light,

imprisoned in Robben Island for so many years.

uncluttered exhibition space in which temporary exhibitions of international contemporary art take place.

South African artist David Koloane and Scottish writer A.L. Kennedy met on Sylt and mused about the nudist beaches, which are an integral part of the island summer

In the Rhythm of the Tides

culture. What emerged is an incredibly exciting dialogue

The nature of the island, the contradictions of mass

about how a South African who grew up in apartheid feels

tourism and the search for tranquillity, the loneliness in a

when seeing a naked white person and to compare it with

strange place, make this island a perfect place for artists to

the experience of hostility to the body, as Kennedy feels

experience, to think and to reflect. Something always takes

rooted in Scottish Calvinism.

effect on all the international writers, musicians, painters

‘The poets come and go, they read their stories and

and filmmakers who are invited to the small town of Rantum

poems to three or a hundred listeners – they read in the very

with its 400 inhabitants. Some spend night after night

lap of the sea between the Wadden Sea and the flood. The

discussing the meaning of life with others. Some barricade

wind is whistling and the seagulls are cruising above the

themselves in their flats for weeks on end. And then others

house and the heads of the poets’ (Cora Frost). CF

Creative Feel / November 2015 / 23

Phillemon Hlungwani, Xilo xi n’wana ni n’wana xi ni nkoka eka nwinyi waxona. Linocut, 101x198cm, Workshop Proof. R40 000 incl.

Auctions and Exhibitions 24 / Creative Feel / November 2015

In November, Newtown’s Artist Proof Studio holds two important events. To raise money for their Education Endowment Fund, an art auction organised by Strauss & Co is set to take place on the 19th. This is followed by an exhibition of new work on 29 November, both happening at the Absa Gallery in Johannesburg. Natalie Watermeyer spoke to Artist Proof Studio Cofounder and Director, Dr Kim Berman about the upcoming events.

Creative Feel / November 2015 / 25

Bambo Sibiya, Modern Barber. Pastel and charcoal on canvas, 101x207cm, 2015. R28 500 incl.

A

rtist Proof Studio (APS) in Newtown is

David Koloane, Helen Mmakgabo Sebidi, Chris Diedericks,

a great place to visit if you’re a fan of

Paul Edmunds, Cameroonian artist Joel Mpah Doo, and

printmaking and original prints. While

Sandile Goje (and many others).

students and staff go about their work upstairs, it’s possible to browse through a

There are also a number of pieces by Handspring Puppet Company’s Adrian Kӧhler, including the studio proof of

vast array of original artworks. Now, with their Endowment

his War Horse print, which sold out last year through Rand

Auction coming up, APS has raided their archives for

Merchant Bank. Included is an unusual portfolio of work

some of the rarest and most sought after works in their

created during an exchange between San artists from the

possession. This means that art collectors will soon have

Kuru project in Botswana and the Crow Shadow Studio,

the chance to acquire pieces – including some that are

an American Indian print workshop in the United States,

otherwise unobtainable, along with work by some of the

coordinated by Master Printer Eileen Foti. All ten artists

institution’s most successful alumni.

represent stories of their respective creation myths, which,

Browsing through some of the work set aside for the

says Berman, have ‘quite a lot in common.’

auction is particularly thrilling: the prints are beautiful,

A number of high-end original drawings will also

and the list of artists reads like a who’s who of the local

go under the hammer, donated by William Kentridge,

art world. There are a few prints by Phillemon Hlungwani

Norman Catherine, Phillemon Hlungwani, Nelson Makamo,

– himself a graduate of APS and now rapidly establishing

Lehlogonolo Mashaba, Colbert Mashile, Diane Victor,

himself as one of the country’s leading artists – along with

Mongezi Ncaphayi, Bambo Sibiya, and Samson Mnisi.

work by other leading APS alumni and luminaries such as

But the ‘game changer’, as Berman refers to it, is a piece

Walter Oltmann, Norman Catherine, Diane Victor, Gerhard

entitled 8 Figures from William Kentridge’s Procession

Marx, Willem Boshoff, Colbert Mashile, Rosemary Marriott,

series. ‘This piece is extraordinary in that he’s hand-carved

26 / Creative Feel / November 2015

the entire lino-cut block himself,’ she notes. The edition sold out immediately, so the appearance of this work on auction is a rare opportunity for art collectors.

The point of the November auction is to raise money to establish an endowment trust fund for Artist Proof Studio. This is needed both to enable long-term planning, and to pay for student bursaries. APS takes in about 40 new students every year – between 60 and 70 students in total – very few of whom pay fees other than registration. ‘Most of the students get a place because they’re exceptionally talented and want to make a living as an artist,’ explains Berman. ‘We believe they have the potential, but they either don’t have the funds or necessary matric qualifications to take on university studies. This is a viable tertiary education option for them. So it is an unusual organisation, in that we subsidise all our students through corporate partnerships or our patron programme. Hence the need for the endowment fund, given that grant funding is very limited at the moment. We used to get a lot more funding from the government SETA learnership subsidies, which kept us going. Now more than 70 per cent of our income sustains the studio through sales of artwork... So we need continual support for our education programme, which is never going to be selfsustaining – although our operations sustains itself.’

Graduates of Artist Proof Studio go through three years of training, with a fourth year post-graduate internship.

‘The internship is usually paid, so we try and raise money to provide a stipend,’ says Berman. Artist Proof Studio consists of five units – their education programme, a gallery, the proshop (where master printers work alongside artists to create

This means that art collectors will soon have the chance to acquire pieces including some that are otherwise unobtainable, along with work by some of the institution’s most successful alumni. printed works), special projects, and administration. ‘Fourth years get placed in all of those, to get work experience,’ says Berman. ‘Some of them rotate, but some really just find their niche. Interestingly, a lot of the ones that have made it, like Bambo [Sibiya], Mongezi [Ncaphayi], and Nelson [Makamo] – they all ran in the gallery... they used the network to market and sell their own work through APS.’ Some of the selected interns then go on to a fifth year working for the studio on contract. In this way APS is continually expanding and creating many job opportunities Moreover, ‘training active citizens is part of our programme,’ says Berman. ‘Not only should the students be

Creative Feel / November 2015 / 27 Adrian Köhler, Penelope. Linocut, Edition of 12, 2015

David Koloane, Untitled. Etching, 105x198cm, TP 1 of 1, 2013. R39 900 incl.

talented visual artists, but they engage in community and

One of these patrons is Lauren Woolf, who also works

outreach programmes. For example, we partner with human

closely with APS in a mentoring capacity. ‘The money raised

and gender rights advocacy organisations, where students

during the auction goes towards the education of young,

paint murals or volunteer in some of the “Arks” that provide

naturally talented artists and helps them make art a viable

after school art classes for orphans and vulnerable children

career,’ she says. ‘The proof really is in the alumni that have

in Soweto. A key part of our programme is special projects,

come out of here. The dream is to become a self-sustaining

which create opportunities for our students to get involved in

artist, to take your raw talent, fine tune it – in this case in

addressing the problems of the city.’

printmaking – and make a living; in some cases, even to

Certain students have patrons, either corporations or

become “famous”. Already in second and third year, these guys

individuals, who provide a stipend of about R12 000 to

have the opportunity to sell their work... You look at all the

R15 000 a year for materials over and above their APS subsidy.

alumni coming out of APS, it’s incredible what they’ve been

‘It gives a special impetus to the students,’ notes Berman.

able to achieve – all these artists that are now influencing

‘Most of the students require extra financial assistance, and

the South African art environment, and motivating, inspiring

having someone invest in your career makes a huge difference

young people to take up art, to be part of that legacy.’

in output and ability to buy extra materials over and above what we provide to the class.’

28 / Creative Feel / November 2015

APS graduates seem to be everywhere. At the recent relaunch of August House, a huge downtown block that

William Kentridge, Eight Figures, 2010

supplies artists with studio space, many of those taking up residence proved to be formerly of APS. For example:

But the ‘game changer’, as Berman refers to

Lehlogonolo Mashaba, whose huge mural towers above visitors to the Absa Gallery; Nelson Makamo, who exhibits

it, is a piece entitled 8 Figures from William

internationally and is represented by Everard Read; and

Kentridge’s Procession series. "This piece

work has sold out. Also Bambo Sibiya, who won the Absa

a young graduate, Themba Khumalo, whose most recent

is extraordinary, in that he’s hand-carved

L’Atelier Gerard Sekoto award in 2012 – as did Mongezi

the entire lino-cut block himself," she notes.

amongst the L’Atelier finalists). Several have gone on to

The edition sold out immediately, so the appearance of this work on auction is a rare opportunity for art collectors

Ncaphayi, in 2013. (APS students feature fairly regularly set up their own printing studios, at both August House and Assemblage.

Other notable graduates include Sizwe Khoza, Senzo Shabangu, Jan Tshikuthula and Nicholas Hlobo, who studied at APS before going on to the University of Johannesburg.

Perhaps one of APS’s greatest success stories at present is

Creative Feel / November 2015 / 29

Rosemarie Mariott, Vlug. Linocut, 128x102.5cm, BAT. R6 840 incl.

Phillemon Hlungwani, who spent roughly nine years training and working at the studio.

Hlungwani worked ‘on everything from cleaning floors

In a review of a recent show by Hlungwani (which sold out before it even opened), Berman notes that ‘Read has given Phillemon at least six solo shows, many of them sell-outs.

to doing outreach, whatever he could do on a day-to-

The success of this artist is incredible, and the mentorship

day basis,’ recalls Berman. ‘It took him time, but he was

by Read is an artist’s dream come true. Phillemon’s prices

completely focused.’ At his first solo show in 2008 (also at

rocketed from the modest R2 000 to R5 000 for a print, to

the Absa Gallery, and organised by APS), Hlungwani was

ten times the cost in a space of two years and now 20 to 30

noticed by Trent Read of the Everard Read Gallery, and

times in five years. His limited edition prints sell for over R60

subsequently taken on as one of their stable of artists.

000 to R100 000, rivalling the values reached by the work

30 / Creative Feel / November 2015

of William Kentridge’. Read, in turn, describes Hlungwani as ‘a draughtsman of staggering capabilities and... no longer an emerging talent but one of our finest artists.’

Berman further remarks that while Hlungwani’s story ‘is extraordinary’, it ‘fits the profile of many aspiring artists arriving at APS with big dreams, lots of talent but minimal resources to support their pursuit of art.’ APS’s programme, and the opportunities made possible through its extensive network – for example, access to mentorship and inspiration from other, established artists, the support of patrons, residencies and exchanges – sometimes looks more effective and appealing than other, paid tertiary programmes.

The upcoming auction, then, will raise funds with a view to supporting the continuation of APS’s success story. Much of the work to be auctioned will be on show at the Absa Gallery from 12 November. Art will also be exhibited online through Strauss & Co (viewers will be able to enter online bids prior to the actual auction). There are roughly 120 lots, of which around 40 of the larger, higher value works will be sold at the final auction at the Absa Gallery on 19 November.

Ten days later, on Sunday 29 November, a big public opening launches an exhibition of new work from Artist Proof Studio, again at the Absa Gallery. All of the work on exhibition will be available for sale, and the exhibition will run until the end of January.

The Absa exhibition will feature new releases from both students and alumni. In addition, it will show works from some of the studio’s special projects. Multiple award-winning artist and APS master printer, Bevan de Wet (whose work will also appear on auction) has been collaborating on an embroidery project with a craft collective based at APS called Ikageng, in creating large fabric portraits that will be included in the show.

Also set for exhibition is paper-based work created in conjunction with the Phumani paper mill, which runs through Berman’s unit at the University of Johannesburg, where she is based full time as an Associate Professor in the Faculty of Art Design and Architecture. Master printmaker Nathi Ndladla, who is also an expert in making paper, has worked with a number of artists in creating pieces from paper pulp: ‘it’s a medium that’s new to South Africa, but it’s catching’, says Berman.

All in all, this is an incredibly busy season for the studio.

With the auction and the subsequent exhibition hot on the heels of Rand Merchant Bank’s annual WineX, where several students had the opportunity to showcase their work and put forward ideas for wine labels, Artist Proof Studio’s year seems set to end in a flurry of activity.

Next year, Artist Proof Studio will celebrate their 25 year anniversary. If all goes well, they will be set to flourish long into the future. CF

Lehlogonolo Mashaba, Integration I. Mixed media drawing, 175x108cm, 2015. R47 854 Incl.

Creative Feel / November 2015 / 31

The ‘Art of Printmaking’ meets the ‘Art of Wine’ Artist Proof Studio (APS), in association with Arte Vita Mastrantonio and Rand Merchant Bank, presented the concept of ’good living’ through a thoughtful curation of exceptional art, food and wine. To celebrate this collaboration, APS selected eight talented and passionate printmakers to create a limited edition series of detailed wine label artworks, exclusively for RMB WineX 2015.

Themba Khumalo, Mid-night Drive, Etching, 2015

Lebogang Sithole, Lolly Pop, Drypoint, 2015

Themba Khumalo

Jan Tshikhuthula

Khumalo was born in 1987 in Soweto. He graduated in

Tshikhuthula was born in 1983 in Tzaneen, South Africa.

printmaking at APS where he obtained a SETA Accredited

In 2005 he studied at the Matongoni Art Academy under

Design Foundation Certificate and went on to complete a

the mentorship of Avhashoni Mainganye who encouraged

Professional Printmaking course under the sponsorship

him to specialise in printmaking at the APS. He then

of Pinpoint One at Artist Proof Studio (2009). Apart from

moved to Johannesburg where he obtained his Professional

printmaking, Khumalo works on various mural projects in

Printmaking Certificate from APS in 2010.

his community and the inner city.

Lebogang Sithole David Tsoka

Sithole was born in Johannesburg in 1989. He attended

Tsoka was born in 1992. He started at APS in 2011 and

school at Raphela Secondary. After completing his matric

graduated in 2014. He is currently working towards being a full-

in 2008, he attended APS where he completed three years

time artist and is doing an internship in the Pro-Shop at APS.

of training.

32 / Creative Feel / November 2015

Nkosana Nhlapo, Bottled Memories, Etching, 2015

Phillip Mabote, In My Own Words, Linocut, 2015

Nkosana Nhlapo

Sizwe Khoza

Nhlapo was born in Reitz in the Free State. He started his art

Sizwe Khoza was born in Mozambique and moved to South

career at the Soyikwa Art Academy in Diepkloof, Soweto. He

Africa in 1995. Khoza graduated from APS in 2012 and was

graduated from APS in 2013.

one of the top students in his class. Following an internship

During his time at APS, he has been exposed to community

with APS, Khoza is a teacher in printmaking for first and

outreach programmes and various special projects.

second year students.

Alex Vosloo

Phillip Mabote

Born and raised in Johannesburg, Vosloo received his National

Mabote was born in 1982 in the Eastern Free State (Qwa-

Diploma in Visual Arts from the University of Johannesburg in

Qwa). He now resides in Braamfischerville, Johannesburg.

2013. In 2014, Vosloo completed the practical component of

Mabote completed his printmaking training at APS. He

his B-Tech degree with distinction. Currently, Vosloo works at

currently works as a facilitator in the outreach programme

APS where he prints editions for a number of artists.

at APS and is a practicing artist.

Alex Vosloo, Eye See, Screen Printing, 2015

David Tsoka, All in forms II, Linocut, 2015

Creative Feel / November 2015 / 33

Wine Made Art In introducing the use of wine as an artistic medium, TOKARA has brought a literal twist to the age-old communion between fine art and fine wine. This year, the brand celebrated ten years of Wine Made Art with an exhibition at the TOKARA Estate that travelled from Stellenbosch to Sandton, the financial heartland of South Africa, to show at RMB WineX, SA’s premier wine festival.

Didi Oosthuizen, Balonne, TOKARA Wine Made Art 2015

34 / Creative Feel / November 2015

T

OKARA, the Stellenbosch wine farm owned by

Jacques Dhont, Wilma Cruise, Guy du Toit, Isabel Mertz,

GT and Anne-Marie Ferreira, is no stranger to

Sarel Petrus, Ian Redelinghuys, Desmond Smart, Nicolene

the art world. Embodying GT Ferreira’s belief

Swanepoel, Lionel Smit, Angus Taylor, Egon Tania and

that ‘good wine, good food and good art combine

Strijdom van der Merwe.

together to make a great lifestyle,’ TOKARA has long

Ten years ago, TOKARA took the relationship between

celebrated fine art as an integral part of their operation

art and wine an innovative step further by introducing a

– creating spaces throughout the Estate where unique

literal twist: the creation of art from wine. The inventive

artworks are experienced and artists showcased.

idea was conceptualised by then TOKARA Marketing

Each year, a variety of exhibitions curated by Julia

Manager, Karin Alant, who called on Cape Town advertising

Meintjies, an authority on South African historical and

agency Riot (now Coley Porter Bell) to execute it. The

contemporary art, are hosted by TOKARA. The exhibitions

campaign, entitled Wine Made Art, subsequently earned Riot

provide an opportunity for visitors to appreciate and buy

a Gold Loerie Award.

works by some of the country’s leading art talent. The

Wine Made Art has continued as an annual project

most recent of these, entitled Harbinger, featured works by

for the past ten years, with the Marié Stander School of

Gerhard Marx, Ghana’s Owusu-Ankomah, Claire Gavronsky,

Art partnering the initiative for the last five. Painting

Maraleen Jonker Arangies, Celebrate a legacy, TOKARA Wine Made Art 2015

Francia Morris, Celebrating of the Wynvliegie, TOKARA Wine Made Art 2015

Maroli van der Merwe, Table, TOKARA Wine Made Art 2015

Walter Oltmann, Regi Bardavid, Guy du Toit, Johann

exclusively with TOKARA Shiraz, students create artwork

Moolman and Gina Waldman – alongside tapestries created

in response to a different and challenging theme each year.

by William Kentridge in collaboration with the Marguerite

Marié Stander, a practicing artist, encourages her students

Stephens Tapestry Studio.

to experiment with a variety of mediums. When the

The TOKARA Estate also features a sculpture garden, founded in 2011 by Anne-Marie Ferreira and Ilse Schermers. This art haven, which is located in the

opportunity arose for her to partner with the Wine Made Art campaign five years ago, she relished the challenge.

Finding a method to capture the Shiraz’s rich burgundy

delicatessen gardens, was opened with an exhibition

hue on canvas took an immense amount of experimentation,

presenting both traditional and contemporary sculptors

research and tenacity. Simply painting a layer with the

including: Andries Botha, David Brown, Marco Cianfanelli,

unadulterated wine produces an insipid lilac effect. Guided

Creative Feel / November 2015 / 35

TOKARA Restaurant interior with Harbinger exhibition displayed

by an old Voortrekker recipe for ink, Stander and her

business philosophy of ‘Traditional values. Innovative

students perfected a method of preparing the Shiraz for use

ideas’. ‘As an avid supporter of South African arts, culture

as an art medium. The wine is boiled with a rusty nail and

and heritage, RMB’s linked patronage reinforces this

a white Protea leaf, creating the burgundy reduction the

conviction, which is why we are pleased to introduce

artists paint with. This technique successfully combines

innovative examples of wine-linked art this year. Our Brand

both tradition and innovation to produce an appealing effect

alignment with creative and intellectual excellence in the

reminiscent of watercolour.

arts presents this opportunity for the “art of business”, to

In commemoration of ten years of Wine Made Art, TOKARA launched an exhibition displaying the top 25 student-made artworks. The works were also exhibited at

embrace the “business of art” alongside the “art of wine”,’ adds Waterhouse.

For those who missed the Wine Made Art collection at

RMB WineX during October. Inspired by the resonance

RMB WineX, one can still see it at TOKARA Estate, amongst

between fine wine and wine art, RMB WineX broadened its

other art treasures, until the end of January 2016.

scope to embrace the ‘Art of Wine’ theme.

Carolynne Waterhouse, RMB’s Art Custodian, finds

TOKARA is open from 09:00 to 17:00 on weekdays and 10:00 to 13:00 on Saturdays and Sundays. For further

synergy with Wine Made Art’s blend of tradition and

information visit www.tokara.com, email

innovation with Rand Merchant Bank’s 32-year old

wine@tokara.com or phone 021 808 5900. CF

36 / Creative Feel / November 2015

ANNO

1722

TO KARA STELLENBOSCH

"Where wine, olive oil, art and cuisine meet in picturesque surroundings"

Wine Tasting www.tokara.com

I

I

Olive Oil

I

Art

I

Tel: +27 (O) 21 808 5900

Delicatessen

I

I

Restaurant

I

Creative Feel / November 2015 / 37

wine@tokara.com

@TOKARA_ZA

Gold medal winner Jordan Brooks. Photographs by Suzette Vorster-Van Acker (Kiekieme)

Young musicians from Cape Town sweep all medals and South African compositions feature at the 27th annual SAMRO Hubert van der Spuy competition A clean sweep for Cape Town’s younger generation musicians – that summarises the final round results of the 2015 SAMRO Hubert van der Spuy National Music Competition for instrumentalists. The gold medal and the substantial Johanna van der Spuy Memorial Prize went to Jordan Brooks (12) from Fairways, Cape Town. Leo Gevisser (12) from Rondebosch claimed silver and Naomi Fokkens (13) from Plumstead claimed bronze.

38 / Creative Feel / November 2015

T

he final round of the competition, now in its 27th year and the fifth year sponsored by the SAMRO Foundation, took place on 2 October before a capacity crowd in the Hugo Lambrechts

Auditorium in Parow, Cape Town.

SAMRO Foundation Managing Director André le Roux affirmed SAMRO’s investment as more than just financial.

‘This is an investment into the future, into fledgling talents who excel in this competition, participate in our flagship Overseas Scholarships competition nearly a decade down the road and ultimately become music ambassadors that South Africa can be proud of. As the Foundation also aims to preserve and promote cultural heritage, I am also thrilled that every one of the 60 competitors has to perform a South African composition as part of their repertoire.’

Hilda Boonzaaier, chairperson of the Competition’s organising body, (South African Society of Music Teachers, Tygerberg), said they are deeply indebted to their generous

Henkins of the same project, which claimed the prize for the most successful development project.

Best performance prizes were presented to Brooks

sponsors, especially the SAMRO Foundation, for continued

(Baroque first round), Gevisser (Classical second round) and

support. Echoing the sentiments of Le Roux, Boonzaaier

Brooks (Romantic third round).

believes that the ‘investment in young musicians will make [us] proud in the years to come.’

The best performance prizes for South African compositions went to Brooks for Allegro from Introduction

The 60 participants were selected to compete after

and Allegro by Alan Stephenson (first); Eike Coetzee from

auditions held in Pretoria, Bloemfontein, Durban, Port

Windhoek for Variazoni sopra una ninnananna by Hendrik

Elizabeth and Cape Town. They performed over two rounds

Hofmeyr (second); and Pendo Masote from Auckland Park

before being narrowed down to 25 semi-finalists for a third

for Lullaby by Alan Stephenson (third).

round on Thursday, 1 October and eight finalists for the gala concert on Friday.

The eight finalists were Jordan Brooks (12, from Fairways, violin); Jacqueline Choi (13, Durbanville, piano); Naomi Fokkens (13, Plumstead, violin); Leo Gevisser (12, Newlands,

Special prizes in honour of the late Leon Hartshorne, were presented to Gevisser as the highest scoring student of a national SASMT member, and his teachers Prof. Nina Schuman and Luis Magalhäes.

Natanja Uys and her teacher Elzaan Coetzee teamed up

Cape Town, piano); Leo Huan (12, Pretoria, piano); Pendo

for the Tygerberg SASMT Prize for the best achievement by a

Masote (11, Auckland Park, violin); Rin Matsuki (11, Pretoria,

student of the branch.

violin); and Natanja Uys (13, Plattekloof, violin).

Choi reached the final for a third time – in an unprecedented fifth appearance at the competition – with

Unisa prizes were also awarded to the winners of the various categories.

The adjudicators were Tinus Botha, senior piano lecturer

Gevisser and Huan repeating their feats of last year.

at North-West University; Andrew Moroosi, a seasoned

Pendo Masote with his parents

Hilda Boonzaaier and Hubert van der Spuy with all the award winners, adjudicators and SAMRO representative

Category and runner-up prizes for piano went to Gevisser and Choi; for strings to Brooks and Fokkens; for woodwinds to Piere-Simon Rossouw (Welgemoed).

Amy Janse (Bloemfontein) won the strings development category, and the prize for the most promising

oboist and cor anglais player; and Michelle Williams, principal second violinist of the Cape Town Philharmonic.

Full particulars about the competition at www.samrohubertvanderspuy.wordpress.com For more information, email the SAMRO Foundation on

development candidate overall. She is a student of Francois

samrofoundation@samro.org.za, visit

Henkins at the Mangaung String Project. An honorary

www.samrofoundation.org.za, and like the Foundation’s

award for service to music tuition was bestowed on Tilla

Facebook page for regular updates. CF

Creative Feel / November 2015 / 39

On behalf of the Arts & Culture Trust (ACT) Board of Trustees, a heartfelt congratulations to this year’s winners.

Coming of Age 40 / Creative Feel / November 2015

ACT Lifetime Achievement Awards

The number 18 is significant for several reasons. Generally, it’s considered the age when one becomes an adult. Pollock painted a work named Number 18. In numerology the essence of it has to do with humanitarianism and building something of lasting benefit.

In China it is considered an auspicious number. All are applicable associations when it comes to celebrating the 18th edition of the annual Arts & Culture Trust (ACT) Awards, writes ACT CEO Pieter Jacobs.

T

savvy business mindset could propel sustainable careers in a challenging industry. Looking at the body of work and achievements of the Theatre finalists, it’s safe to say that South African theatre is very much alive, especially for those who are making the effort to consistently produce quality work against all odds.

To do this for a lifetime is no mean feat. The highlight of the ACT Awards is casting a spotlight on six phenomenal individuals, who have, for a lifetime, consistently produced, conceived, performed, composed, written, published and choreographed work of outstanding quality. Striving for each project to be better than the last. Now that is worth acknowledging and celebrating. This year’s winners are known for inspiring greatness, for provoking and for raising the bar. We feel very privileged and honoured to get to spend an evening with these luminaries.

Allowing ACT to allocate these much-deserved Awards to those who dedicate their careers to advancing arts and culture in South Africa is a group of valuable and engaged partners who it cannot be done without. We are thrilled to welcome JTI to the fold. Their support enables the Trust to allocate a Lifetime Achievement Award for Dance for the first time in the history of the event. Sun International’s renewed support ensures that the ACT Awards ceremony does justice to celebrating the giants of our industry. Other long-standing category sponsors include the Southern African Music Rights Organisation (SAMRO), The Dramatic, Artistic and Literary Rights

he Trust received more than double the number

Organisation (DALRO), Media24 Books, Nedbank Arts

of nominations for the ImpACT Awards for

Affinity, Creative Feel magazine and Distell Foundation.

Young Professionals than it did in 2014. This

We acknowledge the vital role they have played in the

reflects in the overall quality of finalists

coming-of-age of the event.

across the board. One observation is that a number of

ACT is proud of the legacy of the Awards perpetuated

the finalists have taken full advantage of the potential

by the consistent efforts of praiseworthy artistic output

the global market offers. Taking into account that this

of previous winners. Since inception of the event in 1998,

category is for young professionals who have made an

more that 140 individuals and organisations have been

impact during the first five years of their careers, the

acknowledged and honoured for their contributions to arts

finalists can be proud of what they have accomplished in a

and culture in South Africa. Those who have passed on

relatively short period.

rightfully own a place in our history and, more noteworthy,

The finalists of the Design category undeniably have

in our hearts. We remember and pay tribute to André P.

the wow-factor and all Music & Singing finalists have

Brink, Nadine Gordimer, Miriam Makeba, Peter Clarke, E’skia

recorded at least one album to critical acclaim. The Dance

Mphahlela, Nofinishi Dywili, Gibson Kente, Percy Baneshif

finalists are all choreographers as well as dancers and the

and Sophie Thoko Mgcina who are all previous Lifetime

finalists in the Visual Art category illustrate that having a

Achievement Award recipients. CF

Creative Feel / November 2015 / 41

12877

Support the things that really matter in arts development, at no cost to you.

Thanks to our Arts Affinity members, the Nedbank Arts Affinity Programme has, to date, donated almost R15 million to support more than 800 arts, culture and heritage development projects countrywide.

If you want to make a difference in the lives of talented young artists, open an Arts Affinity account and use it to create more opportunities for the arts. As you use your Arts Affinity current, savings, investment or credit card account, Nedbank will donate to the Arts & Culture Trust, at no cost to you.

Visit any Nedbank branch, call us on 0860 555 111 or go to nedbankarts.co.za.

#ThingsThatReallyMatter

Nedbank Ltd Reg No 1951/000009/06. Authorised financial services and registered credit provider (NCRCP16).

Creative Feel / November 2015 / 43

World-renowned artist, photographer and social activist, Omar Badsha is the 2015 winner of the ACT Lifetime Achievement Award for Visual Arts, sponsored by Nedbank.

Omar Badsha 44 / Creative Feel / November 2015

ACT Lifetime Achievement Award for Visual Arts

I

n the run up to Seedtime, a retrospective exhibition of his

photographers to document conditions across the country.

work at the Iziko South African National Gallery, Omar

This resulted in South Africa: The Cordoned Heart (with

Badsha was quoted as saying that, ‘the act of drawing

economist Francis Wilson) which took form as both a book

or writing or playing music is a form of defiance. You’re

and an exhibition that went on to tour the United States over

saying I am human. I am creative. I am worth who I am and,

the next decade. At the time, one reviewer noted that while

no matter what you do to me, I can create.’

‘most of the 136 photographs in this book are not particularly

Badsha has remained constantly committed to both art

dramatic... it is hard to imagine any more striking portrayals

and politics, with both pursuits often so closely intertwined

of the gruelling, embittering, enraging impact of apartheid

as to be inseparable. Born in Durban in 1945, he was involved

than what is written on the faces of these people...’ South

in the anti-apartheid movement from high school onwards,

Africa: Beyond the Barricades, with Alex Harris, Gideon Mendel

serving as first general secretary for the Chemical Workers

and Paul Weinberg, followed in 1989.

Industrial Union and cofounding the Education Reform

In 1985, Badsha published Imijondolo: A photographic essay

Association, and later the Institute of Industrial Education.

on forced removals in South Africa. Referring to the Zulu word

Such activities brought Badsha to the attention of the

for ‘shack’, Imijondolo documented the informal settlements

authorities and he was subjected to ongoing harassment and

of Inanda, 30km out of Durban, investigating ‘Inanda’s

denied a passport right up until the 1990s.

catastrophic drought of 1979 that caused deadly outbreaks

Largely self-taught, although both inspired and mentored

of typhoid and cholera... residents of Inanda at work and at

by his father Ebrahim Badsha, Omar Badsha worked full time

play, in religious worship and in mourning.’ Badsha’s other

as an artist during the 1960s, a proponent of ‘resistance art’ alongside the likes of Dumile Feni and Cecil Skotnes. He won several awards for his drawings, paintings and prints, among them the Sir Basil Schönland Award, Arts South Africa Today 1965; The Sir Ernest Oppenheimer Memorial Award, Arts South Africa Today 1969; The Natal Society Of Arts – Annual award 1968; and Images Of Africa First Prize at the African Arts Festival in Denmark, 1993. Badsha has featured in numerous exhibitions, including, in 1970, his first solo

“While it is humbling to be recognised by one’s colleagues, I feel that I would like to disrupt the notion of awards”

exhibition at the Artists Gallery in Cape Town.

However, Badsha is arguably best known for his work in documentary photography, being one of the key figures to have captured life under apartheid, fusing art, politics and a

publications include Imperial Ghetto, examining Durban’s Grey

keen eye for humanity.

street area in 2001, among others.

Badsha took up photography in 1976. His first book of

South Africa is not the only country to have been brought

photographic essays (with Fatima Meer), was entitled Letter

under the scrutiny of Badsha’s lens. Having won the Images

to Farzanah, published in 1978 by the Institute of Black

of Africa First Prize Denmark in 1993, in 1995 he received

Research. This brought together some 67 images of South

a grant from the Danish Government to photograph life in

African children with selected newspaper articles highlighting

Denmark. A year later, Badsha started work documenting life

the brutality of the regime, and was quickly banned by the

in Gujarat, the ancestral village of his grandparents, at the

apartheid government.

invitation of the Indian government.

In 1982, Badsha, along with a number of other

With decades of artistic production to his credit, Badsha

photographers and activists, cofounded an independent

continues to turn his critical eye on aspects of life in South

photo agency, Afrapix, writing that ‘photographers should

Africa – even the notion of awards. Regarding his ACT

become activists, using their skills to bring about change

Lifetime Achievement Award, which was awarded at the ACT

within the country...’

Awards, hosted by Sun International, he notes that ‘while it

Also in 1982, Badsha was appointed head of the photography unit of the Second Carnegie Commission on Poverty and Development, for which he recruited some 20

is humbling to be recognised by one’s colleagues, I feel that I would like to disrupt the notion of awards.’

‘But I will leave that for another life,’ he says. CF

Creative Feel / November 2015 / 45

A life devoted to music and sharing it with others makes Dr Johnny Mekoa the richly deserving recipient of an ACT Lifetime Achievement Award for Arts Advocacy, sponsored by Creative Feel.

Johnny Mekoa 46 / Creative Feel / November 2015

ACT Lifetime Achievement Award for Arts Advocacy

‘I

n 1962, I nearly went into exile,’ Dr Johnny

the last two decades, the school has hosted the likes of the

Mekoa tells Chats Devroop in an interview from

Count Basie Jazz Orchestra, Dr Winton Marsalis, Terence

Devroop’s book Unsung: Jazz Musicians under

Blanchard, Branford Marsalis, the Duke Ellington orchestra,

Apartheid. ‘But just in the nick of time [musician

and local greats such as Prince Lengoasa, Barney Rachabane

and composer] Caiphus Semenya from Benoni took me to Dorkay House, and I got that musical link with Barney Rachabane and Pat Matshikiza.’

With these and other noted jazz musicians of the era,

and Mekoa’s own mentor, Dr Jonas Gwangwa.

With more than 45 full time students, and many more children attending after school (‘Saturday is like a madhouse, you have all these young ones learning strings,’ says Mekoa),

Mekoa established some heavyweight musical credentials

the Music Academy of Gauteng has provided plenty of up and

despite an increasingly difficult environment. Black musicians

coming talent to tertiary institutions such as the University of

were banned from playing at white clubs, while forced

Kwazulu-Natal, with several MAG alumni having established

removals and the shutting down of events and venues all

themselves as key players on the jazz scene of today –

worked against a vibrant cultural scene. Mekoa’s renowned

including Malcolm Jiyane, Mthunzi Mvubu, Mpho Mabogoane,

band, the Jazz Ministers, was repeatedly invited to perform at

Nthabiseng Mokoena and Linda Tshabalala. The MAG youth

the Newport Jazz Festival in New York: each year, Mekoa was

orchestra has performed across South Africa, Britain, Sweden,

denied a passport, until 1976, when the Jazz Ministers played

Germany, Netherlands, and the USA. For its excellent work,

during the Bicentennial Celebrations of the United States.

In 1986, the desire to pursue music full time impelled Mekoa to quit his optical dispensing job of 20 years. He spent the rest of the year teaching at FUBA, before heading to the University of Natal in 1987, where, along with Zim Ngqawane, Victor Masondo, Melvin Peters, Andrew Eagle, Rick van Heerden, Nick Paton and Lulu Gontsana, he formed the Jazzanians, under the leadership of Darius Brubeck. In 1988, the university-based band was invited to attend the Jazz Education Conference in New York, going on to a tour of the US. At Mekoa’s graduation, Abdullah Ibrahim caught

“The ACT Award is like putting a big cherry on top of the pie and saying to me, ’Keep nurturing and developing young musical talent‘”

Mekoa’s performance with the University of Natal’s Jazz Orchestra, and invited the musician to the Baxter Theatre to play on the award-winning recording of Mantra Mode,

MAG has received the International Jazz Education Network

and then on to a tour of Europe. Around that time (1991),

Award over five consecutive years.

Mekoa applied for a Fulbright Scholarship. (‘They wanted

Mekoa’s extensive and invaluable contribution to

to know who is this old geyser that wants us to give him

the South African music scene has earned him honorary

thousands of dollars to go and study music,’ he told

doctorates from the University of Pretoria and UNISA, and he

Devroop). Armed with the scholarship, Mekoa went on to

is the first South African ever to be recognised by the Swedish

study jazz pedagogy at the Indiana University School of

Jazz Federation for his lifelong contribution to jazz. He has

Music. After completing his masters, he returned to South

also been awarded several Mayoral Awards by the Ekurhuleni

Africa, where Sipho Sepamla urged him to establish a music

Metropolitan Municipality. To this roll call of honours, he

programme on the East Rand. ‘The school was founded out

now adds the ACT Lifetime Achievement Award for Arts

of a great need,’ Mekoa told a journalist during a recent

Advocacy, awarded at the ACT Awards ceremony, hosted by

interview. ‘During the time of apartheid, the only school

Sun International.

was FUBA (Federated Union of Black Artists). There were no other schools for young talented musicians.’

And so in 1994, the Music Academy of Gauteng (MAG)

‘To be awarded a Lifetime Achievement Award in your own home-country is really great and deeply humbling’, says Dr Mekoa. ‘The ACT Award is like putting a big cherry on top

was founded in an old rundown building. Support from the

of the pie and saying to me, “Keep nurturing and developing

National Lottery enabled the school to move to a better

young musical talent.” The award has also strengthened my

facility in 2000, and as Mekoa says, the rest is history. Over

motto that “where there is music, you find no evil.”’ CF

Creative Feel / November 2015 / 47

Long lauded for his work in dance in South Africa, Alfred Hinkel is the much deserved introductory winner of the new ACT Lifetime Achievement Award for Dance, sponsored by JTI.

Alfred Hinkel 48 / Creative Feel / November 2015

ACT Lifetime Achievement Award for Dance

T

he story begins with a young child, a boy

of the most renowned dance troupes and training facilities

named Alfred Hinkel who wanted to be an

in the country’s history. Hinkel knows his capabilities after

anthropologist in the Northern Cape. But,

decades of success in the industry. He has also seen how

without the ability to finance further studies

much possibility there is in Namaqualand. He says, ‘We

he had to find another dream; a dream that he had

have a minimum of 200 to 300 people in the audience and

always had but one that had lain dormant beneath the

not a lot of big city companies can do that.’ The idea behind

socioeconomic stresses of growing up in a rural town. ‘I

Garage is that it will work in a more compact manner than

had pictures in my head,’ Hinkel says, ‘of ballet dancers

that of Jazzart. He and Linden have a winning formula.

and what I wanted to be.’ Alfred Hinkel is now 68 years

He says, ‘John and I decided to come back and make it our

old and the winner of the newly launched ACT Lifetime

business to develop something big here. We felt it was time

Achievement Award for Dance. He says that ‘one is

now to create art of a particular standard in rural areas and

flattered by the recognition because an enormous amount

not just big cities.’

of work has been done, but it has never been the work of one person.’

At the moment he and Linden have discovered an apprentice whom they say is ‘so superior, so advanced

Working, now, in the town where he grew up, Hinkel

[in comparison] to what we were able to do at 24.’ Byron

has established a new name for himself and his hometown,

Adelaide is their latest prodigy in a long line of dancers

by doing work that is steeped in community. ‘I certainly

who have gone on to illustrious careers through their

cannot take all the credit,’ he emphatically says – as though bewildered that the award should only go to his name – because, ‘my partner and I have returned to the Northern Cape where we were both born.’ He speaks using the term ‘we’ with regard to his achievements because he and John Linden have worked together for years and so he shares the acclaim of their achievements together.

Hinkel and Linden’s dream also starts with a story: ‘A young kid will walk into class and you see their response to a task that you’ve created and you see a spark. You see the potential and it’s all potential at that age.’ You see the potential of the future of a community in a young child’s eyes. He finds the timing of the ACT Lifetime

“One is flattered by the recognition because an enormous amount of work has been done but it has never been the work of one person”

Achievement Award fortuitous because he has just registered the new Garage Dance Ensemble or Garage as the latest NPO that he and Linden are working on in Okiep in Namaqualand. Because of the lack of opportunities in the Northern Cape they are trying to create a space that

training. ‘It’s our last lap,’ he says portentously. ‘So South

will instil discipline and not only ‘create some of the best

Africa gets liberated! That’s only the start of the work. It’s

contemporary dancers in the country’ but also create

not over by any stretch of the imagination.’

employment. If not all those who are trained become

He has received an ACT Lifetime Achievement Award at

dancers then they will have gone through a rigorous

the ACT Awards, hosted by Sun International, and there is a

training process that aims to shift minds and deepen the

sense that this is the final lap of a long and well-run race but

ethos of hard work toward any life goal.

‘we will work until our last drop.’ He stops to observe that

The confidence to develop such a space comes from

he is sitting under the picture of Luthando Mzolo, a former

many years of having achieved life-changing results in

student whose photo was taken by his niece, and who was

the lives of the dancers that they have taught. Hinkel was

sadly shot and killed at age 19. He says that this is the worst

the artistic director of Jazzart Dance Theatre from 1986 to

of the instances of loss to the country but this is why he does

2010. During his tenure the company grew to become one

what he does: for young people to have hope. CF

Creative Feel / November 2015 / 49

Multiple award-winning actress, singer and playwright, Thembi Mtshali-Jones adds the Arts & Culture Trust (ACT) Lifetime Achievement Award for Theatre, sponsored by DALRO (Dramatic Artistic and Literary Rights Organisation) to her extensive list of accolades.

Thembi Mtshali-Jones 50 / Creative Feel / November 2015

ACT Lifetime Achievement Award for Theatre

S

he moves with the care of a mountain that is aware

voices and songs. Through that I learnt how to interpret

it is shifting the landscape of an entire world when

stories in my own way,’ she says.

she is on stage. Thembi Mtshali-Jones has been in the industry since Welcome Msomi’s epic Zulu

As a television actress she became known by the name of her character in the sitcom Sgudi Snayis’: Sis’ Thoko. She

Shakespearean tragedy Umabatha and toured the world as

says, ‘It gives me such a wonderful feeling to know that I have

one of South Africa’s best actresses; and now she is being

been involved in such great work that has had a long life to be

recognised with an ACT Lifetime Achievement Award. She

enjoyed by many generations as well as a long term effect on

says, ‘Every other award I have won or have been nominated

those who have seen the work I’ve been involved in.’

for was usually for one particular production but a Lifetime Achievement Award means a lot more.’

Theatre patron Pulane Kingston said that she decided

She remembers screaming when asked to sing at Nelson Mandela’s 80th birthday, as though it were an electric shock during a difficult time: ‘Between 1996 and 1999 I was

that she would be involved in the art form after being

going through a major shift in my life, my career wasn’t

mesmerised by Umabatha. She recalled watching it when she

moving forward. That was a point in my life where I knew I

was younger: ‘I remember walking away and undertaking

needed to find a new direction to reinvent myself and take

to one day play a part, no matter how small, in promoting

control. I then decided to leave SA and ended up living in

African performing arts as I understood the power.’ The

Washington, DC for three years, working with different

power of performance for Mtshali-Jones casts the actress in

theatre groups. It was during this time when Tata Mandela

the role of a priestess – providing a guide to a person’s life

was turning 80 and the South African Embassy as well as

‘that is exactly what the person needs at that particular time in relation to what they’re going through in life.’

‘One time I was performing A Woman in Waiting, based on my life-story, at the National Theatre in Ottawa, Canada.

While I was on stage I could see this little young lady crying and her boyfriend trying to comfort her. She insisted on seeing me after the show. She told me she was crying because she could relate to my story and had not spoken to her mother in a long time because of anger, but now she was going to call her mother first thing when she gets home and apologise.’

Mtshali-Jones’ own story was also transformed by the stage. She was a domestic worker when a woman from the family that she was working for heard her sing and said

“Every other award I have won or have been nominated for was usually for one particular production but a Lifetime Achievement Award means a lot more”

that all she needed was to be seen. But while this was a significant moment in initiating an actual career in the arts the performer in her was groomed from a young age.

Her grandmother and great grandmother told stories and Mtshali-Jones’ formidable career has grown to international acclaim because she tells stories. She has written as well as performed in her own plays.

As a young girl, she recalls, she was given the gift of sharing stories with her ancestors. ‘When I was a little girl growing up in the village in Zululand near Ulundi, where I

the NAACP hosted a big birthday bash at Howard University in DC, which was when I was asked to sing him a happy birthday which was covered by CNN live.’

Now, she is crowned with the honour of an ACT Lifetime

was brought up by my grandparents, I was lucky that both

Achievement Award at the ACT Awards, hosted by Sun

my grandmother and my great grandmother were great

International. Her advice to those who look up to her as she

storytellers. That helped me to be a good listener, which

thanks ACT and the country for its support and recognition

is a skill that has helped me throughout my career. My

of her work through the years is humbling. She says, ‘And

grandmother encouraged me to tell her the stories she had

when you fall, because you will fall, accept it and move on.’

told me, but using my own imagination, different actions,

She keeps moving forward. CF

Creative Feel / November 2015 / 51

Dr Don Mattera is one of the African continent’s preeminent poets. The ACT Lifetime Achievement Award for Literature, sponsored by Media24 Books, is a recognition of his valuable contribution to anti-apartheid literature and African writings of the 20th and 21st centuries.

Don Mattera 52 / Creative Feel / November 2015

ACT Lifetime Achievement Award for Literature

D

onato Francesco Mattera was born in the Western

in politics and fighting against the injustices of apartheid.

Native Township (now Westbury) on 29 December

He exchanged his knife for a pen, his bullets for words, and

1935. He has been acknowledged as a journalist,

began writing poetry, plays and novels, as well as working

editor, writer and poet and is honoured as one of

for The Star, the Weekly Mail (now the Mail & Guardian) and

the foremost activists in the struggle for a democratic South

other newspapers. It didn’t take long for his revolutionary

Africa. He is a founding member of both the Union of Black

words to reach those in control, and he was banned by the

Journalists and the Congress of South African Writers.

apartheid government and placed under house arrest from

Mattera can lay claim to a diverse lineage: his paternal grandfather was an Italian migrant who married a woman of Khoi-Khoi and Xhosa descent, while his mother was Tswana.

This diversity found a home in the vibrant and creative

1973 to 1982. Still, he wrote and struggled for the freedom of those of all races, cultures and religions.

Today, his award-winning writings are studied in schools and universities around the world. His published works include Azanian Love Song (1983), PEN Award Winner; Memory is the Weapon (1987), winner of the Steve Biko Prize; Gone with the Twilight: A Story of Sophiatown (1987); The Storyteller

“[Dr Don Mattera], this ageless literary activist who makes music with his poetry” – Es’kia Mphahlele

(1989); The Five Magic Pebbles (1992), Noma Children’s Book Award; and the plays Streetkids, Apartheid in the Court of History and One Time Brother (banned in 1984). He is an active patron of several well-known charities in Johannesburg and has been celebrated for his work with youth in Eldorado Park.

Mattera is the holder of several prestigious literary awards as well as numerous humanitarian citations, including the Order of Ikhamba – Silver (2007), the Department of Arts and Culture Literary Lifetime Achievement Award (2007), the Crown of Peace Award (Washington – 2004), the Ambassador of Peace Award (Kenya – 2001), the World Health Organisation’s Peace Award from the Centre of Violence and Injury Prevention (1997) and the French Human Rights Award for the We Care Trust. He has also been awarded an honorary

Sophiatown, where he lived (spending most of his childhood

PhD from the University of Natal. Mattera was awarded the

with his paternal grandparents) until 1955 when Sophiatown

ACT Lifetime Achievement Award for Literature at a glittering

was replaced with the white suburb of Triomf. The emotional

event, hosted by Sun International.

pain of seeing his grandparents’ home ‘murdered’ by bulldozers and the displacement of his family that followed

Let the children decide

can be felt in his elegant prose and emotive poetry.

Let us halt this quibbling

Mattera’s autobiographical work, Memory is the Weapon

Of reform and racial preservation

(1987) tells of teenage years seeped in the violence of

Saying who belongs to which nation

gangsterism. As leader of the Vultures, a notorious child

And let the children decide

gang, he was no stranger to the bloody struggles of gang

It is their world

warfare and carries the scars of gunshot and stab wounds as memories. ‘We never thought of death; only of making names

Let us burn our uniforms

for ourselves,’ writes Mattera in Memory is the Weapon. He

Of old scars and grievances

spent his 20th birthday in jail, awaiting trial for the murder of

And call back our spent dreams

a rival gang member, but was eventually acquitted.

And the relics of crass tradition

Mattera’s first child was born shortly after his time in

That hang on our malignant hearts

jail. The little boy, along with the influence of Father Trevor

And let the children decide

Huddlestone, became a catalyst for reforms in Mattera’s

For it is their world

life. He left the gang behind and instead invested his time

(Published in Azanian Love Song, 1983)

Creative Feel / November 2015 / 53

Dr Caiphus Semenya is one of South Africa’s foremost musical directors and composers, with his career including a lifetime of work as a performer and arranger of African music. He now adds the ACT Lifetime Achievement Award for Music, sponsored by SAMRO (Southern African Music Rights Organisation) to his long list of accolades.

Caiphus Semenya 54 / Creative Feel / November 2015

ACT Lifetime Achievement Award for Music

W

ith a hoarse laugh, Dr Caiphus Semenya

and afterward, he created music that has been significant;

speaks of the history of his achievements

and just great. Some were love songs like ‘Angelina’ which

as though it were simply a matter of course.

has become an infamous courtship story although he

He tracks his journey toward becoming the

casually says that, ‘It’s really nobody but it’s somebody.’

man who would become nominated for an Oscar, for his

And all those who would dream of having the lasting

work on the score of the Steven Spielberg film The Colour

relationship that Semenya has shared with Mbulu, play

Purple, with the ease of an historian narrating someone

‘Angelina’ and dream of meeting their angel.

else’s biography. The now-ACT Lifetime Achievement Award for Music winner says that he ‘started when I

Having turned 76 in August this year, Semenya is looking forward to recreating his musical genius in a new

was around 15 years old at school.’ He performed music

South Africa. He is excited to finally ‘have a reason to go

with three other young boys when he was still living

into the studio’ with fresh material to explore. He says that

with his grandmother in Benoni and they did it without

the work that he has been busy composing finally makes

the seriousness of working on a career but with all the

sense. Due for release later this year or early next year, it

earnestness of love. He says, ‘it was not a career as such. It

is Semenya’s take on where the world is today. He says,

was something we did because we loved to do it.’

‘Since then, things have been happening so the music

In a radio interview he also recalls the timeline of his

that I’ve been working on is going to reflect some of the

work as it led up to his collaborative relationship with

things that are happening socially.’ It is a long way since

Quincy Jones and the historical moment of composing

he first entered the music industry as a boy of 15 who did

music for the African sections of the epic series Roots.

it for the love above all, but even as a mature man at 76

From having entered and won a competition in 1958 with

he is still doing it for the love above anything else. It has

his high school group, they were ‘then drafted,’ he says, ‘I

taken him a while to release something new of late because

call it drafted, into King Kong: The Musical.’ In 1959, when

he did not want to merely repeat himself and stick to the

working on King Kong, along with some other notable

studied formula. He is reaching into the new world with

musicians including Letta Mbulu, he had the chance to

a new sound and a new outlook on life. The album will be

spend time with the woman who would become his wife

available digitally. Semenya was awarded the ACT Lifetime

and his partner in music as well. In 1961 he worked in

Achievememt Award for Music at the ACT Awards, hosted

London and from 1964 – when he left for the United States

by Sun International.

of America – he would be exiled until the year of Nelson Mandela’s release: 1990.

In America with fellow exiles Hugh Masekela and Miriam Makeba, amongst other South African music legends,

The acts of the ACT Lifetime Achievement Award winners are honoured for having been excellent and also having had a great impact. The winners of this award this year should also be recognised for continuing to be inspirations. CF

he would quietly make his name beginning with singing background for Miriam Makeba for a year. During this year he also wrote music for Mama Africa and then started working with Harry Belafonte to arrange music for Letta Mbulu until he was arranging for Belafonte himself also. He laid such strong foundations – just doing his work – that Quincy Jones heard of him. He says, ‘I met him and he gave me a job to do: he wanted to see if I could, I did. He was very happy, and we’ve worked together since.’ Since that initial meeting Semenya has composed for the Lion King and writes for as well as works as the executive producer for Quincy Jones’ Q Radio. Semenya has also released a number of hit albums in his own capacity; and they have become part of

“It was not a career as such.

It was something we did because we loved to do it”

the soundtrack to South Africa’s memory.

‘I have worked with very good musicians and I’ve learned a lot from them,’ he says. During the years of exile,

Creative Feel / November 2015 / 55

Music creators should always get credit for their talent.

That’s why, for over 50 years, SAMRO has protected the musical work and rights of composers, performers, lyricists, authors and publishers to create value for both the creators and users of music.

So, whether you live to make music or make music to live, speak to us about how we can ensure your music rights are protected whenever and wherever your music is used.

56 / Creative Feel / November 2015

Laying

foundations for the

future

Supports mindful and responsible living by focusing on: • Youth Development • FASD (Fetal Alcohol Spectrum Disorder) • Job Creation & Entrepreneurship • Arts & Culture Interventions F

O

U

N

D

A

T

I

O

N

www.distell.co.za Creative Feel / November 2015 / 57

2015 ImpACT Awards for Young Professionals The Arts & Culture Trust’s ImpACT Awards for Young Professionals, with support from the Distell Foundation and in partnership with Sun International, are given annually to honour young artists or businesses that have reached a notable level in their career. Giving the masses a voice through the public nomination process, ACT proudly boasts an excellent selection of these individuals in the categories of Theatre, Visual Art, Design and Music & Singing, and the newly-added Dance category.

Dance | Letlhogonolo Nche Letlhogonolo Nche graduated from Moving Into Dance Mophatong (MIDM) in 2009 and then became a choreographer under the Youth Choreographers Professional development programme facilitated

by Alfred Hinkel and John Linden. Through this programme he was selected to choreograph works for Dance Umbrella in 2013 and 2014.

In 2013, he founded Northern Cape Dance Pages, a dance festival in partnership with Mayibuye Dance Academy. Through his teaching guidance, mentoring and leadership at Mayibuye Dance Academy he

Dance | Letlhogonolo Nche

has had five of the dancers realise their dreams of going to further their studies at training and tertiary institutions.

Design | Laurie Wiid van Heerden Laurie Wiid van Heerden was born in 1987 in Cape Town, South Africa. After gaining ample practical experience in the field of design and manufacturing and also being the assistant to Wim Botha for almost three years, Wiid Design was officially created.

The business started designing and producing products from 2010.

Laurie Wiid van Heerden received the Maker to Market Award at the annual Southern Guild Design Foundation awards ceremony in 2013. Wiid Design was also presented the Conde Nast House & Garden award for production excellence in South African design at 100% Design South Africa, 2014 and the Best Lighting Design award at 100% Design 2015.

58 / Creative Feel / November 2015

Design | Laurie Wiid van Heerden

Music & Singing |Lindiwe Maxolo Artist and Music Educator Lindiwe Maxolo is the 2014 Mbokodo Woman in Jazz Award winner and is known for her enchanting and magical voice. She has a Cum Laude, Honours degree in Jazz Music from the University of Cape Town. TIME, her debut solo jazz album, has earned multiple award nominations, including: The SATMA (South African Traditional Music Achievement) Awards 2014 as Best African Jazz Album, and Wawela Music Awards 2014/2015 as Best Creative Album of the Year and Best Female Artist Composer. She was also nominated for a South African Music Award (SAMA) in 2013 and

Music & Singing |Lindiwe Maxolo

is the winner of the 2002 Afro Vocal Category in the Old Mutual Jazz Encounters Competition.

Theatre|POPArt POPArt is an independent theatre space and production company in the Maboneng Precinct run by Hayleigh Evans and Orly Shapiro.

The theatre opened in March 2011 and has since showcased over 100 brand-new theatre works over the past three years. In 2015, they launched POPArt productions, which produces in-house cutting edge works. Evans and Shapiro both studied acting at AFDA and work in the performing arts industry as practising professionals.

By creating new and relevant content based on a growing audience demographic, the space is now actively providing sustainable employment for performers, while developing audience bases.

Theatre|POPArt

Visual Arts |Benon Lutaaya Johannesburg-based Benon Lutaaya began has been practicing full time in 2011. Unable to afford art supplies, he improvised with waste paper material from the streets of Joburg. In just four years his career started making waves. Art Africa’s 2015 ‘Bright Young Thing’ has donated over R400 000 to different charities, an is a cosponsor of the 2015 Reinhold Cassirer Award, and an annual contributor to Ithuba Arts Fund. He received the 2016 European-based residency award from the Southern African Foundation for Contemporary Art (SAFFCA), a 2015 support grant from Business and Arts South Africa (BASA), an Ithuba Arts Fund

Visual Arts |Benon Lutaaya

grant, and a Bag Factory residency. He is also the Lovell gallery Artists Competition winner, and finalist of the BBC MyWorld documentary competition.

Creative Feel / November 2015 / 59

PAST supports large scientific research projects across Africa

Andrea Leenen

All from One

It is time to embrace our shared African origins to secure the future of humankind, writes Andrea Leenen, CEO of the Palaeontological Scientific Trust (PAST). To this end, PAST’s global All from One campaign will launch in November, with Standard Bank as its principal corporate sponsor for the Africa phase of the campaign.

W

e don’t need to look to history to

evidence traces our ancestry over the last six million years.

understand that racial classification and

Our African roots include the origin of Homo sapiens in

discrimination will be remembered as a

Africa at least 200 000 years ago. It is only in the last

failed social concept developed by some

60 000 to 50 000 years that some populations of Homo

people to suppress others. We only need to look to science today to realise race is not even a useful biological concept.

In effect, skin colour is determined by just ten genes out

sapiens started to spread out around the globe.

If we are through and through an African species, people everywhere need to also understand they are

of the 20 000 that comprise the human genome. The more

together part of the same tree of life, sharing common

important story is how all of humanity needs to combine as one

ancestries with all of Earth’s living things.

to begin a journey of true tolerance, unity, collaboration and

To continue focusing on skin colour and other differences,

conservation and thereby secure a happier and healthier future

whether they are geographical or cultural, as a way to

for all of our children and generations of children beyond that.

map a future course will not move us forward. Focusing

The scientific evidence of our shared African origins is

on differences and continuing along current patterns of

becoming increasingly valuable to the future of humankind.

environmental destruction is placing us on a path to ever-

Our future is rooted in our common humanity and it is

expanding conflict and mass extinction of life forms. What

this common humanity that can act as a powerful tool for

we leave behind will not be a planet our children or their

securing a vibrant, peaceful society and a bountiful planet

children’s children can call home if this continues. Instead, it

we can all truly call home.

will be a sorry tale of how little we actually did to help them

Africa is where this journey of understanding and action truly begins. Our united African heritage is the storehouse for the whole world as it is right here, on the southern tip and in the east of our beautiful continent that fossil

60 / Creative Feel / November 2015

have a better life. No parent or guardian would want to leave a legacy with such sombre connotations.

PAST is not willing to sit back. We strive to improve education about our common heritage to help bring

about change that matters. Our All from One global

It is clear that the practice of differentiating people by

public awareness campaign is kicking off in November

race is an increasingly untenable concept. The scientific fact

to commit people from across the world to four human

is humans are remarkably similar on a genetic level: 99.9%

ideals validated by the palaeosciences: tolerance, unity,

of the 3.2 billion nucleotides in your genome occur in the

collaboration and conservation.

same sequence as in any other member of the human species.

The global campaign vision is to leverage the science

All organisms on Earth have DNA and it is also important to

of our shared origins to persuade global citizens to pledge

realise we share some genetic similarity with all species of

to the campaign’s four ideals. Messages about our shared

animals, plants, fungi, and even single-cell microbes because

human origins, shared African origins and shared origins

the DNA of all is made up of the same four nucleotides.

with all living things on our planet will be critical to achieving these objectives.

The damage that race classification has caused is especially well understood in this country, but race-related

An exhibition commissioned by the Department of

hatred and other crimes continue to flare up here and around

Science and Technology (DST) and funded by the National

the globe. The pure science of shared origins, however, is a

Research Foundation provides the basic science underlying

true catalyst to bring about changed mindsets, as only by

the campaign’s ideals. The exhibition will open initially

working together will we conserve nature and preserve our

at Standard Bank, the primary sponsor of the All from

fellow life forms.

One campaign, for two months. The honourable minister

If this does not take place, scientific evidence is mounting

Naledi Pando of the DST, a campaign patron, will open the

that Earth is being catapulted by the actions of humans

exhibition. Then, the plan is to take the exhibition to a venue

toward a sixth mass extinction – where a full 75% of species

in Soweto. Thereafter, PAST plans to take it to Cape Town and

will be wiped out. Wildlife population sizes are down 52%

in 2016 to tour the exhibition in East and West Africa. The

in the last 40 years, with individual extinction statistics

campaign and exhibition will also be launched in the UAE

very scary. For example, 64% of primate species and 86% of

with an event in Dubai hosted by Sheikh Nahyan bin Mubarak

spider species have either gone extinct since 1500 or are now

Al Nahyan, an international campaign patron. In 2017, the

threatened with extinction, and yet all threatened species

PAST exhibition is slated to travel to London and New York.

– from fungi to fruit flies and frogs – are part of a complex

The All from One campaign will be launched in November at Standard Bank in Rosebank. Along with the opening of the exhibition and a presentation by PAST’s Chief Scientist,

ecological web upon which humans depend for food, water and other ecosystem services.

As it stands, we already need Earth to be 50% bigger than

Professor Robert Blumenschine, the launch event will

it is to keep up with current rates of resource consumption

feature spokespeople and celebrities presenting their

and to accommodate current levels of waste generation. If

own deep ancestry based on a simple DNA test – to which

we carry on, a mass extinction could be upon us in as little as

everyone can subscribe during the exhibition.

240 years: three human lifetimes, or just ten generations. CF

Acheulian handaxe

Professor Robert Blumenschine

Zinj Skull Olduvai 2007

Creative Feel / November 2015 / 61

STANDARD BANK YOUNG ARTIST AWARD WINNERS NEVER STOP MOVING FORWARD As he reaches the end of his year as the Standard Bank Young Artist for Performance Art, Athi-Patra Ruga shows every sign of continuing his rapidly climbing trajectory. Like his Elder of Azania, he’s something of an icon now...

A

thi-Patra Ruga’s performance of his work The

short film Purge formed part of ‘Points and Counterpoints’,

Elder of Azania at this year’s National Arts

during The Film Will Always Be You: South African Artists on

Festival was a popular favourite, resembling,

Screen at the Tate Modern in July.

wrote one reviewer, ‘a slowly shifting digital

Most recently, a solo exhibition of Ruga’s work opened

artwork.’ Another described it as ‘reminiscent of the best of

in Paris, France, beginning in September and running until

epic fantasy storytelling… whose creation of an alternative

the end of October. Entitled A Land without a People for a

civilisation offers a complete political and social system

People without a Land, the exhibition featured new large scale

that mirrors our own, but in a new and strange light.’

tapestries by the artist, depicting ‘the exile and return’ of

‘Performance art is the new form of protest theatre,’ Ruga himself said of his National Arts Festival work in July.

characters drawn from his Azania saga.

And so, Ruga’s recent inclusion in Season 3 of 21 Icons:

‘You do not need materials, or even a studio. Your body

The Future of the Nation seems utterly appropriate. The season

becomes the studio, so your mind becomes the hub that uses

focuses on youthful icons (under the age of 35) who are

the body to communicate these things... My new character,

shaping the country’s future, and Ruga is arguably carving

the Elder, revolves around the character of the priest, or

out a name for himself as the country’s leading performance

the sangoma, or the character that is used to be a spiritual

artist, with a considerable international reputation (although

signifier in nation building. There’s always one. It’s either a saint or a kind of martyr character.’

The Elder, whose gender metamorphosis Ruga describes as suggesting ‘something that questions the processes of a problematic cultural assimilation,’ stands at the centre of Ruga’s Future White Women of Azania Saga, which he initiated in 2010.

In this series, Ruga considers the idealised fiction of Azania,

And so, Ruga’s recent inclusion in Season 3 of 21 Icons: The Future of the Nation seems utterly appropriate.

a decolonialised arcadia dreamt of during the apartheid regime – ‘a founding myth that perhaps seems almost less attainable now than when the Pan Africanist Movement (of Azania) appropriated the name in 1960s as the signifier of an ideal

as he notes, ‘geography is fast becoming a staid idea, to be

future South Africa,’ says Ruga. ‘Then at least was a time to

honest – what with the intimacy of the Internet and all’). 21

dream more optimistically, largely because the idea seemed so

Icons sees Ruga immortalised by photographer Gary van Wyk,

infinitely remote.’ A far cry from the Azania then envisioned,

photographed with an image from his Azania series projected

Ruga’s own version is a fantasy creation, a glittering exotic

directly onto his bare chest: close to his heart, a fantastical

space of intense colours, tropical vegetation and wildlife, with

vision of the future, and all the troubles and challenges that

glamorous characters mid-transformation.

moving towards a brighter day must consider and overcome.

Amidst the frenetic preparations that his Standard Bank

‘Knowing that I’m working towards something that will

Young Artist Performance for this year’s National Arts

benefit a nation’s way in which they identify with images of

Festival must have taken, Ruga’s work also appeared at Art

themselves, with their stories, with all of that: THAT makes

Dubai in March. While the dust settled in Grahamstown, his

me come to work every day,’ says Ruga. CF

62 / Creative Feel / November 2015

Creative Feel / November 2015 / 63

Standard Bank Young Artist Awards 2016 “The Standard Bank Young Artist Awards have become a barometer of the standards that our artists are aspiring to; they recognise talent and create an opportunity for artists to be showcased in the national and international arena” – National Arts Festival Artistic Director, Ismail Mahomed

The winners of South Africa’s most prestigious art award, the Standard Bank Young Artist Award, are: Themba Mbuli (Dance), Siyavuya Makuzeni (Jazz), Mohau Modisakeng (Visual Art), Jade Bowers (Theatre) and Avigail Bushakevitz (Music).

64 / Creative Feel / November 2015

“The many opportunities that have arisen simply from being South African – including winning the Standard Bank Young Artist Award – make me a very lucky girl and a fortunate musician” – Avigail Bushakevitz

T

he partnership between Standard Bank and the

Bushakevitz registered for a Bachelor of Music with

National Arts Festival has been consolidated

Unisa in 2006, and received a scholarship from the Ackerman

since 1997 with a shared vision of identifying,

Foundation to study at the prestigious Juilliard School of

honouring and nurturing young artists. One of

Music in New York a year later.

its most recognised initiatives is the annual Standard Bank Young Artist Awards that were established in 1981.

The National Arts Festival committee, an independent

Bushakevitz has been winning competitions since primary school. In 2009, she played Sibelius’s Violin Concerto with the Johannesburg Philharmonic Orchestra

body of arts specialists from around the country, is

and won the Unisa National Strings Competition. She

responsible for selecting each year’s winning recipients.

also won the SAMRO Foundation’s Overseas Scholarships

Awards are made annually in the categories of Visual Art,

Competition in 2012. In 2013, she was awarded first prize in

Performance Art, Theatre, Dance, Music and Jazz, with an

the UNO Competition in Jerusalem.

award in the category of Film given when deemed relevant.

Designed to encourage the recipients in the pursuit of

The Standard Bank Young Artist Award winner for Jazz 2016, Siyavuya Makuzeni, is a trombone player, vocalist,

their professional careers, a key aspect of the awards is the

lyricist and songwriter known for her uniquely experimental,

provision of the necessary funding to create and produce

edgy, yet pure intonation. Born in 1982 in the Eastern Cape,

a new work for the forthcoming main Festival programme,

Makuzeni grew up singing in the choir and playing recorder

thereby guaranteeing the winner exposure to a national

before picking up the trombone while at Sterling High

audience. A monetary award is also made by Standard Bank

School in East London.

to each winner in his or her personal capacity.

The Standard Bank Young Artist Award winner for Music

Throughout high school, Makuzeni participated in the Standard Bank National Youth Jazz Festival, an annual

2016, Avigail Bushakevitz’s family moved to South Africa

programme at the National Arts Festival that sees South

from Jerusalem, where she was born, when she was one.

Africa’s jazz students vying for a spot in the Festival’s top

Bushakevitz began playing piano when she was five, taking

bands: the National Schools Big Band, the National Youth

up violin at eight. Determined to nurture her undeniable

Big Band and, ultimately, the National Youth Jazz Band.

talent, her mother, Leonore, used to drive her the 400-odd

Makuzeni was consecutively selected for all three bands,

kilometres from their home in George to Stellenbosch, and

recording with the National Youth Jazz Band in 2001. She

later Cape Town, for lessons with Professor Jack de Wet.

also featured in Zim Ngqawana’s Big Band tour to East

Creative Feel / November 2015 / 65

“The influence of Xhosa music and jazz is the foundation of my musical beginnings, and has helped me to shape my own voice or individual expression” – Siyavuya Makuzeni

London in 1999, and played for the East Cape Big Band for a few years. Knowing that she was destined to follow a creative

dancer, where he also served as a teacher and choreographer.

Mbuli, who is now based in Cape Town, is an associate

path, she enrolled to study music and drama at Rhodes

project manager and a cofounder – together with Fana

University in 2000, before deciding to focus on music at

Tshabalala and Thulani Chauke – of Broken Borders Arts

Pretoria Technikon (now Tshwane University of Technology)

Project. He is also a cofounder and the choreographer and

with a BMus specialising in Jazz.

managing director of the Unmute Dance Company, which

Choreographer, dancer and teacher, Standard Bank

was formed in 2014 to help pioneer integrated dance in

Young Artist Award winner for Dance 2016 Themba Mbuli’s

South Africa, using the arts to inspire the inclusion of people

love affair with the performing arts started in a youth club

with disabilities in society.

in Soweto – Zola Musical Drama – 15-odd years ago. And it

Standard Bank Young Artist Award winner for Visual

was dance that drew him to Moving into Dance Mophatong

Art 2016, Mohau Modisakeng is a multidisciplinary

(MIDM) a few years later, where he received formal training.

artist working primarily as a sculptor who moves into

Immediately after graduating in 2007, he joined Inzalo Dance

performance, video and photography as the concept

and Theatre Company as a trainee performer under Moeketsi

requires. He was born in 1986 and grew up in an informal

Koena. A year later, Mbuli was accepted back at MIDM as a

settlement in Soweto.

“Out of all the young South African artists who are already doing innovative and ground-breaking works, I’m really humbled to be part of the few that are recognised with such a significant award” – Themba Mbuli

66 / Creative Feel / November 2015

“My work has always presented a channel for me to engage my mind and my spirit in something reflective and introspective” – Mohau Modisakeng

In 2009, he graduated from the Michealis School of Fine Art

Sociology from the University of Cape Town and received

at the University of Cape Town, and went on to complete his

her Honours degree in Theatre Design and Directing for the

Masters in 2012. In just a few years, he has notched up a large

Stage from University of the Witwatersrand in 2014.

number of exhibitions at galleries here and internationally as well as winning the Sasol New Signatures Award in 2011.

During 2014, he had solo exhibitions at Kunstraum

Bowers has been recognised for her ability to revisit South African texts in an inventive yet deeply respectful way. Her beautiful and compelling reworking of Rehane

Innsbruck in Austria and at Big Pond Artworks in Munich,

Abrahams’s script What the Water Gave Me earned a Silver

Germany. His work was exhibited in Lagos, Nigeria, at the

Ovation Award at the 2014 National Arts Festival, as well

Archer Gallery in Vancouver, Canada, and in Cape Town at the

as a Naledi Award nomination in 2015 in the category,

Chavonnes Battery Museum in partnership with Zeitz MOCAA.

Best Production: Cutting Edge. Her collaboration with

Born in Cape Town in 1987, Standard Bank Young Artist

Robin Malan on iHAMLET – a 60-minute production of

Award winner for Theatre 2016, Jade Bowers is a director and

Shakespeare’s longest play – garnered a Naledi Award

designer who experiments with physical style and conceptual

nomination for Best Theatre Sound Design in 2013. She

form to make theatre that is fuelled by invention and creativity.

received the Arts & Culture Trust’s ImpACT award for

She holds a Bachelor of Social Sciences in Drama and

Theatre in 2014. CF

“My journey as a maker and practitioner of live theatre has been marked with as many challenges as it has been blessed with opportunities – I am profoundly grateful for both” – Jade Bowers

Creative Feel / November 2015 / 67

Mentors & Protégés Protégé Nicholas Hlobo, from South Africa, draws a sketch on a windowpane.

London, UK, 2011 ©Rolex/Hugo Glendinning

68 / Creative Feel / November 2015

The Rolex Mentor and Protégé Arts Initiative is a philanthropic programme that seeks out gifted young artists from all over the world and brings them together with artistic masters for a year of creative collaboration in a one-on-one mentoring relationship.

Since the inauguration three South Africans have participated in this prestigious programme.

Sir Peter Hall (right) and Lara Foot share their views on theatre. Sir Peter chose Foot as protégé because of her strong skills and experience as a director. London, UK, 2004 ©Rolex/Mario Del Curto

E

ngaging with a mentor as a way to learn and

Only in relatively recent times has mentoring been

achieve full potential as an artist is an ancient

neglected. However, it is once again gaining popularity as an

and respected practice. The formalised process

effective learning approach in diverse fields beyond the arts,

appears in the works of the great thinkers of the

including business and education.

golden age of the Greeks.

In more recent history, famous mentoring pairs include

Over the past decade, Rolex has paired mentors and protégés in dance, film, literature, music, theatre, visual arts

German composer and conductor Christian Gottlieb Neefe

and – as of 2012 – architecture. In the decade since it was

who was a role model for the boy prodigy Ludwig van

launched, the mentoring programme has evolved into an

Beethoven and French impressionist painter Camille Pissarro

enriching dialogue between artists of different generations,

who devoted his life to nurturing young painters such as Paul

cultures and disciplines, helping ensure that the world’s

Gauguin, Georges Seurat and Paul Cézanne.

artistic heritage is passed on to the next generation.

Creative Feel / November 2015 / 69

Every two years, a new advisory board of distinguished

During 2004/2005 Sir Peter Hall, titan of British theatre

artists and arts practitioners suggests and endorses potential

and one of the world’s great Shakespearean directors,

mentors. Once the mentors have been approached and have

spent the year mentoring Lara Foot, South African theatre

agreed to take part, Rolex works with them to establish a

director, writer and producer who is noted for her creative

profile of the protégé they would like to work with. Each

spirit. He assumed that he was going to work with a fellow

mentorship is therefore tailor-made.

director and soon discovered the Lara Foot was a talented

Young artists cannot apply directly to the programme.

playwright as well. Embarking on the Rolex Mentor Protégé

Rather, seven nominating panels – one panel for each

Arts Initiative, Sir Peter Hall had a logical, coherent plan.

artistic discipline – are assembled. The expert panel

His agenda for the year included several of his specialties:

members identify suitable potential protégés, who are then

among them Shakespeare (As You Like It, for the first

invited by Rolex to submit applications. Panel members

time in his career), Harold Pinter (a revival of Betrayal, of

Mentor Anish Kapoor and protégé Nicholas Hlobo in Kapoor’s studio. London, UK, 2011 ©Rolex/Hugo Glendinning

study these applications and recommend three finalists from

which he directed the premiere in 1978), and opera (La

their respective discipline. Finally, Rolex arranges for the

Cenerentola, the Rossini version of Cinderella).

mentor to meet the finalists and choose his or her protégé.

Mentors and protégés are asked to spend a minimum of

Wasting no time, Sir Peter summoned Lara Foot to rehearsals for his production of Shaw’s Man and Superman

six weeks together, though many spend considerably more

even before the programme had officially begun. But Sir

time. They agree on where and how they want to interact. This

Peter soon began to develop an intriguing theory about his

may mean a protégé is granted access to a master at work, or a

new associate. ‘My hunch,’ he said within weeks, ‘is that

mentor and protégé actually collaborating on a work.

Lara’s really a primary creator. Not an interpreter or a “re-

After the mentoring year, Rolex stays in touch with the

creator”, though she can do that, too. Writing plays, making

protégés and continues to promote their work. Many of the

films – that’s where she belongs.’ When Lara Foot was

protégés have gone on to significant careers, have changed

asked what the best part of being a Rolex protégée was, she

disciplines, collaborated with each other and have become

summed it up: ‘The fact that people recognise my work and

mentors themselves.

they believe in me. This is an amazing opportunity for me to

70 / Creative Feel / November 2015

get a sense of the bigger picture of theatre. I have also had

I clearly had found a direction for my art. I explained that

the opportunity of making good contacts. Sir Peter was keen

people in South Africa thought I had got what I wanted. But I

for me to meet as many theatre people as possible.’

felt personally that I had not achieved what I was looking for

Anish Kapoor, Bombay born, living in London since the

– that would take a lifetime. I wanted to learn wisdom from

1970s is one of the most versatile and celebrated visual

those like him who have a better understanding of the art

artists of his generation and during 2011/2012 he was

world and of creating art.’

mentoring the young South African artist Nicholas Hlobo.

Year after year, Anish Kapoor astonishes the

South Africa’s best known contemporary artist, William Kentridge is acclaimed for his compelling work that

international arts community with his gigantic, enigmatic

meshes the personal and political influences on his life in

creations that fill the biggest exhibition spaces in the world’s

South Africa during and after apartheid. ‘I am interested

best-known galleries. Nicholas Hlobo, a young artist from

in a political art... an art of ambiguity, contradiction,

Mentor William Kentridge and protégé Mateo López

Johannesburg whose output is closely watched by collectors

uncompleted gestures and uncertain endings.’ In 2012/2013

longing to buy, weaves together rubber, leather and fabric

he opened his studio to Mateo López, one of Colombia’s

to produce intimate objects and performances that evoke

most promising artists.

an enticing but provocative beauty. Although there are few

During the mentoring year, William Kentridge

points of connection between the two artistic approaches,

wanted to show Mateo López how his work could expand

the ‘poetic dialogue’ of their mentorship year proved fruitful

and flower. In encounters in the United States and

and inspiring. Hlobo explained what happened when Anish

the Netherlands, and, most of all, for several weeks in

Kapoor met him during the process of choosing his protégé,

Kentridge’s Johannesburg studio, the mentor encouraged

‘Meeting Anish Kapoor was very good. Before I went to

his protégé to find radically new ways to create art.

meet him, I had decided to simply be myself and to take the

For López, Kentridge’s willingness to share his work

opportunity to learn a little about him. He was interesting

space presented an extraordinary opportunity. ‘Talk is

and exciting, and very comfortable and confident as an

important, but the possibility of someone to work with is

artist. He asked why I wanted to become a protégé when

better,’ he said. CF

Creative Feel / November 2015 / 71

SA Jazz Artists Take to London Stages As part of the South African Season in the UK, the Department of Arts and Culture South Africa is supporting three performances at the EFG London Jazz Festival. Visitors to the festival can expect to witness some of South Africa’s superb jazz talent: from the young and upcoming to the respected and revered.

Sibongile Khumalo

D

Thandiswa Mazwai

escribed as ‘larger than life and possessing a

of South Africa’s top jazz divas joining together on stage,

voice to match’ and ‘one of the greatest voices

London audiences can prepare for a performance of note.

to emerge from Africa in the past 25 years’

On 15 November, the Roadhouse London will see the

by The Times, Sibongile Khumalo remains

culmination of the Call to Create’s project: On Mass with

an anticipated act at local and international

Jamie Cullum. The project was initiated with a call to young

jazz festivals. On Saturday 21 November at Cadogan Hall,

artists from around the world to respond to an original

Khumalo will perform her only UK show with her band and

music passage created by Cullum. The result will be a huge

special guests Gloria Bosman and Thandiswa Mazwai. Not

performance by Cullum and selected 150 young musicians

ones to be outshone by the legend that is Sibongile Khumalo,

and performers collaborating in a large scale performance

both Bosman and Mazwai boast voices to match. With three

in the Main Space.

72 / Creative Feel / November 2015

Over the past few months, artists from the UK have travelled to Ukraine, South Africa and Nigeria to work with young musicians to create a one-of-a-kind

between the Department of Arts and Culture, South Africa and the British Council.)

Hailing from Soweto, a cappella soul and jazz group

performance. Interpretations of Jamie Cullum’s motif

The Soil have been making themselves at home on

were created by young musicians who were then invited

international stages of late, with a notable performance

back to Roundhouse to perform in a vast showcase of

at the Commonwealth Day Celebration 2015. They have

young international artists. The climax will build up to a

gone a far way in a short time, received with fanfare at New

live mash-up of the theme orchestrated by Roundhouse

York’s Apollo Theatre and the 2013 Edinburgh International

Associate Artist, Tim Exile, using bespoke technology

Festival. They will join American singer and songwriter,

created especially for the show. The event will be live

Melody Gardot for a sold out performance at the Southbank

streamed to a global audience.

centre on 17 November. Melody Gardot has been described

‘It’ll be a pleasure and a privilege to share the

by critics as an ‘intensely creative singer and songwriter’

Roundhouse stage with so many talented young artists

whose latest album Currency of Man ‘transcends musical

from around the world,’ commented Jamie Cullum. ‘It’s so

distinctions of jazz, blues and R&B to offer a stirring social

important to give young artists the platform to profile their

and musical statement.’

Jamie Cullum at Colours of Ostrava 2009

The Soil

talent as I know they’ll bring their new ideas and energy to create an incredible performance.’

Call to Create is a network of 100 arts organisations.

‘I feel that any nation that doesn’t pay attention to its culture and heritage is a doomed nation,’ claims Ntsika Fana Ngxanga of The Soil. ‘To learn a language, you must give

The network was established by Roundhouse to

yourself time to learn about other peoples’ cultures. We have

platform the talents of young artists and to encourage

united South Africa without even trying... Now our ambition is

collaborations between established and emerging artists

to create a soundtrack for the rest of the world.’

around the world.

A dream gig for an artist with their sights set on

(This project has been supported by various arts

international stardom, the EFG London Jazz Festival is a

organisations around the world with particular support

place for our South African artists to grow audiences and

coming from the SA-UK Seasons 2014 & 2015, a partnership

create long-lasting connections to further their careers. CF

Creative Feel / November 2015 / 73

Black P A S

S

A G

Serge Alain Nitegeka will present a new series of free-standing sculptures, painted wall panels and a major intervention within the Cape Town gallery for his fourth solo exhibition at Stevenson.

Serge Alain Nitegeka Structural-Response II 2015 Installation Photographs by John McKinnon Courtesy of SCAD Museum of Art, Savannah, GA and Stevenson, Cape Town/Johannesburg

74 / Creative Feel / November 2015

E

N

itegeka’s sculptures are studies in contained

failure and the spatial disruptions in the aftermath of war

disruption: each object presents a fractured

and natural disaster.

landscape and a fragile subject within this landscape. The body that moves – and

Nitegeka (born 1983 in Burundi and now lives in Johannesburg) is currently included in What remains is

struggles – through these spaces is disorientated through

tomorrow, the South African Pavilion at the 56th Venice

formal means: lengths of wood twisted into tension

Biennale (until 22 November 2015), and the 8th Göteborg

with other components, a colour palette that confounds,

Biennial for Contemporary Art (12 September – 22 November

historicises and animates the surface planes. By amplifying

2015). His first museum exhibition in the US, Configuration

the physical qualities of material itself, these works

in Black, took place at the SCAD Museum of Art in Savannah,

reimagine embodiment and experience as a series of

Georgia (2015) and recent group exhibitions include:

formalist relationships of texture, colour and shape.

Venturing Out of the Heart of Darkness, The Harvey B Gantt

In the intervention planned for the gallery, Nitegeka

Center for African-American Arts + Culture (2015); To

seeks to activate the invisible political dimension of

Have and to Hold, Rubell Family Collection, Miami (2014);

architectural space through radical ruptures. His intention

This House, part of Nouvelles vagues at the Palais de Tokyo,

is to direct the paths of viewers through fissures in walls

Paris (2013); My Joburg at La Maison Rouge, Paris and the

which will allow for a reimagining of the predetermined

Staatliche Kunstsammlungen Dresden (2013); and The Space

white cube as a space of non-linear progression. These

Between Us at ifa Galleries, Berlin (2013).

movements within the gallery that were previously

Black Passage runs from 10 October to 14 November

impossible become an expression of the necessity to find

2015. The gallery is open from Monday to Friday, 09:00 to

alternative ways of moving through spaces associated with

17:00, and Saturday from 10:00 to 13:00. CF

Creative Feel / November 2015 / 75

Matthew Partridge Appointed Fair Director for CTAF 2016

76 / Creative Feel / November 2015

Matthew Partridge was recently appointed as Fair Director of the Cape Town Art Fair for 2016, which will take place from 19 to 21 February 2016 at the Cape Town International Convention Centre.

Creative Feel spoke to the writer, critic, journalist and now fair director about his role in the upcoming Fair.

Creative Feel: What will be some of the highlights of next

In essence, every gallery is a curated space in some form or

year’s Fair?

another. Curators enable the dialogues to go that extra mile

Matthew Partridge: A highlight of next year’s Fair will

and to make us see the work and the world a little differently.

undoubtedly be the enormous interest we have received both internationally and continentally. With the Fair

CF: How many curators have been invited/selected to take

settling into its date at the beginning of February as Cape

part in the Fair?

Town is booming, the enormous attention should set the

A curator’s job is difficult because they wear many hats.

stage for some of the exciting special projects we have

At next year’s Fair we have a host of different curators

lined up.

coming who will serve in different capacities from members on a jury to panellists on our talks program to curating a

CF: What will set this year’s Fair apart from previous ones?

MP: As the Fair has continued to grow and grow it has needed

MP: What will their roles entail?

a bigger venue to accommodate it. The move to the CTICC will

A curator is a person tasked with selecting artworks

help establish it on the international art fair calendar.

and contextualising them (through text, display, public

designated special project.

discussion and the like) for an exhibition or as part of an

CF: In the Fair Planning document it mentions that an

exhibition in keeping with an overarching theme of their

‘important element that constitutes the Cape Town Art Fair

devising or one that is predetermined.

is its curatorial component which is commercially driven whilst being responsive to building a social and cultural

CF: Could you please tell me about the projects/exhibitions

economy for contemporary art in the region’ – could you

that they will be curating?

please elaborate on this?

MP: We will be hosting a prize entitled Tomorrow’s/Today

MP: The truth is that art fairs foster and nurture a

which will feature eight solo representations of upcoming

commercial market, but to keep any market buoyant you

artists who are at the cutting edge of their field, with a focus

have to feed its economy. The Cape Town Art Fair therefore

on new and innovative use of media.

aims to do two things; put all of the best galleries in the region under one roof to sell art and at the same time

CF: Why is this project important not only to the Fair but

start a conversation about what makes us tick. By that I

the art industry in Africa as a whole?

mean we have to reconfigure the way we understand what

MP: We have to recognise who our future greats are in

contemporary art in Africa is. The cultural economy in

order to grow a cultural economy. This is the way to do it.

Africa is huge, our job is to consolidate it and give the world

Giving upcoming artists the chance to have their own solo

a chance to see what it is about.

representation provides a base to what the Fair is all about.

By having it open to the continent, with the specialist focus

CF: Why is it important to have curators at the Fair in

provided by curators Ruth Simbao and Azu Nwabogu, it

particular and at art fairs in general?

will give us the chance to bring the future forward to today,

MP: This really carries on from the above question, curators

hence the title Tomorrow’s/Today. The Fair gives the chance

give contemporary art relevance because they help situate it

for us to catch a glimpse of tomorrow and from where we are

in a context whereby the conversations can start taking place.

standing it looks bright! CF

Creative Feel / November 2015 / 77

Simon Max Bannister As part of the celebration of its 50th year, Mercantile Bank a business bank inspired by entrepreneurs commissioned sculptor Simon Max Bannister to create a new work symbolising the bank and its core target market, to be constructed in the Montecasino Piazza in November.

Simon Max Bannister, Rhinos at Londolozi Game Reserve, 2013. Reused timber

T

Simon Max Bannister, Ardha Rathri, Jawai tented camp, Rajastan, 2015. Painted mild steel

his November, the hull of a ship will grace the

says. ‘I have quite a fragmented style, so I can pull together

piazza of Montecasino. Created by artist Simon

a form with many different pieces.’

Max Bannister, the work is commissioned by niche bank Mercantile: the bank has long used

Mercantile Bank CEO, Karl Kumbier says, ‘this project will give Montecasino visitors an opportunity to watch a

the ship as a symbol of the entrepreneur, their focus market.

masterpiece come to life and narrate the Mercantile Bank

As such, the sculpture is intended to symbolise the past and

entrepreneur journey in a visual and interactive setting.’

the future of Mercantile as it celebrates its 50 years growing

Art aficionados will likely have encountered Bannister’s

entrepreneurs, while also embodying the journey of the

work before, whether at the National Art Festival, or Cape

entrepreneur – a sometimes perilous adventure, in which

Town’s Infecting the City. Shortly before the first Turbine

guidance and expertise can make all the difference.

Art Fair, a number of tall giraffes by Bannister made an

The project came with its own trials: ‘It was quite a

extensive appearance on social media: silhouetted against

challenge, to think about how I would build a boat in four

the Jozi landscape, they ambled to the Turbine hall, where

days,’ says Bannister, noting that ‘it’s a very tight timeline.’

they have since remained.

With the sculpture set to be constructed from pallets and

A similar set of giraffes, entitled Long Journey from

timber, reaching approximately seven metres by three

Londolozi, earned Bannister the title of Wildlife Artist of the

metres in size, and designed to allow people to go aboard,

Year by the David Shepherd Foundation, and were exhibited

this required extensive forethought; and so, ‘the plan is to

in London in 2013. ‘I was inspired by ladder formations and

create elements of it that can then be pieced together,’ he

the movement and form of broad brush strokes made from

78 / Creative Feel / November 2015

wood,’ he has said of the large, sketchy figures created from

intrigue, but something about your own creativity,’ he says.

off-cuts of Eucalyptus wood.

‘Each medium has shown me something new about my work.

In fact, the Mercantile boat marks a slight departure for Bannister, who predominantly takes his inspiration from wildlife and the natural world. There is an environmental

They all have taught me something incredible about the nature of material itself.’

Bannister has worked extensively with waste plastic,

thread that runs throughout his work. Until recently,

undertaking a trans-Atlantic ‘5 Gyres Plastic Research

Bannister spent three years as an artist in residence at

Expedition’ Residency in 2011, to investigate the extent and

the Londolozi game reserve – ‘a wonderful residency,’ he

degree of plastic contaminating the ocean. This he followed

recalls, and somewhat unconventional, although ‘I think

with an exhibition entitled Plastikos at the Cape Town 2

it’s something that you’ll start to see more of,’ he says,

Oceans Aquarium. (An old Infecting the City biography

‘because artists can really bring another dimension to the

describes the artist as using the material to create ‘a plethora

experience of a place, and if they stay there for a while, their

of wild beasts, introducing them back into the natural

energy does filter through to the guests, or the soul of the

environment with the intention to bring awareness to the monster that our litter presents.’)

He has also ventured into land art; both creating his own pieces, and facilitating land art events, walks though an environment in which the participants create their own short-lived artworks from elements found within the surrounding environment. Land art is ‘a completely different direction’, he says. ‘It appeals to an almost purist interrelation with nature, and in a very ephemeral way.’ Yet, despite the fleeting transience of such pieces, ‘it’s amazing how far an image can go’, he notes. ‘An ephemeral art work that took an hour to make on a beach somewhere can live forever online, and be shared and seen by thousands of people, even though you were the only one on that beach.’

Not all such pieces need be ephemeral, however. For the Site_Specific Land Art Trail, created to raise awareness for

Simon Max Bannister, Wolves of Boekenhoutskloof, 2014. Wine pallet timber

the Eden to Addo Corridor Initiative in Knysna, Bannister worked with three local stone masons to fashion three gigantic elephants from rocks, some of which weighed more

place. If you go [to Londolozi], you’ll see my little touches coming through everywhere; and when you add more and

than two tons each.

Most recently, Bannister’s ‘journey of materials’ has led

more artists, you build up this layer of... feeling. That really

him to Simon’s Town Bronze Age Sculpture House, where

has value, in the way that it will make people stop and

he is presently based. November will see him travel to

appreciate their environment. You get a sense of place.’

Johannesburg to construct the Mercantile boat.

While at Londolozi, and in between the hours spent

With only a short amount of time in which to erect

designing and creating works ranging from sculpture

the boat, Bannister has prepared many of the elements in

through to more functional pieces such as fireplaces,

advance, creating a scale model and readying his materials.

Bannister had the opportunity to spend a great deal of time

Despite all these preparations, the completed sculpture will

in the bush. ‘I was able to really watch and learn about

come as a surprise not only to visitors to the site, but also, to

how animals move together,’ he says. ‘And that gave me

some degree, to Bannister himself.

the centre of poise, of acute detail and attitude that I think imbues my work when it comes to wildlife.’

‘That’s the thing with creativity,’ he says. ‘You can contextualise, you can sketch, you can envision something;

Bannister has worked in a vast array of media,

but then you’ve got to build a bridge between reality and

undertaking ‘a journey of materials,’ as he calls it, and

that vision. And what happens is going to be somewhere

experimenting in everything from plastic, beach litter,

along that bridge.’ Likely enough, this is true not only for

through to wood and metal. ‘Each material has something to

artists, but also for the entrepreneurs whose journey is

teach you, not only about the world and its mystery and its

represented by the Mercantile boat. CF

Creative Feel / November 2015 / 79

Brian Dettmer, Webster Two Point Oh, 2008. Courtesy of the artist and P.P.O.W Gallery, New York

How we see old information in a modern world New York-based artist Brian Dettmer carves intricate sculptures from outdated materials like encyclopaedias, textbooks, maps and cassette tapes. To create his works Dettmer seals the object with varnish, then swiftly and deftly moves through it with an X-Acto knife until he comes out the other side, cutting away material to form something new. His beautiful carvings reflect how, in a digital information landscape, even the oldest forms of knowledge can be repurposed.

80 / Creative Feel / November 2015

Brian Dettmer, Americana 54, 2013. Courtesy of the artist and P.P.O.W Gallery, New York

I

n a recent TED talk Brian Dettmar talked about his art – his book works. TED is a global community, welcoming people from

every discipline and culture who seek a deeper understanding of the world and here we share the transcription of his talk.

‘I’m an artist and I cut books. With one of my first book works I wanted to create a stack of books so that somebody could come into the gallery and think they’re just looking at a regular stack of books, but then as they got closer they would see this rough hole carved into it, and wonder what was happening, wonder why, and think about the material of the book. So I’m interested in the texture, but I’m more interested in the text and the images that we find within books.

‘In most of my work, what I do is I seal the edges of a

sort of making it into something that’s

book with a thick varnish so it’s creating sort of a skin on the

more new and more contemporary. I’m

outside of the book so it becomes a solid material, but then

thinking also about breaking out of the box

the pages inside are still loose, and then I carve into the

of the traditional book and pushing that

surface of the book, and I’m not moving or adding anything.

linear format, and try to push the structure

I’m just carving around whatever I find interesting. So

of the book itself so that the book can

everything you see within the finished piece is exactly where

become fully sculptural.

it was in the book before I began.

‘I think of my work as sort of a remix, in a way, because

‘I’m using clamps and ropes and all sorts of materials, weights, in order to hold things in place

I’m working with somebody else’s material in the same way

before I varnish so that I can push the form before I begin,

that a D.J. might be working with somebody else’s music.

so that something like this can become a piece like this,

This was a book of Raphael paintings, the Renaissance artist,

which is just made from a single dictionary. Or something

and by taking his work and remixing it, carving into it, I’m

like this can become a piece like this. Or something like this,

Creative Feel / November 2015 / 81

Brian Dettmer, New Books of Knowledge, 2009. Courtesy of the artist and P.P.O.W Gallery, New York

which who knows what that’s going to be or why that’s in my

machine. I also think of the book as a landscape. A full set

studio, will become a piece like this.

of encyclopaedias that have been connected and sanded

‘So I think one of the reasons people are disturbed

together, and as I carve through it, I’m deciding what I want

by destroying books, people don’t want to rip books and

to choose. So with encyclopaedias, I could have chosen

nobody really wants to throw away a book, is that we think

anything, but I specifically chose images of landscapes. And

about books as living things, we think about them as a

with the material itself, I’m using sandpaper and sanding

“I think that the book was never really the right format for nonlinear information, which is why we’re seeing reference books becoming the first to be endangered or extinct”

body, and

the edges so not only the images suggest landscape, but the

they’re

material itself suggests a landscape as well.

created to

‘So one of the things I do is when I’m carving through the

relate to our

book, I’m thinking about images, but I’m also thinking about

body, as far

text, and I think about them in a very similar way, because

as scale, but

what’s interesting is that when we’re reading text, when we’re

they also

reading a book, it puts images in our head, so we’re sort of

have the

filling that piece. We’re creating images when we’re reading

potential to continue to grow and to continue to become

text, and when we’re looking at an image, we actually use

new things. So books really are alive. So I think of the book

language in order to understand what we’re looking at. So

as a body, and I think of the book as a technology. I think

there’s sort of a yin-yang that happens, sort of a flip flop. So I’m

of the book as a tool. And I also think of the book as a

creating a piece that the viewers are completing themselves.

82 / Creative Feel / November 2015

Brian Dettmer Absolute Authority, 2011. Courtesy of the artist and P.P.O.W Gallery, New York

‘And I think of my work as almost archaeology. I’m

the book is going to die, and we are seeing things shifting

excavating and I’m trying to maximize the potential and

and things evolving. I think that the book will evolve, and

discover as much as I possibly can and exposing it within

just like people said painting would die when photography

my own work. But at the same time, I’m thinking about this

and printmaking became everyday materials, but what it

idea of erasure, and what’s happening now that most of

really allowed painting to do was it allowed painting to

our information is intangible, and this idea of loss, and this

quit its day job. It allowed painting to not have to have that

idea that not only is the format constantly shifting within

everyday chore of telling the story, and painting became

computers, but the information itself, now that we don’t

free and was allowed to tell its own story, and that’s when

have a physical backup, has to be constantly updated in

we saw Modernism emerge, and we saw painting go into

order to not lose it. And I have several dictionaries in my

different branches. And I think that’s what’s happening with

own studio, and I do use a computer every day, and if I need

books now, now that most of our technology, most of our

to look up a word, I’ll go on the computer, because I can go

information, most of our personal and cultural records are in

directly and instantly to what I’m looking up. I think that

digital form, I think it’s really allowing the book to become

the book was never really the right format for nonlinear

something new. So I think it’s a very exciting time for an

information, which is why we’re seeing reference books

artist like me, and it’s very exciting to see what will happen

becoming the first to be endangered or extinct.

with the book in the future.’

‘So I don’t think that the book will ever really die.

People think that now that we have digital technology,

Go to www.creativefeel.co.za to find the link to his original video. CF

Creative Feel / November 2015 / 83

A Place Called Winter Patrick Gale, the prolific British novelist, semi-professional cellist, passionate gardener, amateur farm labourer and ‘recovering vegetarian’ stopped in Johannesburg on his way home from this year’s Open Book Festival. Lore Watterson had the chance to speak to him about his books, his family, healthy food and of course about his music, for Creative Feel.

A

Place Called Winter is Patrick Gale’s latest novel. A book Gale himself describes as ‘returning to write for his gay readers’ whom he feels he had neglected in his recent books.

It is set in the early 20th century and stems from the story of the author’s own great-grandfather, banished to Canada as a young man…

The publisher’s synopsis gives little away: ‘In the golden 1900s, Harry Cane, a shy, eligible gentleman of leisure is drawn from a life of quiet routine into courting and marrying Winnie, eldest daughter of the fatherless Wells clan, who are not quite as respectable as they would appear. They settle by the sea and have a daughter and conventional marriage does not seem such a tumultuous change after all. When a chance encounter awakens scandalous desires never acknowledged until now, however, Harry is forced to forsake the land and people he loves for a harsh new life as a homesteader on the newly colonised Canadian prairies. There, in a place called Winter, he will come to find a deep love within an alternative family, a love imperilled by war, madness and an evil man of undeniable magnetism.’

Meeting Gale, the first thing to be discussed was ‘why a book for gay readers? Is a good book not just a great story well written?’ With a smile and serious considerations he agrees but also claims that, as a gay man himself, he felt that it was time for him to return to write about gay love. With that statement he of course gives away what the encounter is that ‘awakens scandalous desires in Henry that were never acknowledged until now.’

The book is based on Gale’s own family who never found out exactly why his great-grandfather left the family to live in Canada, or at least the family never really spoke about the reason. It was after all a period where homosexual acts, even in private, were punished both by the law and

84 / Creative Feel / November 2015

by social disgrace. When Gale grew up he was close to his maternal grandmother and at her death inherited her memoirs – the notebooks and many photographs of the rather vain Wells daughters. He decided to research this skeleton in the family cupboard, or rather family closet, and admits that even reading all available material and spending three weeks in the Canadian prairies, locating the exact coordinates of his great-grandfather’s farm, where much of the novel is set, did not provide the full answer. He decided to take artistic liberties with his great-grandfather and the result is a fascinating novel that is certainly not only for gay readers.

What made the interview so special was Gale’s sharing of his private lifestyle and his vast interest in many different things.

Gale grew up as the youngest of four children, his father a prison governor and his mother provided the intellectual influence in his life. He got a scholarship for boarding as a Winchester College Quirister at the cathedral choir school, Pilgrim’s and went on to Winchester College. Music still is an important part of his life, he plays both the modern and baroque cello in two different local

The book is based on Gale’s own family who never found out exactly why his great-grandfather left the family to live in Canada, or at least the family never really spoke about the reason orchestras and one indulgence is opera tickets, with all the travelling and stay-overs it entails.

While talking about being gay and family reactions, he feels very privileged that his own family never had any problems with his sexual orientation. They all fully supported him after he ‘came out’ by giving his parents his first novel to read: The Aerodynamics of Pork (1985).

Today Gale lives with his husband on a farm in the far west, near Land’s End in a remote part of Cornwall. Here he is the passionate gardener - ‘don’t all the English become obsessed with gardening once they reach a certain age?’ He admits that he gets great pleasure out of working in the garden, discussing plants with his sister and even reading seed catalogues for hours. He grows all the vegetables and herbs for the farm while Aiden, his husband, farms with organic beef.

Hence the term ‘recovering vegetarian’, ‘it is just too difficult to be a vegetarian once you marry a cattle farmer.’

In fact, it was gardening that delayed the publishing date of A Place Called Winter, as the couple was too busy creating England’s westernmost walled rose garden in what must be one of England’s windiest sites and Gale found it difficult to get down to his writing, a task still done with paper and ink to have time to think and correct. CF

Creative Feel / November 2015 / 85

Books Recently published

The Painter of Souls

By Philip Kazan Publisher: Orion Books ISBN: 9781409142836 Beauty can be a gift...or a wicked temptation...

So it is for Filippo Lippi, growing up in Renaissance Florence. He has a talent – not only can he see the beauty in everything, he can capture it, paint it. But while beauty can seduce you, and art can transport you – it cannot always feed you or protect you. To survive, Pippo Lippi, orphan, street urchin, budding rogue, must first become Fra Filippo Lippi: Carmelite friar, man of God. His life will take him down two paths at once. He will become a gambler, a forger, a seducer of nuns; and at the same time he will be the greatest painter of his time, the teacher of Botticelli and the confidante of the Medicis. So who is he really - lover, believer, father, teacher, artist? Which man? Which life? Is anything true except the paintings? Philip Kazan is an informed historian, a passionate cook and a keen traveller. He brings real gusto and humanity to his writing.

The Song Collector

By Natasha Solomons Publisher: Sceptr ISBN: 9781444736410

This House Is Not for Sale

By E.C. Osondu Publisher: Granata ISBN: 9780061990885

Fox, as the celebrated composer

A powerful tale of family and

Lost, Stolen or Shredded Stories of Missing Works of Art and Literature

By Rick Gekoski Publisher: Profile Books LTD

Harry Fox-Talbot is known, wants

community, This House Is Not

Rick Gekoski tells the very human

to be left in peace. His beloved

for Sale brings to life an African

stories that lie behind some of the

wife has died, he’s unable to write

neighbourhood and one remarkable

greatest losses to artistic culture –

a note of music, and no, he does

house, seen through the eyes of a

and addresses the questions such

not want to take up some blasted

young member of the household. The

disappearances raise. Some of the

hobby. Then one day he discovers

house lies in a town seemingly lost in

items are stolen (the Mona Lisa), some

that his troublesome four-year-

time, full of colourful, larger-than-life

destroyed (like Philip Larkin’s diaries)

old grandson is a piano prodigy.

characters; at the narrative’s heart

and some were lost before they even

The music returns and Fox is

are Grandpa, the family patriarch

existed, like the career of the brilliant

compelled to re-engage with life -

whose occasional cruelty is balanced

art deco architect, Charles Rennie

and, ultimately, to confront an old

by his willingness to open his doors

Mackintosh – but behind all of them

family rift. Natasha Solomons is

to those in need, and the house itself,

lies an often surprising story which

the author of the internationally

which becomes a character in its own

reveals a lot about what art means to us.

bestselling Mr Rosenblum’s List,

right and takes on the scale of legend.

Gekoski explores the greater questions

The Novel in the Viola, which was

Born in Nigeria, E.C. Osondu received

these tremendous losses raise – such as

chosen for the Richard & Judy

his MFA from Syracuse University and

the rights artists and authors have over

Book Club, and The Gallery of

is the winner of the Caine Prize for

their own work and the importance of

Vanished Husbands.

African Writing and a Pushcart Prize.

the search for perfection in creativity.

CDs

The latest releases to suit all tastes

Ravel Yuja Wang Deutsche Grammophon 4794954 Yuja Wang has established herself as an international sensation. She plays with the world’s leading orchestras, including those of New York, London, Amsterdam, and Berlin, regularly joining them on tours of the Americas, Europe, and Asia. On her eagerly anticipated new orchestral album she wows with two perennial hits: Ravel’s Piano Concerto in G major and The Piano Concerto for the Left Hand in D major. Both are heavily influenced by jazz, which Ravel had encountered on a concert tour of the United States in 1928. He composed both concertos between 1929 and 1930. The latter was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during World War I. Yuja, young stellar conductor Lionel Bringuier and celebrated Tonhalle-Orchester Zürich are the perfect match to inflame Ravel’s vibrant sound.

Treasures of Bel Canto Rolando Villazón Deutsche Grammophon 4794959

Orfeo et Euridice Franco Fagioli Archiv Produktion 4795315

Prima Donna Rufus Wainwright Deutsche Grammophon 4795340

Rolando Villazón, one of the world’s

A full recording of the original Italian

Prima Donna is a two act affair set in

favourite tenors, returns to the very roots

version (the Vienna version from

the day in the life of a great diva who

of the Italian romantic vocal tradition,

1762) of Gluck’s beloved take on the

is deciding whether or not to continue

with a selection of exquisite melodies of

Orpheus myth, Orfeo et Euridice, plus

her career. With Paris as a backdrop, the

simple beauty and passion by the greatest

extra music written by Gluck for later

opera both borrows from operatic myth

of Italian opera composers. Following

performances of his opera. It includes

and legend as well as Wainwright’s own

journeys through the music of Mozart

virtuoso arias for Fagioli and as such

very contemporary personal experiences

and Verdi in recent years, Villazón now

represents a brilliant showcase for him

as a singer. The themes of loss, fear, hope

brings us a stunning collection of songs

and a collectible item for connoisseurs.

and ultimately acceptance are deeply

from the Romantic bel canto period

This is Franco Fagioli’s first ever

explored in this work by both the soloists

- miniature gems penned by Bellini,

recording of a complete opera in which

and the orchestra.

Donizetti, Rossini and Verdi - originally

he sings the title role. The role has

Affectionately referred to by Elton

scored for piano accompaniment and

become one of Fagioli’s calling cards

John as ‘the greatest songwriter on the

presented here for the first time in new

in recent seasons. It is known for its

planet’ and praised by the New York

arrangements for orchestra. A highlight is

absolutely gorgeous music, including

Times for his ‘genuine originality,’ Rufus

a delightful Rossini duet with none other

one of opera’s most audience-pleasing

Wainwright has established himself

than five-time GRAMMY award-winner

tunes, the uber-famous aria ‘Che farò

as one of the great male vocalists and

Cecilia Bartoli.

senza Euridice’.

songwriters of his generation.

Creative Feel / November 2015 / 87

Brooklyn

Director: John Crowley Starring: Saoirse Ronan, Domhnall Gleeson, Emory Cohen with Jim Broadbent and Julie Walters Brooklyn is the story of Eilis, a young woman who moves from small-town Ireland to Brooklyn, NY where she strives to forge a new life for herself, finding work and first love in the process. When a family tragedy brings her back to Ireland, she finds herself confronting a terrible dilemma – a heart-breaking choice between two men and two countries.

Adapted from Colm Tóibín’s New York Times Bestseller by Nick Hornby (Oscar® nominee for An Education) and directed by John Crowley (Intermission, Boy A), Brooklyn stars Saoirse Ronan (The Grand Budapest Hotel and Oscar® nominee for Atonement), Domhnall Gleeson (About Time, Anna Karenina), Emory Cohen (The Place Beyond The Pines), Jim Broadbent (Oscar® winner for Iris) and Julie Walters (Oscar® nominee for Billy Elliot and Educating Rita).

ACADEMY AWARD® NOMINEE

SAOIRSE

RONAN

DOMHNALL

GLEESON

EMORY

COHEN

ACADEMY AWARD® WINNER

WITH

JIM

BROADBENT

ACADEMY AWARD® NOMINEE

AND

JULIE

WALTERS

AT CINEMAS 13 NOVEMBER 2015 Creative Feel / November 2015 / 89

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

To learn to relax and not feel guilty of having fun.

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

Artists personify change and through their personal approach have taken South Africa to the world and have opened up many possibilities for cultural discourse globally. South Africa’s arts

industry certainly has surpassed the world’s expectations given our history, and we need to acknowledge that fact as South Africans, to really value and support what we have.

Name one thing you think would improve the arts and culture industry in South Africa.

As stakeholders we need to develop a common vision for the arts in South Africa, the vision that speaks to growth, sustenance, education and support.

What is your most treasured possession?

My brain – I treasure it as it archives all my future artistic projects, I also use it in developing new business models for the company.

Gregory Maqoma is the founder and Executive Director of Vuyani Dance Theatre, former artistic director of AfroVibes Festival in the Netherlands, and the Current Tunkie Award Recipient for leadership in dance. He is also the recipient of many national and international awards for choreography.

Name three artworks that you love and why.

William Kentridge’s animation work, Luyanda Sidiya’s latest work Siva moved me to tears and confirmed the reason why full-time dance companies are important for consistency in growth, and author Zakes Mda’s The Heart of Redness is close to my heart - the images described in the book make a great film and inspire choreography and storytelling.

Name one artiste you would love to meet.

Michael Jackson, if I could bring him back to life – huge inspiration and the reason I am dancing.

What are you reading at the moment?

I am developing strategies at the moment for Vuyani Company. I am currently reading Good Strategy, Bad Strategy by Richard P. Rumelt.

What is in your car’s CD player?

Alternating between Simphiwe Dana’s Firebrand and Nathi Mankayi’s Buyelekhaya.

What do you regard as the lowest depth of misery?

When children lose their life based on human greed, politics and war.

What is it that makes you happy?

A standing ovation – it says I have done my job and my customer is satisfied.

Describe a defining moment in your life.

I grew up quite close to a hostel in Soweto and I think the exposure to traditional forms in the township helped me to have empathy – something I only understood later – I was so very deeply moved and touched by migrant labourers who danced over the weekends.

It dawned on me, years later, that it was their own way of surviving the displacement of their circumstances. But it was seeing Michael Jackson on a television screen, I think I was ten years old, when I made that decision to be a dancer.

What projects will you be busy with during 2015 and into 2016?

I am celebrating my 25 years in the industry with the production Greg Maqoma & Friends at the Lyric Theatre on 3 and 4 December 2015.

The two performances will also serve as a fundraiser to help Vuyani build its new premises in Soweto, on land earmarked by the Johannesburg City Council.

Prior to this event I will have graced stages in Barcelona and London and the company will be in Holland and Beijing. For 2016 we will continue to tour the world including forging partnerships with China, UK and the USA. Name one goal you would like to achieve in the next twelve months.

To lay the first brick for Vuyani building as my legacy project.

e Left to right Dance: Themba Mbuli, Jazz: Siya Makuzeni, Visual Art: Mohau Modisakeng, Theatre: Jade Bowers, Music: Avigail Bushakowitz

R1 Sterling Silver

R5 ( 10 oz) 24 Carat Gold

R25 (1 oz) 24 Carat Gold

Common Obverse

The South African Mint 2015 Protea coin series honours The Life of a Legend: Nelson Mandela on his journey in Johannesburg Introduced in 2013, each Protea coin series commemorates a different chapter of Mr Mandela’s life, with the 2015 series focussing on Madiba’s early years in Johannesburg. As a youth in the City of Gold, Mandela encountered many new friends and mentors who contributed in shaping the young man into a internationally revered icon.

The 2015 Life of a Legend: Nelson Mandela Protea Coin Series is also available as a limited launch set of 200 units which come with an exclusive medal and booklet, packaged in an attractive, custom-designed wooden box.

Share in a legacy - The 2015 Protea The Life of a Legend: Nelson Mandela coin series

Visit www.samint.co.za for more information.

Tel: +27 12 677 2482 Email: numismatics@samint.co.za Fax: 086 521 9772